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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 (((O))) Animales (Le Crepuscule Du Soir) cd-r 9.98
We first heard from the un-Google-ably monickered (((o))) via an amazing (and amazingly packaged) cassette released on the Auris Apothecary label, the tape housed in a silkscreened velvet bag, bundled with a chunk of Mexican obsidian, the music on said tape sonically beholden, as the name might suggest, to dronelords SUNNO))), but then again pretty much anyone trafficking in slow, glacial blackdrone dirgery has some tenuous sonic connection to SUNNO))), and of course slo-mo rifflords Earth before them, but as we mentioned in the review of that cassette, this Mexican dronescaper really only uses that tarpit riffery as a jumping off point, and references those bands in spirit, 'cause sonically, (((o))) is more about black ambience, blackened spectral drift, choosing to blur any semblance of riffage into lush layered textures and gristled expanses of undulating hiss and hum. The sprawling 17+ minute opener unfurls like a time lapse film of slow swirling galaxies, the more caustic crush of the opening few minutes giving way to billowing swirls of smeared melody and woozy shimmer, peppered with buried percussion, pulsing from within the murk.
The sound continues to smooth out, growing more and more serene and almost new agey, until all of a sudden, and quite unexpectedly, the track splinters into a weird dubbed out bit of beat driven churn, strangely skittery, almost house-y in fact, the beat drifting on lush swells of soft focus synth, before quickly sinking again into the softly roiling blackness, transforming back into a bleary black sonic smudge...
The rest of the record unfolds as unpredictably as we would have imagined, the second track is a dark bit of somber chamber music, funereal strings moaning forlornly, all darkness and shadow, while the track after that sound like some sort of subterranean field recordings, capturing whatever unknowable mysteries lurk just below the surface, dense, tense drones, thick thrums and muted streaks of keening high end all blurred into a softly heaving, quietly crumbling drone, wrapped around what sounds like running water, or some infernal machinery, mostly adding texture, some sonic grit to the black smears of sound.
The next two tracks delve deeper and deeper, flitting from deeeep black ambience, to crunchy distorted dirge and back again, both tracks laced with mysterious melodies, evoking all manner of dread, very cinematic for sure, a slow build to a soft black cacophony, that slips dreamily into something much more hushed and serene, before the final track, which starts life as a sprawl of hiss and chordal shimmer, peppered with strange sampled voices, like some sort of harrowing Godspeed ambience, only to have the beats return, this time much more driving and prominent, the motorik groove pulsing through clouds of hum and buzz and wreathed in chiming melodies, the whole thing very seventies soundtracky sounding, touching on Goblin and Carpenter, but coming at it from a whole different direction than all those retro synth wranglers. Housed in an oversized 6 panel full color cover, and probably quite limited...
MPEG Stream: "I"
MPEG Stream: "IV"
MPEG Stream: "VI"

album cover (((O))) Fuego Somos, Fuego Seremos: Roars & Abstractions. (Auris Apothecary) cassette with black obsidian in velvet pouch 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With a name like (((o))) we were pretty much imagining some SUNNO)) like rumbles and slo-mo glacial low end creep, and this Mexican drone/dirge soundscaper did not disappoint, but like everything released on Auris Apothecary, one of our new favorite labels, the over the top packaging deserves as much discussion as the music. This one comes as a black tape, wrapped in a full color fold out paper sleeve, sealed shut with a black wax seal, housed inside a black velvet bag, screen printed on both sides and sealed with a drawstring, while alongside the tape inside is also a small sealed bag containing hand broken Mexican obsidian, hand numbered too. It's a gorgeous little piece of art, which just so happens to contain some amazing sounds. Thankfully, regardless of whatever inspiration (((o))) drew from SUNNO))), the sounds here are much more varied and interesting. The tape opens with some deep drones, but are soon accompanied by some haunting female spoken word, in Spanish, before slipping into a woozy bit of soft focus psychedelic guitar, all spidery melodies, drifting in an expansed of greyed ambient shimmer. The tape twists and turns, slipping from a crumbling processed chunk of blurred noise to full on Merzbowian buzz (infused with all manner of murky melody and clattery percussion), from rumbling de-tuned tarpit riff ooze to field recording flecked blacknoise ambience, and finally to a swirling windswept chunk of pulsing, distorted rhythmic murk, all pulsing distorted swells and buried blackened melodies, weirdly hypnotic, noisy, but still impossibly pretty.
LIMITED TO 99 COPIES!!!
And here's a nifty promo video the label made:
http://www.youtube.com/watch?v=wfwQh2dcBV8&
MPEG Stream: "Parte Uno"
MPEG Stream: "Parte Dos"
MPEG Stream: "Parte Tres"

album cover (AD)VANCE(D) 24 (Substantia Innominata / Drone Records) 10" 13.98
The parenthetically inclined (ad)vance(d) is the work of Dutch sound collagist Mars Wellink, who might be better known to some as half of the equally obtuse Vance Orchestra - a project with its aesthetic roots in the European post-industrial / tapemaschinenmusik school which spawned the likes of H.N.A.S., Cranioclast, and P16.D4. Vance Orchestra produced one of the early singles for Drone Records, and now has released a 10" as part of the Drone curated series Substantia Innominata. On the first side of 24, Wellink contextualizes all sorts of very commonplace sounds (a tea-kettle whistling, toothbrushing, telephones ringing, and the roar from highway overpasses) within a claustrophobic set of tones, drones, and strange bits of electronic sequencing. At times, this track really has all of the trappings of those Atelecine recordings, although Wellink doesn't have the benefit of having Sasha Grey as a sidekick. The flipside is a much darker affair, opening with a massive thrumming tone that might have some difficulty with some lesser turntables, that steadily evolves into a series of undulations of detuned voice and rolling drones, not too far removed from where Stapleton guided Salt Marie Celeste. Atonal chirps, synthesized filter sweeps, and radiophonic blorp disperse in various directions beyond the sea-borne drones alluding more to the Daphne Oram side the equation. Wellink makes all of these references seem pretty easy in this mix. Nicely done, we must say!

(CT) PROJECT Akapella (Nemoguitt Recordings) cd 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Eleven musicians record their voices, and manipulate them with effects, samples, etc. to create an interesting assortment of songs.

(CT) PROJECT Found (Nemoguitt Recordings) cd 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Nine artists compose using only previously recorded material yielding surprisingly musical results, amid the expected clickery.

(V/A) PHIZMIZ, ERGO / XPER.XR / PEOPLE LIKE US Gongexeva (Mukow) cd-r 8.98


*0 0.000 (Mu-Label) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
*0 is the mathematically inclined pseudonym for Japanese puretone artist Nosei Sakata. The name of his project refers to the multiplication of anything times zero equating zero, thus giving you an idea of what is sonically in store on his fourth recording.
Sakata's first few recordings had been attempts by this Japanese artist to out-muscle Ryoji Ikeda's sine-wave and bleep constructions, with a great deal of success. Here, his minimalism achieves its purest form... With the exception of the two 1000hz sinewave test tones which bookend this recording, the tones which Sakata uses are so extreme as to be not only outside of our speaker's frequency range, but also outside the range of human (or at least my) perception. While the only two tones used are the ultrasound frequency of 20200hz and the infrasound frequency of 14hz, he does break from his harsh minimalism on one track to layer these two frequencies together. The prinicple is that when two frequencies such as these are layered together a secondary tone (somewhere smack inbetween the two at around 10000hz) should be audible. The problem is that if the speakers can't produce the frequencies, the secondary frequencies can't be heard. A noble concept, even if it doesn't really work for us puny mortals / puny stereos.

0 (MIKA VAINIO) Heijastuya (Sahko) lp 22.00

album cover 1/3 OCTAVE BAND Fading Light From Distant Suns (Celebrate Psi Phenomenon) 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 at AQ have long been fans of Campbell Kneale and his project Birchville Cat Motel who along with the Dead C, Omit, Gate and a handful of others have helped to define one of the richest free-rock-noise-drone scenes in the world. For years Kneale has been releasing cds, lps and cassettes (most of them quite limited) of noisy electronic soundscapes and gorgeous organic drones. So when we discovered Kneale also ran a label, we figured it was definitely worth checking out. And how right we were. Not only is all of the music on Celebrate Psi Phenomena amazing, but the packaging is perfectly and stunningly designed as well (quite nice considering this is a cd-r label. See our crappy cd-r packaging rants in the last three or four lists) with each cd in a plastic sleeve nestled between two sheets of old fashioned textured wallpaper, printed, and sealed with a gold star.
1/3 Octave Band's sound is a slowly unfolding haze of purposeful minor key guitar strum that dissolves into rumbling guitar shimmer and warm chordal washes of hum and fuzz and occasional electronic buzz. Buried in the gossamer layers of sound are clanging crashes, gritty throbbing and almost imperceptible melodies. 1/3 Octave Band take the bliss-out of Spacemen 3, roll it in angel dust and dip it in tar before laying down and drifting off. So nice.
RealAudio clip: "One"
RealAudio clip: "Two"

album cover 1/3 OCTAVE BAND Navigation By Light (Celebrate Psi Phenomenon) 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.
Another new jam from New Zealand's 1/3 Octave Band, courtesy of Campbell Kneale's (Birchville Cat Motel, Black Boned Angel, etc.) Celebrate Psi Phenomenon label. Packaged as always in the immediately recognizable wallpaper sleeve, this is some serious soft focus, gauzy and dreamy and free floating minimal bliss for sure.
Four tracks, 49 minutes, each track a lengthy drift through delicate worlds of subtle sound. From a barely audible whir, flecked with distant high end melodies and crystalline glimmering, to creaking cavernous murmurs, to almost industrial dronescapes, to haunting cinematic soundscapes, but with all the jagged edges worn away into smooth soft shapes. This is the music of dreams. Music from another world. The sound of wandering somnambulant through some soft space, eyes closed, mind open, and drifting heavenward.
MPEG Stream: "Magnetic South "
MPEG Stream: "Semaphore"

1/3 OCTAVE BAND Sub Lumina (Humbug) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
More blissed out dream drone from these mysterious musical inner space explorers.

album cover 1349 RYKKINN Brown Ring Of Fury (Jester ) cd 14.98
Jester strikes again! After quite a few stellar releases by the likes of When, Ulver, Bogus Blimp, Kare Joao, Single Unit and others, this time the unpredictable (except for being predictably good) Norwegian avant-garde label Jester brings us another unknown quantity: the debut cd from something called 1349 Rykkin. Initially, this seemed like an exercise in distorted clobbering noise electronics with percussive hits and crunkly rhythms, definitely for fans of recent Merzbow and Kevin Drumm. Aggro but also varied and interesting. But, there's more -- four tracks in, the destructo stuff gives way to urban field recordings (passing cars, street sounds) and some really pretty, melancholic acoustic guitar playing in the form of "Field With Flowers In Crazy Colors", revealing Brown Ring Of Fury's sensitive side. Then the noise returns, but always, as before, with some left-field component. The penultimate track, "Best Boy", is also the album's epic centerpiece, being over 25 minutes of noise-throb akin to some ominous mechanical heartbeat, augmented with washes of spacey synth and vicious drones. Merzbow/Aube/Space Machine Japanoise territory here for sure. After that, there's a recording of some blokes in a bar on holiday (it seems) that makes for a confusing/bizarre/silly coda. Funny.
Our research reveals that this disc is the work of one guy, Bard Erik Strand Torgersen, with help from a few friends (including Jester label boss Kristoffer Rygg, aka Garm of Ulver). 1349 refers to the year the Black Plague devastated Norway, and Rykkin is the suburb of Oslo where Torgersen grew up. Apparently he's a Norwegian techno pioneer who hasn't made music for years, this is a new direction for him and certainly far from "techno" as it's normally conceived!
MPEG Stream: "Extreme Sunlight"
MPEG Stream: "Fields With Flowers In Crazy Colors"

album cover 15 DEAD MINUTES, THE Scheming Things (Trensmat) lp 15.98
There's more to UK space/psych rock Trensmat than, well, space rock and psych rock. Sure their catalog reads like a primer on modern psychedelia - The Telescopes, Gnod, White Hills, Carlton Melton, Mugstar, Circle, Heavy Winged, that triple 7" Hawkwind tribute - but there have been plenty of outliers as well, the kosmische synth sprawl of Cloudland Canyon, the noisebliss of Our Love Will Destroy The World, the hypno-kraut grooves of Cave, and we could go on. But recently, the label seems to have been revealing another side, a more... electronic side. There was the twisted electronic weirdness of Tlaotlon, as well as the unexpected electronic turn on Gnod ultra minimal Presents... Dwellings & Druss, and now this, the first we've heard from The 15 Dead Minutes, who apparently have been a band for a decade plus, and who according to the label are infamous for some seriously intense live shows, but we're not talking rock shows obviously, we're talking sweaty underground danceclubs, strobelights and swirling smoke, this is some dense, rhythmic, druggy, post electro industrial throb, the band unfurling long sprawls of mesmerizing loops, and pulsing, pulsating rhythms, 303's, 909's, the sound raw and rough, dark and sinister, groovy and danceable sure, but all cast with a weird shadowy sonic underbelly, that infused the jams here with a definitely density and intensity.
Four tracks, each one essentially a single blast of rhythmic crunch, or dizzying electro skitter, or spaced out abstract stutter. The opener "The Runaway" is thick and caustic, corrosive and crunchy, the sounds distorted and blown out, the vibe soundtracky as much as dancey; the follow up "Children Of The 303" gets way spacier and more minimal, the beats crackly and crunchy, but more spare and skeletal, a muted bass throb, the whole thing laced with some old school acid squelch. The flipside starts out with another bumping electro blowout, the sounds WAY more aggressive than most dance music, making this the sort of fierce industrial electro-crush, that even space heads and psychlords can get into. Cuz it most definitely is psychedelic, weird wavery minor key rhythms, dubbed out beats, woozy textures, loads of FX, all tangled up into some seriously fierce writhing sprawls of alien dancefloor mesmer, culminating in the droned out minimal murk of closer "Internal Dialogue", which more than any of the tracks here reminds us of recent dark abstract electronica from folks like Silent Servant and Prurient.
The lp includes a download, that gets you the four album tracks proper, but also two bonus tracks, both of which are heady bass heavy slabs of noise drenched psychedelic electro. Already sold out at the label, these are the last copies we'll likely be able to get...
MPEG Stream: "The Runaway"
MPEG Stream: "Children Of The 303"
MPEG Stream: "Internal Dialogue"

album cover 16 BITCH PILE UP Bury Me Deep (Troniks) cd 11.98
The undead never tire and we never tire of them.
It seems 16 Bitch Pile Up don't either. This is their new zombie themed album. Sarah Bernat, Sarah Cathers and Shannon Walter's particular brand of gratings, dronings and groanings do indeed resemble the sounds one would imagine a crusty zombie would make as s/he dragged half-shorn limbs across a deserted junkyard -- snagging flaps of decomposed flesh on random rusted detritus. A horrorsome gnarl of unwashed murky experimental noise.
MPEG Stream: "They Buried The Dead Boy... But Not Deep Enough"
MPEG Stream: "The Earth Was Loose"

album cover 16-17 Early Recordings (Savage Land) 2cd 19.98
Long overdue reissue of the impossible to find early releases from Swiss extremist free jazz / outrock outfit 16-17! Because of using saxophone, 16-17 were always tagged as some kind of 'jazz' group, but if this was jazz, it was a kind of jazz no one had EVER imagined at the time, extreme and difficult listening for sure, like Borbetomagus filtered through the Swans or like a snake charmer high on PCP jamming with Prong's rhythm section. Or even a free jazz Whitehouse! 16-17 were a shrieking banshee, a pummeling behemoth, massive, ear shredding, primitive horn blasting freakout predating Zorn's extreme jazz (Painkiller et. al.) by at least seven years. This trio (saxophonist Alex Buess, drummer Knut Remond and guitarist Markus Kneubuhler) wove tight, tense grooves of pounding drums, pulsing thick ropy low end guitar throb, and atop it ,all Buess' wildly squealing, squirming, snarling sax. 16-17 sound was so intense and far out, and so much modern music can be heard in these tracks, Flying Luttenbachers, Laddio Bolocko, Aufgehoben No Process, Painkiller, a few years later and maybe Buess would be celebrating HIS 50th birthday with star studded NYC performances and multiple cd releases, but as it is, these guys remained a footnote, lurking on the periphery, making common cause with Kevin Martin's God and Alboth and the even the Digital Hardcore label, their legacy indisputable, modern music's debt unrepayable, so thanks to Savage Land we can all now genuflect before the Gods of ultra extreme hardcore free jazz post punk whatthefuck, hear where it all started, feel the same thrill folks must have felt stumbling into some dingy New York dive when 16-17 came over and toured with the Swans, and being fucking flattened by these guys.
Includes the first two albums, Self Titled (1986) and When All Else Fails (1989) as well as the ULTRA rare Hardkore & Buffbunker cassette (1984). Two discs wrapped in a cardboard slipcover. Transferred from the best available sources, digitally remastered by Weasel Walter (Flying Luttenbachers) and this is the very first time ANY of this music has been available on cd!
MPEG Stream: "Kat"
MPEG Stream: "Speech"
MPEG Stream: "Hardkore 1"

album cover 16-17 Gyatso (Savage Land) cd 14.98
WARNING: You -should- play this loud. But still, be careful! Make sure any of your easily-aggravated housemates aren't asleep. Move breakable objects out of the way. Take your heart medication. All reasonable precautions before subjecting yourself to the might of 16-17's newly reissued Gyatso.
The music of Switzerland's 16-17 has been called industrial free jazz. And it's certainly got the swarming, squealing saxophones of the most freaked out free jazz we've heard. But with its industrial/metallic elements, the BRUTAL trance-inducing grind of martial drumming and guitar chuggery, maybe "free" jazz isn't the word. How 'bout "totalitarian jazz"? When we previously highlighted the two-cd Early Recordings collection of 16-17's '80s output, we described the band as the "Gods of ultra extreme hardcore free jazz post punk whatthefuck". Ok, that's about right.
Well, Gyatso, originally released in 1994 on Kevin Martin's long gone Pathological imprint (home to Martin's projects like Techno Animal, God, and Ice, as well as crucial discs by Oxbow, Peter & Caspar Brotzmann, Terminal Cheesecake, Zeni Geva, etc.) was even more insane than the stuff on Early Recordings, being to us the pinnacle of 16-17's recorded existence. The thing is, this album takes their earlier excesses into a whole new realm, finally getting their music the heavy duty production treatment it deserved. It's about the heaviest "jazz" ever! Basically, imagine Godflesh teamed up with Peter Brotzmann (Machine Gun era) and this is about what you'd get. The aggressive, constantly-escalating tension of machine-gunning opener "Attack-Impulse" pretty much wipes the floor with all other contenders, going beyond the likes of Zorn's Painkiller or fellow Swiss maniacs Alboth! It simply kills. Having done so, for the rest of the disc 16-17 make sure you stay good and dead with an expansive onslaught of repetitive, rigid rhythms and psychedelic skree-scapes, with brassy bass drone and high-end sax skronk swimming in an ominous electronic miasma. A couple extra-noisy remixes are included at the end to wrap things up in the most extreme manner possible. (These appeared on the original version too.)
The trio responsible for making this masterwork consisted of Alex Buess (screaming saxophones and bass clarinet), Markus Kneubuhler (guitar, electronics and tapes), and the relentless Knut Remond on drums. Also, this disc features a couple very special guests: on utterly sick, thuddering bass, there's Ben "G.C." Green of (indeed) Godflesh fame. And providing electronic samples, Pathological head honcho Kevin Martin.
This essential reissue has been digitally remastered by Weasel Walter (Flying Luttenbachers), and comes with a thick booklet of extensive new liner notes based on interviews with Buess and Martin, discussing the history of the band. We were fascinated to learn that Kevin Shields of My Bloody Valentine was such a big fan of 16-17 that back in 1995, he actually invited Alex Buess to work with him on the (still unrealized) follow up to Loveless! Who would have guessed? Apparently Alex spent a month in the studio with MBV, without much to show for it unfortunately... though we'd be still interested to hear what they were up to..
But, it surely couldn't be anything like this, there's nothing better as far as "ultra extreme hardcore free jazz industrial" or whatever is concerned!!
MPEG Stream: "Attack-Impulse"
MPEG Stream: "The Trawler"

23 SKIDOO Coup / The Gospel Comes To New Guinea (Ronin) 12" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The seminal experimental funk outfit 23 Skidoo has finally re-released their mid-'80s single "Coup." Not long ago the Chemical Brothers sampled the funky rhythm on "Coup", but avoided giving 23 Skidoo any money by re-programming the rhythm digitally, which somehow exempted them from having to actually license the sample. Lame! (Obviously, I'm biased as I can't stand the Chemical Brothers *and* have never felt that 23 Skidoo received due credit for having created some of the most adventurous albums to come out of the '80s.)
23 Skidoo's music lies somewhere between the sonic experimentation found in the primitive electronics of early Industrial Culture (especially Cabaret Voltaire, Throbbing Gristle, and early Current 93) and the spartan New York funk of Liquid Liquid and ESG. 23 Skidoo themselves said it best when they defined their sound as "Urban Gamelan" (using this term to title one of their albums).
On this 12", the a-side "Coup" actually falls a little flat in relation to their preceding work, as the angular slap bass lines and punchy rhythmic stabs are far too obvious for 23 Skidoo's bizarre production. However, "The Gospel Comes To New Guinea" finds the group at their finest with a simple dark bass line driving through complex percussion and a haunted trumpet floating in the distance. This puts contemporary postrock/electronica darlings like Fridge and Four Tet to shame! DJs, please pick this up.

album cover 23 SKIDOO Seven Songs (Ronin) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
You may be familiar with hyperbole like "this is one of my favorite records" popping up throughout the our reviews and you may wonder if that declaration really means anything. Obviously, there are many of us who write this list with lots of opinions as to what "the best record ever" truly is. Yet, I (Jim) have tried to steer clear of hyperbole (well, most of the time), partially because my personal tastes have been known to change over time, but more importantly because nobody has made a record that is better than The Conet Project! Nevertheless, I am breaking my own self-imposed rule in stating that 23 Skidoo's "Seven Songs" is one of my favorite records ever. I feel confident in such an assessment since this record (which I first picked up seven or eight years ago) still kicks my ass almost a decade later!
While electronica darlings like Andrew Weatherall, The Chemical Brothers, and Gilles Peterson all proclaim "Coup" as the pinnacle of 23 Skidoo's catalogue, I boldly mutter "Hogwash! 'Seven Songs' is easily 23 Skidoo's best work!" 23 Skidoo recorded this album during a three day period in 1981 with production by "Tony, Terry, and David" (aka Genesis P-Orridge, Peter Christopherson, and Ken Thomas). With those three behind the mixing board, 23 Skidoo obviously enjoys a similiar spirit of sonic experimentation as invoked by the founders of Industrial Culture. Yet, 23 Skidoo also employs the death-disco of PiL, A Certain Ratio, and Gang of Four, often played on homemade junkyard instruments built to replicate Indonesian gamelan. This bizarre hybridization of styles has few if any parallels, but 23 Skidoo's eclecticism and experimentation are never so alien as to not also be funky, melodic, and infectiously catchy.
Just as Windy places Os Mutantes near the top of her musical pantheon, Andee proudly proclaims his infatuation with Hanoi Rocks, and Allan drools over all things Magma, I say that if you're at all like me, you won't be disappointed by 23 Skidoo's "Seven Songs"!
RealAudio clip: "IY"
RealAudio clip: "Porno Bass"
RealAudio clip: "Vegas el Bandito"

album cover 23 SKIDOO The Culling Is Coming (LTM) cd 17.98
Dating back to 1983, The Culling Is Coming was originally released on the L.A.Y.L.A.H. label, which also released some of the strongest work from Current 93, Coil, Laibach, and The Hafler Trio. This 23 Skidoo album stands as a notable detour from their martial rhythms fused with agitated, post-punk funk which found them lumped in with the likes of The Pop Group, Cabaret Voltaire, and Hula. One of those albums clearly based on the vinyl medium, The Culling Is Coming was split between two 23 minute sides featuring sprawling abstractions that were alternately meditative and aggressive. The first of which featured 23 Skidoo members / brothers Alex & Johnny Turnbull performing on the gamelan at the Dartington Music College, and then taking the results back into the studio to be put into a more coherent composition. While they cite the instrumentation as being Balinese, the first passage of this piece is clearly Javanese in nature with interlocking bells, kendangs, and gongs repeating a simple decending melody whilst the rhythmic structure varies in speed. Given the instrumentation, Balinese references do become evident later on; but at the same time also speak of Harry Partch's handmade percussive compositions. Over 23 minutes, this track gradually devolves into a dreamy collage of quietly resonating gongs. The second piece is a live recording at the WOMAD festival in 1982, which found Current 93's David Tibet making a guest appearance on the Tibetan trumpet. Defying the crowd who were expecting the disfigured funk found on Seven Songs, 23 Skidoo improvised around multiple tape loops, metallic percussion, and slabs of dissonant noise. The Culling Is Coming did enjoy a CD release over a decade ago, but LTM's re-issue features an equally long and confrontational track which was taken from the backing tapes that 23 Skidoo used during their 1982 tour with Cabaret Voltaire. Not for the faint of heart.
MPEG Stream: "G-2 Contemplation"
MPEG Stream: "Invocation"
MPEG Stream: "Move Back - Bite Harder"

album cover 23 SKIDOO Urban Gamelan (Ronin) 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 on LP back in 1984 on Illuminated Records, and only seeing a few seconds of shelf life as a cd re-issue in the early '90s, "Urban Gamelan" is the aptly named third album from 23 Skidoo, back again on cd! This British trio developed one of the most unique sounds to evolve from the UK's Industrial Culture -- which was self-consciously aware of its actions as critiques of control and power within Thatcherite society. Unlike Psychic TV and Coil who offered an aesthetic of extroverted abjection and vile transgressions (often to amazing results, mind you), 23 Skidoo embraced something like a bunker mentality, by preparing themselves with both body and mind for the possibility of a future attack, but more likely in defense of their own personal agendas. The group -- Fritz Catlin, Alex Turnbull, and Johnny Turnbull -- studied various martial arts along with the then little heard sounds of Indonesian gamelan. Unable to get a hold of a true gamelan (except for a Kendang), 23 Skidoo built their own out of scrap metal, kitchen wares, and water jugs. Their personal discipline from their martial arts training made for an easy transition in terms of mastering the fluid, yet complex rhythms that made for an excellent junkyard replication of true Indonesian gamelan.
"Urban Gamelan" finds 23 Skidoo addressing two distinct aesthetics, the first being their post-apocalyptic funk (which had been previously mapped out on their first album "Seven Songs") and the second emphatically pronouncing their faux-gamelan sound. The album in fact begins with a remix / reworking of their hit single "Coup," which has had the infamy of getting ripped off by the Chemical Brothers. Driven by counterpoints of bass and distant bursts of haunted trumpets, the first half of the album recalls some of Pop Group's dub fuckery, with an inclination for a more natural funk. 23 Skidoo then drops all of the electric instruments for an exhibition of their complete gamelan repetoire. If you ever thought that Einsturzende Neubauten or Test Dept. needed to get their groove on, then you definitely need to check out 23 Skidoo. The 23 Skidoo reissues may be some of the most important to come out this year. It will be well worth your while to check these out!!!
RealAudio clip: "F.U.G.I."
RealAudio clip: "Jalan Jalan"
RealAudio clip: "Language Dub"
RealAudio clip: "Urban Gamelan 1"

album cover 2673 / UNICORN split (Kitty Play ) cd 7.98
Everybody went nuts for that recently reviewed Unicorn cd-r and rightfully so. Easily one of the most beautiful ambient drone records in recent memory. So we figured we ought to pick up this split that was released recently as well. 2673 are a mysterious outfit, not just in name, but in sound as well. Their (or his?) three tracks are ultra simple explorations of sine waves and white noise. Two tracks of simple tones, barely audible, that subtly shift over the course of each piece. The other track is a caustic burst of jagged crumbling old fashioned NOISE. Harsh and brutal and speaker shreddingly loud. Unicorn are a little less tranquil here, but no less satisfying. Ultra minimal, expansive drones, constructed from fuzzed out melodies that sound like they could have been wrenched from an electric guitar, but are transformed into lovely muted swirls of distorted loveliness. The first and the last track are creepy and strangely harrowing, a threatening buzz beneath warm washes of distant keening high end, alien vocal melodies and rhythmic pulses of analogue fuzz. The three tracks between are barely there rumbles, thick drones stretched thin, a wispy sonic murmur, traces and barely visible outlines of songs faded and forgotten. So so nice.
MPEG Stream: 2673 "Future Pills"
MPEG Stream: UNICORN "Three Square, Two Hot"

album cover 3 LEAFS Eat The Earth (self-released) cd-r 9.98
We've been waiting for this one for a while now. The infamous, and much talked about "mushroom record" from this SF improv psychedelic space rock collective. So called, because the entire thing was conceived, created, performed AND recorded while the entire band was under the influence of magic mushrooms.
Close to 40 minutes (edited down from much more than that, although it's unclear whether it was also edited in the same state), of gorgeous, tripped out, abstract psychedelia, sprawling swirls of kosmische drift, all blurred guitars, krautrock like pulses, streaks of druggy FX, throbbing propulsive bass, equal parts total spaced out ambience, and head nodding hypnotic motorik churn, the opening track "Fahren Bei Tag", starts off with nearly 5 minutes of hazy atmospheric exploration, before the drums finally kick in, and it's another minute or two before the band lock into a serious cosmic kraut groove, but when they do, it's exultant, the pulsing bass and stripped down drumming, surrounded by gorgeous peals of fragmented melody, thick corrosive swells of undulating high end, grinding chunks of feedback drenched chordal buzz, all winding down after about 13 minutes, leading directly into a bit of super melodic Neu! worship, with some washed out swirl and shimmer and a playful meditative main melody, this time the vibe much more new age-y and drifty, sun dappled and dreamy, the warm processed guitars conjuring up a lush layered bed of rapid pulses, over which synths whir and warble, and that main melody drifts on and on.
The title track, clocking in at 13+ minutes, is definitely the record's centerpiece, a dark brooding epic, haunting and otherworldly. The rhythm skeletal and spare, the wheezing keyboards hovering amidst rubbery basslines and glitch electronics, the vibe very gothic and gloomy, but shot through with bits of melody and light, it's a slow build, but not in the traditional sense, it doesn't get louder or heavier so much as subtly more intense, totally hypnotic and mesmerizing, the core sounds soon joined by bird calls and other field recordings, strange burbling liquids (bongs perhaps?), swooping streaks of electronics and processed effects, it sounds like it could have gone on for another 13 minutes (and probably did).
The final track, is another organ driven droner, dark and dense and deep, the drums more free and skittery, everything muted and washed out, the organs doing most of the melodic heavy lifting, and much of the textural as well, the bass thick and ropy, anchoring the whole thing, keeping it from drifting off into the stratosphere. Warm and whirring, dreamily druggy and so so good.
We tend to love everything 3 Leafs does, but this might just be their best. Although we can't vouch for how it sounds when listened to on mushrooms as well. Guess we'll leave that up to some of you out there.
Featuring members of the Fresh & Onlys, Tussle, Horn Of Dagoth, Amocoma, Citay and a bunch more. And most definitely recommended for fans of Expo 70, White Hills, the Heads, Assemble Head In Sunburst Sound, Bardo Pond, Eternal Tapestry, Sleepy Sun, Burnt Hills, Gnod and other practitioners of modern kraut / space / psych. And it's probably pretty dang limited too...
MPEG Stream: "Puppies On Parade"
MPEG Stream: "We Eat The Earth"

album cover 3 LEAFS Inward Sun (self-released) cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If we didn't know better we might think this was some lost psychrock gem recently discovered, dug up and put on cd for the first time. With an infectious tribal groove running throughout and a seriously drugged out vibe these five jams definitely sound like they could be from some Amon Duul rehearsal recorded on a boombox in a dirty old German garage filled with dirt, mildew, mushrooms and lots of good weed. But truth be told these are actually new sounds from a local supergroup of sorts made up of members from Horn of Dagoth, Black Fiction, Tussle and Citay. The no frills cd-r packaging and raw recording are the perfect visual analog to 3 Leafs' primitive take on deep in the woods psychedelic rock.
MPEG Stream: "El Otro Lado del Cielo"
MPEG Stream: "Baile con Redman"

album cover 3 LEAFS Live At Cafe Du Nord (Triangle 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.
Super limited live cassette from aQ beloved psychedelic space rock drifters 3 Leafs! And by super limited, we mean FIFTY COPIES. We did get a bunch, but needless to say, these won't last long, so you might want to grab one before they're gone.
Recorded in December of 2011, right here in SF at the Cafe Du Nord, this tape offers up the entirety of the night's proceedings, repeated on both sides, a beautifully brooding slow burn / slow build epic. Dark swirls of abstract FX, warm synth swirl, buried voices, all blurred into a soft psych haze, before the drums and bass kick in, transforming the sound into something much more krautrock, sorta like the Necks meets Faust, or Can, mesmerizing and tranced out, laced with little bits of guitar filigree, dubbed out vox (courtesy of the Fresh & Onlys' Tim Cohen), some very Eastern style melodies, and some seriously nimble bass playing, the band locked into sprawling rhythmic kraut-psych workouts that slip deftly from hushed and hypnotic, to dense and driving, all the while wreathing the proceedings in swirling clouds of druggy spaced out shimmer and soft focus celestial murk, as always, fantastic stuff, and as we warned above, LIMITED TO 50 COPIES! Each one hand numbered.

album cover 3 LEAFS Technical Death Metal Parking Lot (Dub Ditch Picnic) cassette 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest from these local tranced out psychedelic space rock aQ faves, and don't let the awesome title fool you, there's no metal to be found here, technical or otherwise, just the usual sprawling abstract psych-scapes, two side long blowouts, brooding, and rhythmic, atmospheric and darkly melodic. And more than any of the other releases, this one sounds the most like an alaborate studio concoction, a 3 Leafs plunderphonic collage, mutliple sessions (including some of the aQ instore, which also just so happened to feature guest keyboards from our friend Pam's 1 year old son, Brix!), different recording qualities, multiple musicians, new jams AND old, all deftly woven into one single, and singular 3 Leafs epic, which weirdly is fast bacoming our favorite yet.
The A side, "Technical Death", starts out like some strange Eastern raga, all swirling and muted, laced with mysterious melodies and fluttering woodwinds, exotic instrumentation and gorgeous lush ambience, when the drums kick in, the sound is transformed to something distinctively more groovy, but without shedding that mysterious Eastern vibe. Space-y effects swoop in, and soon the track begins flitting sonically from sound to sound, as if some strange space rock overseer is flipping channels, weird falsetto vox, wheezing chordal shimmer, tangled analog squiggles, streaks of fuzzy hazy almost-pop, gurgling bass, clouds of cymbal shimmer, woozy acoustic guitar strum, a bit folky, but still droney and hypnotic, the sound melting into a weird collage of blurred sonic smears, electronic percussion, sine wave melodies, before blossoming into some Bitches Brew style groovery, and then finishing off with a wild tangle of skittery drums, bloopy electronics, and almost orchestral sounding strum. Wow.
The flipside is equally all over the map, beginning with a barely audible low end gurgle, before building into a Necks like churn, all dense percussion, and throbbing bass, wrapped in swirls of wah guitar, strange spacey chords, and a thick druggy haze, not to mention some washed out vox, the song seriously dense and driving, dark and churning, might be our favorite 3L jam yet, and then BAM, about 16 minutes in, the sound collapses into a weird swirl of drones and bleeps, before drifting back together in a new shape, this time sounding like some African street jam, like it could have come right off some tripped out Sublime Frequencies comp, albeit a little more tripped out and psychedelic. So good.
AND LIMITED TO JUST 100 COPIES!!!! Includes a download code as well.
MPEG Stream: "Technical Death"
MPEG Stream: "Metal Parking Lot"

album cover 3+ Kazesarai [Deluxe Version] (Time Released Sound) cd 60.00
Another list, another fantastic new release from local label Time Released Sound. By now, regular readers of the aQ list are no doubt familiar with the musical focus of TRS: gorgeous field recording flecked ambience, pastoral dream folk, hushed, haunting dronemusic, gentle electronic soundscapery, lush cinematic shimmers; each record another glimmering facet in TRS's prismatic world of sound. Their latest melancholy musical missive comes from Japanese pianist/soundscaper Masashi Shiraishi, aka 3+, who sets his delicate crystalline piano pieces amidst the rustle of crashing waves, letting his softly reverbed notes drift through fields of ephemeral electronics, or settle gracefully like leaves falling from Autumn trees. Imagine Ryuichi Sakamoto, set up on a grassy hilltop on the coast, above a grey sea, the waves crashing on the rocks far below. Occasionally strings drift in, adding a bit of near symphonic gravitas. In places, this blissed out melancholia is threatened by swaths of deep resonant buzz, or alternately flecked with the distinctive twang of a mouth harp, or even woven into a brooding dark jazz reminiscent of The Necks or Bohren & Der Club Of Gore. There are moments of soundtrack like mood music, heart wrenching and dreamlike, there are moments where the piano is wrapped in a dense fog of modern minimalism, all rib cage rattling low end, and gristly, glitchy static, and there are moments where the individual notes seem to bleed and blur into woozy swaths of sound, but throughout it all, Shiraishi proves a master of mood and melancholy, the sounds here grey and cloudy and windswept, darkly dreamy and really quite divine.
As always, there are two versions, the standard, which comes in a full color digipak and is limited to 200 copies, and the ultra fancy, meticulously handmade, deluxe version, limited to just 90 copies, of which we have a tiny handful, housed in a 6" square collaged green envelope, which in turn is wrapped in a hand stamped and tagged, translucent vellum outer envelope, held shut by a full tissue 'obi' made from the pages of a 50 year old book on Bonseki (tray landscape art, a little like Bonsai). The 'obi' can be removed, and wrapped around a votive candle to make a miniature paper lantern. There's also a second inner sleeve made from the pages of a vintage book of Japanese flower and pattern design! Phew!
Fans of Anton Batagov and Lubomyr Melnyk, this comes HIGHLY recommended!!
MPEG Stream: "Kazesarai - Enchained Dark And Blink"
MPEG Stream: "Myou Getsu"
MPEG Stream: "Tentolori"
MPEG Stream: "Hiltosarai"

album cover 3+ Kazesarai [Regular Version] (Time Released Sound) cd 14.98
Another list, another fantastic new release from local label Time Released Sound. By now, regular readers of the aQ list are no doubt familiar with the musical focus of TRS: gorgeous field recording flecked ambience, pastoral dream folk, hushed, haunting dronemusic, gentle electronic soundscapery, lush cinematic shimmers; each record another glimmering facet in TRS's prismatic world of sound. Their latest melancholy musical missive comes from Japanese pianist/soundscaper Masashi Shiraishi, aka 3+, who sets his delicate crystalline piano pieces amidst the rustle of crashing waves, letting his softly reverbed notes drift through fields of ephemeral electronics, or settle gracefully like leaves falling from Autumn trees. Imagine Ryuichi Sakamoto, set up on a grassy hilltop on the coast, above a grey sea, the waves crashing on the rocks far below. Occasionally strings drift in, adding a bit of near symphonic gravitas. In places, this blissed out melancholia is threatened by swaths of deep resonant buzz, or alternately flecked with the distinctive twang of a mouth harp, or even woven into a brooding dark jazz reminiscent of The Necks or Bohren & Der Club Of Gore. There are moments of soundtrack like mood music, heart wrenching and dreamlike, there are moments where the piano is wrapped in a dense fog of modern minimalism, all rib cage rattling low end, and gristly, glitchy static, and there are moments where the individual notes seem to bleed and blur into woozy swaths of sound, but throughout it all, Shiraishi proves a master of mood and melancholy, the sounds here grey and cloudy and windswept, darkly dreamy and really quite divine.
As always, there are two versions, the standard, which comes in a full color digipak and is limited to 200 copies, and the ultra fancy, meticulously handmade, deluxe version, limited to just 90 copies, of which we have a tiny handful, housed in a 6" square collaged green envelope, which in turn is wrapped in a hand stamped and tagged, translucent vellum outer envelope, held shut by a full tissue 'obi' made from the pages of a 50 year old book on Bonseki (tray landscape art, a little like Bonsai). The 'obi' can be removed, and wrapped around a votive candle to make a miniature paper lantern. There's also a second inner sleeve made from the pages of a vintage book of Japanese flower and pattern design! Whew!
Fans of Anton Batagov and Lubomyr Melnyk, this comes HIGHLY recommended!!
MPEG Stream: "Kazesarai - Enchained Dark And Blink"
MPEG Stream: "Myou Getsu"
MPEG Stream: "Tentolori"
MPEG Stream: "Hiltosarai"

album cover 3/4HADBEENELIMINATED A Year Of The Aural Gauge Operation (Hapna) cd 16.98
Oooh. Breathtaking stuff here for those who like their music to have a hazy, vague, mysterious aura, and to combine delicate indie-rock "pop" elements (moody vocals, slow-motion melody) with more experimental, fragmented structures and textures... It's the work of a four-piece outfit from Italy, who immerse their murky, mostly instrumental post-rock electro-acoustic playing in droney field recordings, blurring the boundaries, with tree frogs or crickets, and what sounds like hissing, escaping gasses, and other noises that require some imagination to describe playing an important role alongside more obvious instruments like guitars and drums and turntables. There's a definite Jewelled Antler feel, that sort of organic, wandering-in-the-woods, letting-our-ears-find-the-way songmaking process, but with more palpable tension, bringing in a bit of the percussive skitteriness of fellow Italians and Hapna labelmates Sinistri/Starfuckers. We can compare this with lots of other things we love: Radian meets Richard Youngs? Kemialliset Ysatvat teamed up with Tape? Blithe Sons, Larsen, Sigur Ros, Village Of Savoogna, Dean Roberts... we're reminded in ways of all of 'em.
A truly gorgeous album that has the potential to appeal to a lot of different tastes, finding the wonderfully, naturally imperfect intersection of song and improv and field recording drone. This being their second release (first for Hapna, who've released this in the Swedish label's usual nice slim-sleeve packaging), we're going to have to track down their previous one... just as soon as A Year Of The Aural Gauge Operation's sheer dreaminess lets go its hold on our thoughts.
MPEG Stream: "Widower"
MPEG Stream: "In Every Tree A Heartache"
MPEG Stream: "Wave Bye Bye To The King"
MPEG Stream: "Loop Recorder In The Patient With Heart Disease"

album cover 3/4HADBEENELIMINATED Oblivion (Die Schachtel) cd 17.98
With this, their fourth album, these previous AQ Record Of The Week honorees, the oddly named Italian group 3/4HadBeenEliminated, have again given us a precious glimpse into their sonic dreamworld, and we say YAY to that. Kinda wish we could stay there forever, this music has such an engaging embrace, part abstract soundscape, part gentle melodiousness, part drone, part indie-pop, definitely not too far removed from some Jewelled Antler output, with a little This Heat or Village Of Savoonga mixed in. Our idea of blissful "oblivion" indeed, these mysterious and experimental lullabies of hum, hiss, buzz.
Various instruments, field recordings, electronics, turntables, percussion, the human voice, all are utilized to create the four tracks on this tightly crafted 39 minute disc. The very first piece, the longest at 17 minutes, introduces all the ingredients... gentle vinyl crackles, looping along with shimmering swells of strings and synth. Occasional hits of a snare. Hints of piano melody, amidst equally restrained electronic glitch. Environmental noises, tape manipulations. Bringing this somehow into an avant pop orbit, there's layers of vague vocals, or even simply sometimes just the breathy suggestion of vocals, that in this sonic setting recall to us Richard Youngs and Robert Wyatt, with their ghostly fragility.
Definitely a wonderful reminder of why we've always loved this band so much, highly recommended!
MPEG Stream: "track 1"
MPEG Stream: "track 3"

album cover 3/4HADBEENELIMINATED The Religious Experience (Soleilmoon) lp 33.00

album cover 3/4HADBEENELIMINATED Theology (Soleilmoon) cd 24.00
Italian avant outfit 3/4hadbeeneliminated offer up a new cd... it's a little pricey but that's 'cause they splurged on the packaging. We'll talk about that in a second, but first the music. If you've heard their previous work, like the Hapna release A Year Of The Aural Gauge Operation (an AQ Record Of The Week in 2005), you'll know to expect fractured and mysterious soundscapes, a densely textured drone-zone constructed from field recordings, record crackle, improvised acoustic instruments, radio static, fragments of piano melody, electronic treatments, whispered Italian voices, turntable scratchings, reel-to-reel tape manipulation, synthesizer sinewaves, scattered percussion, and more. That's a zone we LOVE to visit. There's two long tracks, lots to explore, all manner of curious creakings and cracklings, shifting rhythms and rumblings abounding within 3/4hadbeeneliminated's carefully crafted and/or improvised music. At times quiet and meditative, at others noisier and distorted, but always (to our ears) utterly gorgeous and compelling. Aligns quite nicely with the likes of the Jewelled Antler collective, the Finnish forest foraging of Kemialliset Ystavat, and of course others in the experimental underground Italian scene of which the members of 3/4hadbeeneliminated are a part.
As for the packaging, start with a plain cardboard box, a little over six inches square and one inch deep. Open it up and you'll find a slightly smaller hinged wooden box, each one hand-painted with wax paper decoration. Open that up and there's the cd, in a colorful fabric sleeve, with a paper insert listing the track titles (revealing each one to be a suite of sorts btw). Certainly nicer than the standard jewel case... though one slight drawback is that the cd itself is likely to be coated with a layer of dust from the wooden box, so you'll have to gently wipe it clean or you might find it skipping and glitching out (which would fit in with some of their musical methodology, actually). Indeed, this rustic, elaborate cottage industry packaging is certainly reflective of the rough-hewn, intricate mystery of their music, which deserves such unique treatment.
By the way, there's also an even more expensive new vinyl-only limited edition LP by these folks, a totally different album using these recordings as a basis for recomposition, called The Religious Experience, simultaneously released on Soleilmoon. We just a have a couple in stock right now but hopefully can get more and give it a review sometime soon, although simply we can say it's a nice companion to this...
MPEG Stream: "I Am Daughter"
MPEG Stream: "The Cradle"

album cover 4G Cloud (Erstwhile) 2cd 27.00
4G. The Four Gentleman Of The Guitar. Or maybe just Four Gentlemen. Or perhaps simply Four guitars. Or better yet, howabout just Four Guys. But however whatever you decide to make the 4 and the G stand for, just who are these four G's? All names that should be quite familiar to faithful readers of the AQ list: Keith Rowe (from AMM), Oren Ambarchi, Christian Fennesz and Toshimaru Nakamura. Hmmm, one of these fellas doesn't seem to fit. Maybe the one who performs with a no-input mixing board perhaps? Well, the 4G actually refers to these four performers who all started out as traditional guitarists before either taking their instrument in new directions or perhaps abandoning it completely, but applying many of the techniques and theories of the guitar to their new direction / instrument. So what we have here is a very unguitar guitar record. Made with guitars of course, but also plenty of electronics and laptops. A guitar-based record sans strums or licks or riffs or any recognizable guitar sounds at all. Instead Cloud is exactly what you would imagine a mix of these four artists would sound like. Fennesz's warm fuzzy clouds of disembodied guitar chords, reduced to drifing particles glinting in a late afternoon sun, Ambarchi's delicate melodicism smeared into gauzy drones, Nakamura supplys the high ends skree and the barely audible dog whistle drones, and Rowe gives us occasional scrapes and feedback squeals. All four of these distinct sounds manage blend perfectly into lengthy delicate dronescapes, with occasional sonic flares, but for the most part, just gorgeous, haunting drifting expanses of dark rumbles, warm static, and lots of floating abstract steel string effluvia. 4G performed four shows together, three of which are contained here, all quite long (20 minutes, 30 minutes, 60 minutes) and all incredibly dense and deep, requiring close and repeated listening.
MPEG Stream: "Perfect Grass"

album cover 5/5/2000 Reflektionen Musique (Post Replica) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A long look through a dark tunnel into the cloudy past of drone explorationists 5/5/2000, a duo made up of aQ pal Nathan Berliguette, formerly of tech grind outift Creation Is Crucifixion as well as the man responsible for bringing the glorious sounds of the Arboga Teenage Riot to these shores and our ears (and for that we he will never be forgiven, er... I mean forgotten) and Travis Ryan, frontman of gore soaked death metallers Cattle Decapitation and nominee for Sexiest Vegetarian In The World. But none of that really prepares you for the sound of 5/5/2000, named for a rare planetary alignment that was supposed to signal the coming of the Antichrist. Their sounds is not technical, not grind, not metal, instead, these three extended tracks explore different facets of the drone, from soft billowy tranquil ambience to soaring space like shimmer to creaking, corrosive machinelike whir to a thick whirl like the washed out fuzz of a million vacuum cleaners to the out of focus sepia toned drift of soft edged rumble and melancholy instrumental mumble. All three tracks are gorgeous, dense drones thick with swirling reverb, fuzzy tape hiss, and all manner of fragmented melodies and layer after layer of rich warm sound. While supplies last, you'll get the special limited edition version, limited to 100, hand numbered, packaged in an oversized sparkly silver, velcro sealed cardboard sleeve, with three pins affixed to the front. After those are gone it's back to the normal jewel case version...
MPEG Stream: "There Was Never A Moment When The End Of The World Was Not Real"
MPEG Stream: "Surface Of The Sun"

album cover 5/5/2000 / PIZURLAUN split (Dioxin City) cd 11.98
This is the perfect sort of split record. Two bands who have very little in common sonically, but who both completely destroy! The first track is 5/5/2000 which is AQ pal Nathan, formerly of grind metallers Creation Is Crucifixion, and Travis who is currently in Cattle Decapitation. That pedigree doesn't really prepare you for the epic 20 minute droning soundscape this duo whipped up live a few years back. Dreamy but sinister, creepy and hypnotic, with rumbling tones, short wave broadcasts, buried melodies, and throbbing pulses, all of which occasionally erupt into swirling sheets of noise. Drone-heads will love this. I actually thought it sounded like a more brutal and satanic Kitaro record. Which may sound dubious but is in fact a great thing! Trust me. The smattering of applause at the end just makes you grateful that such an intensely powerful performance is getting heard by more than the handful of folks that actually witnessed it. And of course none of this prepares you for the utter chaotic brutality of Pizurlaun. A hyper-distorted avant-grind juggernaut. Buzzing guitars careen from speaker to speaker, while various noises and rhythms, cut out, or stutter like a skipping cd and all sorts of really affected and bizarre production turns what would have been an amzing grind metal record anyway, into a splattery, grinding metallic masterpiece. And apparently the drums tracks were made by recording real live drums, and then having a non-drummer assemble them on a computer. Which only adds to the freaked out weirdness, and utter mayhem. Like a Locust tape, that you left in your back pocket for 6 months, accidentally washed, and then taped Suffocation over. Then played it back on a malfunctioning tape player. It's that fucked sounding. And that great.
MPEG Stream: 5/5/2000 "Noch Nie Trat Das Ende Der Welt..."
MPEG Stream: PIZURLAUN "Marvel Vs. Moulinex"
MPEG Stream: PIZURLAUN "Mammon Machine"

album cover 500MG Vertical Approach (Galactic Zoo Disk / Eclipse) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Won't go into *too* much detail here since, as with most of the Eclipse lps, this probably won't be around for long. Michael Gibbons of space-drug-rockers Bardo Pond strikes out on his own, and the results are sublime. From Fahey-esque Appalachia, to buzzing throbbing droning ragas, to pulsing wall of guitar ambience. Definitely essential for Bardo fans, as well as everyone who's been digging the whole Glenn Jones / Jack Rose / Six Organs modern day guitar pickin' avant-psych-folk-hippy scene.

album cover 51717 557 (self-released) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Is it a zip code? Nope. A padlock combination? We're not quite sure, but in the case of Bay Area artist 51717's also mysteriously numerically titled debut 557, the figures add up to seven atmospheric instrumental tracks of resonant bells, bassy shoves, prickly electronics and plucked strings. Ultra Spartan chiminess is gradually overtaken by more ominous cloudy distortions. Packaged in a handmade, hand-painted gold envelope.
MPEG Stream: "Utrecht"
MPEG Stream: "Leiden"

555 Solar Express (Moon Glyph) cassette 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover 5TURNS25 Evolution of the Human Heart (Time Released Sound) cd-r 40.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The latest ultra limited and lovingly handmade release from SF one man label Time Released Sound. And actually, calling TRS merely a label does not at all do justice to the things he puts out. In some ways it's almost more art than music. Sure we're a record store, so we get these and think, wow, this amazing record has the most incredible packaging. But taking a step back, it's easy to imagine just the opposite, the man behind TRS is an artist, and each new 'piece' just so happens to be accompanied by a soundtrack. Either way, it's pretty impossible to resist, and pretty much every music nerd we know, has gone nuts for this stuff, and a little bit obsessed with the label, so much so that we have standing orders for ANYTHING Time Released Sound puts out (just ask, we can add you to the list).
This latest release/art object comes courtesy of a duo from the Northeast US who call themselves 5Turns25, and who specialize in a sort of electronic flecked ambient folk, reminding us a bit at times of aQ beloved Rameses III, the same sort of pastoral drift, skeletal acoustic guitars, thick undulating drones, swirls of washed out shimmer, a sort of droney drifty Appalachia at times, something much more hushed and intimate at others, the sound lush and expansive, as capable of blossoming into a rich majestic epic as floating lazy through soft clouds of whir and thrum. Some of the tracks have a sort of Avarus vibe, not so clattery or free, but a kind of foresty folk. The guitar here is the main instrument, weaving gorgeous lilting melodies, swirls of chordal hum, all over a constantly shifting bed of muted industrial sounds, hushed FX and blurred dreamlike ambience. The band records in an old barn, and the music is thus peppered with sonic evidence of their location, creaks and groans woven right into the music. Crystalline and glimmering and so lovely, which is of course reflected in the insanely elaborate and impossibly meticulously crafted packaging. Where to begin?
The cd-r itself has a full color face, and is housed in a fabric sleeve, there are two inserts, printed on thick textured paper, with strange stickers affixed in various places to interact with the printed images, with art, and liner notes, a discography, there's also a hand worked / collaged notebook page with original art, each one unique. Affixed to the notebook page are a pair of mismatched clock hands, everything housed in an oversized vellum sleeve, printed and stamped, this one featuring an elaborately cut front panel, with the images of clocks punched out of a smoked white sheet of plastic, held to the vellum sleeve by a hand printed Japanese style obi. Phew! So wonderful, sonically and visually, worth every penny!
LIMITED TO 100 COPIES, we have just 15, and that's all we'll be able to get!
MPEG Stream: "Beneath The Noise"
MPEG Stream: "Money In Hand"
MPEG Stream: "Snowy Future"

album cover 6MAJIK9 Loquidiom (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.
Here's another band who have released about a million limited cd-r's, but this is the very first one we've managed to get for the store. Australian outfit 6Majik9, sound to us like they could be from Finland. We hear lots of Avarus and Anaksimandros, Uton, but we also hear some Dead C, and more importantly a bunch of stuff we're not sure we've actually heard before.
Short tracks, each a stumbling abstract free jam, sometimes noisy and intense, other times blissy and blown out. Brief bursts of wheezing clattery folk drenched in angular detuned guitar jut up against wild free jazz space rock freakouts, complete with FX drenched guitar squalls, wild octopoidal drumming and mumbled caveman vocals. Wild tribal free for all's peppered with skronky horns and distant clatter morph into ultra minimal found soundscapes, laced with bits of barely there percussion, and distant simple strummed melodies. Elsewhere, these guys unfurl huge murky expanses of drone-y whir, draped over dark piano figures and simple jazzy horns, or create dizzying demented almost cartoon music from processed vocals, pounded piano and swirls of dense effects.
The sounds are all over the place on first listen, but there is some skewed thread of sonic logic that runs through this whole disc, and while it might not be obvious what it is, or how it actually makes these disparate sounds all work together, it does. And we like it. A lot.
Packaged in a red textured sleeve with a fancy printed insert, tied to the sleeve with twine, and containing a bit of tree bark and a very fragrant pod of some sort. An easy way to make your AQ package smell like potpourri...
LIMITED TO 93 COPIES!!
MPEG Stream: "1"
MPEG Stream: "2"
MPEG Stream: "3"
MPEG Stream: "4"

album cover A s/t (Die Schachtel) cd 18.98
Previously the Die Schachtel label has brought us several very cool reissues of some very obscure '70s art/prog/avant music from Italy -- such as Luciano Cilio, Prima Materia and Insiememusicadiversa. Weird and wonderful stuff. Now, they've got a brand new band for us, not a reissue (though it totally seems to fit in with their "thing"). It's apparently the first in a new series called Zeit devoted to the current-day Italian underground, and comes from a trio calling themselves A (actually, an A with what looks a little circular diacritical mark above it, which we can't reproduce on our website easily. Maybe we should write Aa, that might be the correct way to do it. Furthermore, Wikipedia tells us that in Norwegian, Danish and Swedish it's a word meaning rivulet or stream.). They've got a lot in common with fellow Italians (and AQ faves) Larsen, 3/4hadbeeneliminated, and Sinistri/Starfuckers, playing a sort of mysterious, mostly instrumental, deconstructed, experimental post-rock music. No wonder in iTunes it comes up as genre = "unclassifiable". They're definitely carrying on the tradition established by those '70s artists Die Schachtel has documented.
The percussive beat-booming and crackling drone of the disc's longest track, the sixteen minute "Something A Long Time Ago. And There Are No Buttons Either, Because" brings to mind This Heat. There and elsewhere Aa also conjure suggestions of Village Of Savoonga, Richard Youngs, Dean Roberts, and even Bohren & Der Club Of Gore, among other good things. Additionally, we'll mention that this was mastered by Giuseppe Ielasi, which isn't a bad reference point either if you've heard his music. We just can't resist this sort of semi-abstract, organic post-rock, with its rainy day piano, meandering guitar, tinkling clock-ticking textures, dreamy violin sawing, wordless (?) floaty vocals, glitchy electronics, and birdlike horn warble... all woven together gorgeously and with a sense of the dramatic. Very very nice. As is the packaging too!
By the way, the wordy song titles are all sentence fragments taken from a paragraph belonging to Mark Haddon's novel The Curious Incident Of The Dog In The Night-time.
MPEG Stream: "My Memory Is Like A Film. That Is Why"
MPEG Stream: "I Am Really Good At Remembering Things, Like The Conversation I Have Written Down In This Book, And What People Are Wearing, And What They Smelled Like, Because My Memory Has"
MPEG Stream: "A Smell Track Which Is Like A Soundtrack, And When People Ask Me To Remember Something I Can Simply"

album cover A BROKEN CONSORT Box Of Birch (Tompkins Square) cd 14.98
A Broken Consort is only one of the monickers under which UK sound artist Richard Skelton performs, and this, Box Of Birch, only one of many releases under various guises, but the first to receive any sort of widespread release.
Skelton started a private press after the passing of his wife, who was a visual artist. She left him all sorts of unfinished works, drawings and sketches, and the purpose of the press was to release her artwork posthumously, collaborating together, her art, his music, a tribute to her memory.
But it's not just the source of this music and the story behind it that makes Box Of Birch so dark and heartfelt and bittersweet, the music itself is a gorgeous tribute to a lost love, to sorrow and remembrance, moving forward but also to never forgetting.
Haunting and lush, the 4 long tracks here are epic and orchestral, long tones, layered drones, darkly minor key melodies, a muted blissed out sort of cosmic space drift. Dark dreamlike ragas constructed from softly strummed guitars, wheezing accordions, tinkling percussion, all manner of buzzing strings woven into deep gentle sonic swells, it's at once abstract and ethereal, but also subtly song based, the tracks feel composed, as much as they feel free. Strings saw out intensely emotional melodies over having soundscapes of dark dark shimmer. The music here is not at all tranquil, not new age-y or easy listening, no these are complex, emotionally charged sounds, these songs, or pieces, throb with passion and energy, they ooze sadness and misery, but also mange to evoke hope, the long slow burning drones seems to constantly drift heavenward, glowing and glistening, a timeless expanse of rumble and whir and buzz, effulgent and everbright, shrouded in darkness for now, but the warm heart within seems to grow with every listen, in every song, an organic living progression, as the record plays, it seems inevitable that the mysterious warmth, will undoubtedly overpower the dark.
Absolutely gorgeous. Lovely artwork too. Recommended for folks into blissed out drones, deep buzzing ragas and minimal abstract space rock: Lamp Of The Universe, Sunroof!, Expo '70, Emeralds, Astral Social Club, Golden Sores, Barn Owl, etc...
MPEG Stream: "A Sundering Path"
MPEG Stream: "Weight Of Days"

album cover A BROKEN CONSORT Box Of Birch (Tompkins Square) lp 16.98
NOW ALSO AVAILABLE ON VINYL!
A Broken Consort is only one of the monickers under which UK sound artist Richard Skelton performs, and this, Box Of Birch, only one of many releases under various guises, but the first to receive any sort of widespread release.
Skelton started a private press after the passing of his wife, who was a visual artist. She left him all sorts of unfinished works, drawings and sketches, and the purpose of the press was to release her artwork posthumously, collaborating together, her art, his music, a tribute to her memory.
But it's not just the source of this music and the story behind it that makes Box Of Birch so dark and heartfelt and bittersweet, the music itself is a gorgeous tribute to a lost love, to sorrow and remembrance, moving forward but also to never forgetting.
Haunting and lush, the 4 long tracks here are epic and orchestral, long tones, layered drones, darkly minor key melodies, a muted blissed out sort of cosmic space drift. Dark dreamlike ragas constructed from softly strummed guitars, wheezing accordions, tinkling percussion, all manner of buzzing strings woven into deep gentle sonic swells, it's at once abstract and ethereal, but also subtly song based, the tracks feel composed, as much as they feel free. Strings saw out intensely emotional melodies over having soundscapes of dark dark shimmer. The music here is not at all tranquil, not new age-y or easy listening, no these are complex, emotionally charged sounds, these songs, or pieces, throb with passion and energy, they ooze sadness and misery, but also mange to evoke hope, the long slow burning drones seems to constantly drift heavenward, glowing and glistening, a timeless expanse of rumble and whir and buzz, effulgent and everbright, shrouded in darkness for now, but the warm heart within seems to grow with every listen, in every song, an organic living progression, as the record plays, it seems inevitable that the mysterious warmth, will undoubtedly overpower the dark.
Absolutely gorgeous. Lovely artwork too. Recommended for folks into blissed out drones, deep buzzing ragas and minimal abstract space rock: Lamp Of The Universe, Sunroof!, Expo '70, Emeralds, Astral Social Club, Golden Sores, Barn Owl, etc...
MPEG Stream: "A Sundering Path"
MPEG Stream: "Weight Of Days"

album cover A BROKEN CONSORT Crow Autumn (Tompkins Square) cd 14.98
Crow Autumn is the second record by A Broken Consort, aka Richard Skelton. He conjured up ABC as a project dedicated to his late wife who passed away in 2004, leaving a collection of sketches and photos, unfinished artwork, all of which inspired him to keep her memory alive, via posthumous collaborations, as well as various works of his own created in her memory. The last ABC record, Box Of Birch, was all blissed out drones and slow burning ragas, whereas Crow Autumn is more organic, more like an abstract assemblage of strings, a string quartet loosed from its traditional moorings perhaps. The sounds here are warm and lush, mediative and melancholic, the drone and raga elements are certainly still present, but the vibe is more acoustic, more raw and immediate and emotional, less processed and assembled.
Opening with a hushed, minimal stretch of warm washed out shimmer, the slow scrape of strings wrapped in reverb, the record quickly blossoms into a dense layered sprawl of metallic, shimmering strings, all overlapping, and slowly shifting, the overtones drifting in and out, the chords lush and intertwined, the notes occasionally spinning off into the ether, the pace is patient, and serene. At points there are distant melodies played on what sounds like a tiny piano, nearly obscured by a swirl of ethereal glimmering haze, but it seems the strings are the focal point of Crow Autumn, the tracks always seeming to gravitate toward a weightless expanse of suspended strings, plucked, scraped, bowed, the tones stretched out into warm billowy clouds, all very cinematic and dramatic, and strangely repetitive and looped sounding, so evocative of faded memory, of old photographs, of abandoned houses, of sunlight through old yellowed windows, of trees swaying in afternoon breezes, of long walks under grey skies, of sadness, loss, and longing. So beautiful, and heartfelt, and hypnotic.
Essential listening for fans of Leyland Kirby, the Caretaker, William Basinski, the Skelton solo record we reviewed a while back, the last A Broken Consort, and anyone into darkly meditative dream-drift-drone music...
MPEG Stream: "A Mercy Kill"
MPEG Stream: "Like Rain"
MPEG Stream: "Mountains Ash"

album cover A BROKEN CONSORT Crow Autumn (Tompkins Square) lp 14.98
Crow Autumn is the second record by A Broken Consort, aka Richard Skelton. He conjured up ABC as a project dedicated to his late wife who passed away in 2004, leaving a collection of sketches and photos, unfinished artwork, all of which inspired him to keep her memory alive, via posthumous collaborations, as well as various works of his own created in her memory. The last ABC record, Box Of Birch, was all blissed out drones and slow burning ragas, whereas Crow Autumn is more organic, more like an abstract assemblage of strings, a string quartet loosed from its traditional moorings perhaps. The sounds here are warm and lush, mediative and melancholic, the drone and raga elements are certainly still present, but the vibe is more acoustic, more raw and immediate and emotional, less processed and assembled.
Opening with a hushed, minimal stretch of warm washed out shimmer, the slow scrape of strings wrapped in reverb, the record quickly blossoms into a dense layered sprawl of metallic, shimmering strings, all overlapping, and slowly shifting, the overtones drifting in and out, the chords lush and intertwined, the notes occasionally spinning off into the ether, the pace is patient, and serene. At points there are distant melodies played on what sounds like a tiny piano, nearly obscured by a swirl of ethereal glimmering haze, but it seems the strings are the focal point of Crow Autumn, the tracks always seeming to gravitate toward a weightless expanse of suspended strings, plucked, scraped, bowed, the tones stretched out into warm billowy clouds, all very cinematic and dramatic, and strangely repetitive and looped sounding, so evocative of faded memory, of old photographs, of abandoned houses, of sunlight through old yellowed windows, of trees swaying in afternoon breezes, of long walks under grey skies, of sadness, loss, and longing. So beautiful, and heartfelt, and hypnotic.
Essential listening for fans of Leyland Kirby, the Caretaker, William Basinski, the Skelton solo record we reviewed a while back, the last A Broken Consort, and anyone into darkly meditative dream-drift-drone music...
MPEG Stream: "A Mercy Kill"
MPEG Stream: "Like Rain"
MPEG Stream: "Mountains Ash"

A HANDFUL OF DUST Spiritual Libertines (Crank Automotive) cd 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Bruce Russell of the Dead C and Alastair Galbraith's improvised noise project, 2 tracks previously unreleased, the rest from out-of-print 7"s and cassettes...

A KOMBI Music To Drive By (Dual Plover) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As featured in the latest Bananafish magazine, this Australian artist created this cd using only the sounds made by a Volkswagen.

album cover A MAGIC WHISTLE On A Magic Pulsewave (Ormolycka) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another mysterious releases from the always awesome Ormolycka tape label, this time from a band/person called A Magic Whistle, whose sound is a weird hybrid of early electronic music, bleepy bloopy analog squelch and tripped out psychedelic processed vox, a heady concoction that sounds a bit like Bruce Haack by way of Animal Collective, or some lost sixties psych record performed by an army of automated synths and a bank of rhythm machines, spitting out crunchy motorik robotfunk grooves. Sprinkled throughout are warm swirls of harp like string shimmer, dubbed out operatic croons, thick swaths of rib cage rattling low end buzz, and soft focus clouds of glimmering FX. The flipside, recorded live in SF in 2010, offers up more of the same, but a bit more distorted, the sounds oozing and fuzzy, the low end thick and warm, the tempo dialed way back to something much more meditative and dreamily mesmeric. The perfect soundtrack to laying in the grass in the dead of night, wreathed in a warm breeze, watching the stars dance in the deep blue sky. The sound doesn't remain so sedate, instead, the sounds grow jumbled and chaotic, before once again settling into another stretch of looped, cyclical Reich / Riley style hypnogroove bliss out. Cool stuff. And like all the Ormolycka tapes, SUPER LIMITED (only 100 copies we think!)...
MPEG Stream: "On A Magic Carpet Live"

A QUI AVEC GABRIEL Utsuho (Tzadik) cd 16.98
a qui avec Gabriel is a young female Japanese accordion player with a strange name, who presents her debut recording on John Zorn's Tzadik label. Her playing will remind some of accordionist Theodoro Anzellotti's beautiful interpretations of Erik Satie themes, while on some tracks she's joined by a full band in rock/exotica mode (clarinet, piano, violin, drums). It's a really strange but quite lovely album, made even stranger also by the presence of guest guitarist/vocalist Keiji Haino! (The dark prince of Tokyo psych-improv-rock, y'know.) On top of that, "Utsuho" is a concept-album apparently about the journey of a soul through night-dawn-day-dusk, meeting strange weather and little cats along the way.
RealAudio clip: "Takehaya-Sayat (a blue black storm or a poet)"
RealAudio clip: "Shikku (hard to fade away)"
RealAudio clip: "Hikari No Shizuku"

A STORY OF RATS / HELLVETE split (Eiderdown Records) cassette 5.98

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