BASTIEN, PIERRE Mecanoid (Rephlex) cd 17.98
We loved the last Pierre Bastien record, which consisted of broken down old children's turntables rigged to play simple loops while Bastien played along on a muted trumpet. Those rigged turntables have given way to even greater flights of mechanical fancy, that's right...ROBOTS. For 'Mecanoid' Bastien has constructed various robots that play different instruments, again constructing simple loops which he then accompanies. The 'robots' play castanets, marimba, tamborine, steel drum, casiotone, piano, plus tons more and of course turntables. While Bastien accompanies the loops on bass, organ, prepared trumpet, cornet, electric piano, buzz-trumpet and more. But the sound doesn't necessarily give away its robotic roots. 'Mecanoid' sounds like simple stripped down electronica with a sort of late-night-rainy-dark-alley-Tom-Waits kind of vibe. Sort of Boards of Canada with less equipment, or Boards Of Canada if they were 8 years old instead of 30. Makes me think of electonica made from scratch, with no drum machines, no samplers, just a bunch of crap in the garage, a tool box and a four track. Dark and melancholic and loping and hypnotic. With simple minor key melodies played over slowly fluctuating loops, creating completely alien soundtrack music. Would be perfect for some David Lynch film. Creepy but not depressing, just sort of sad and dreamy. One of my new favorite late night records.
RealAudio clip: "Damn Mad"
RealAudio clip: "Revolt Lover"
RealAudio clip: "No Eon"

BASTIEN, PIERRE Mecanoid (Rephlex) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We loved the last Pierre Bastien record, which consisted of broken down old children's turntables rigged to play simple loops while Bastien played along on a muted trumpet. Those rigged turntables have given way to even greater flights of mechanical fancy, that's right...ROBOTS. For 'Mecanoid' Bastien has constructed various robots that play different instruments, again constructing simple loops which he then accompanies. The 'robots' play castanets, marimba, tamborine, steel drum, casiotone, piano, plus tons more and of course turntables. While Bastien accompanies the loops on bass, organ, prepared trumpet, cornet, electric piano, buzz-trumpet and more. But the sound doesn't necessarily give away its robotic roots. 'Mecanoid' sounds like simple stripped down electronica with a sort of late-night-rainy-dark-alley-Tom-Waits kind of vibe. Sort of Boards of Canada with less equipment, or Boards Of Canada if they were 8 years old instead of 30. Makes me think of electonica made from scratch, with no drum machines, no samplers, just a bunch of crap in the garage, a tool box and a four track. Dark and melancholic and loping and hypnotic. With simple minor key melodies played over slowly fluctuating loops, creating completely alien soundtrack music. Would be perfect for some David Lynch film. Creepy but not depressing, just sort of sad and dreamy. One of my new favorite late night records.

BASTIEN, PIERRE Musiques Paralloidres (Lowlands) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Multiple turntables and trumpet, very interesting. Bastien takes portable turntables and attaches pieces of metal below, and directly to, the tone arm, causing the record to skip and forming simple and hypnotic loops. He then plays trumpet melodies over the looped records turning these disparate ingredients into sleepy, hiccuping lullabyes.

BASTIEN, PIERRE Pop (Rephlex) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We sure are suckers for unconventional music making. Be it accidental (ice melting, applause, junkyards, metal rusting, fire burning) or environmental (elephants, sled dogs, cats purring, FROGS!, bats) and most especially the mysterious or unexplained (the sounds of the dead, breaking through the radio waves, haunting shortwave spy transmissions). Then there is a whole other realm of unconventional music making: the mad scientist. Why form a band, when you can construct robots and machines to play all the instruments? Why actually play the piano, or the guitar, or the drums, when you can construct an elaborate set of pulleys and levers and gears and axles that will play them for you? Why be happy with a turntable that plays records with only one stylus when you can make music with a turntable equipped with multiple needles? We can only assume Pierre Bastien asked these same questions, and the answer he came up with is Pop. Forty five minutes of simple, repetitive, hypnotic and mesmerizing machine driven minimal krautrock. That's right, krautrock is what this sounds like.
In lesser hands a room full of self playing instruments would most likely result in a sterile series of sound events, but Bastien has a deft hand and a keen ear, and breathes life into his automatons, delicate contraptions that each contribute a unique element to a song, not just spitting out sounds -- strange gadgets that play simple chords on a keyboard, an apparatus to beat out simple insistent rhythms, all manner of haunting minor key plinkety plonk, crisp windup toy clickety clacks and disgruntled grinding large machinery groans and whines, some strange warped turntablizations, wearily wheezing woodwinds, all woven into spare stretches of minimally propulsive ambience. Sounds a bit like an army of tiny wind up toys assembled in an automated sonic ballet, an inhuman menagerie making music more human that it seems possible. The vibe is very fuzzy and washed out, droney and dolorous, smeary and sepia-toned, definite shades of Philip Jeck and Tim Hecker, with plenty of creak and crackle surrounding the minimal melodies and subtle rhythmic pulses within each song. It's easy to become obsessed with the method behind the music, and the amount of obviously painstaking preparation that went into creating these machines. And why not?! It's absolutely mind boggling to be sure, but even beyond the mere construction of these music making mechanisms, imagine figuring out how to get these 'things' to make these sounds, and THEN somehow to compose music this lovely and captivating. Seems impossible. Surely, Pop is too perfect to be accidental, too beautiful to be pure luck, too musical to be anything other than the work of a brilliant mad sonic scientist. Or better yet, and possibly more likely, imagine Bastien is nothing if not lucky, a man who somehow stumbled upon a secret world of machines, in some mysterious forgotten warehouse, in some dark overlooked part of town, an insulated little world populated by these devices, not a living breathing creature in sight, just shelves full of strange little contraptions, all running endlessly and self controlled, creating this beautiful music as if that's what they were designed to do, and he was just the first to stumble upon this place, these things, and was able to capture these mysterious sounds before one night, that building and those things were nowhere to be found. Sounds farfetched, maybe a little silly, but it's the sort of romantic story that befits music this warm and beautiful and mysterious, whether it was ultimately the work of a man, or the just the serendipitous sounds of a room full of machines.
MPEG Stream: "Eye"
MPEG Stream: "Noon"
MPEG Stream: "Deed"

BASTIEN, PIERRE Pop (Rephlex) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW AVAILABLE ON VINYL!!!
We sure are suckers for unconventional music making. Be it accidental (ice melting, applause, junkyards, metal rusting, fire burning) or environmental (elephants, sled dogs, cats purring, FROGS!, bats) and most especially the mysterious or unexplained (the sounds of the dead, breaking through the radio waves, haunting shortwave spy transmissions). Then there is a whole other realm of unconventional music making: the mad scientist. Why form a band, when you can construct robots and machines to play all the instruments? Why actually play the piano, or the guitar, or the drums, when you can construct an elaborate set of pulleys and levers and gears and axles that will play them for you? Why be happy with a turntable that plays records with only one stylus when you can make music with a turntable equipped with multiple needles? We can only assume Pierre Bastien asked these same questions, and the answer he came up with is Pop. Forty five minutes of simple, repetitive, hypnotic and mesmerizing machine driven minimal krautrock. That's right, krautrock is what this sounds like.
In lesser hands a room full of self playing instruments would most likely result in a sterile series of sound events, but Bastien has a deft hand and a keen ear, and breathes life into his automatons, delicate contraptions that each contribute a unique element to a song, not just spitting out sounds -- strange gadgets that play simple chords on a keyboard, an apparatus to beat out simple insistent rhythms, all manner of haunting minor key plinkety plonk, crisp windup toy clickety clacks and disgruntled grinding large machinery groans and whines, some strange warped turntablizations, wearily wheezing woodwinds, all woven into spare stretches of minimally propulsive ambience. Sounds a bit like an army of tiny wind up toys assembled in an automated sonic ballet, an inhuman menagerie making music more human that it seems possible. The vibe is very fuzzy and washed out, droney and dolorous, smeary and sepia-toned, definite shades of Philip Jeck and Tim Hecker, with plenty of creak and crackle surrounding the minimal melodies and subtle rhythmic pulses within each song. It's easy to become obsessed with the method behind the music, and the amount of obviously painstaking preparation that went into creating these machines. And why not?! It's absolutely mind boggling to be sure, but even beyond the mere construction of these music making mechanisms, imagine figuring out how to get these 'things' to make these sounds, and THEN somehow to compose music this lovely and captivating. Seems impossible. Surely, Pop is too perfect to be accidental, too beautiful to be pure luck, too musical to be anything other than the work of a brilliant mad sonic scientist. Or better yet, and possibly more likely, imagine Bastien is nothing if not lucky, a man who somehow stumbled upon a secret world of machines, in some mysterious forgotten warehouse, in some dark overlooked part of town, an insulated little world populated by these devices, not a living breathing creature in sight, just shelves full of strange little contraptions, all running endlessly and self controlled, creating this beautiful music as if that's what they were designed to do, and he was just the first to stumble upon this place, these things, and was able to capture these mysterious sounds before one night, that building and those things were nowhere to be found. Sounds farfetched, maybe a little silly, but it's the sort of romantic story that befits music this warm and beautiful and mysterious, whether it was ultimately the work of a man, or the just the serendipitous sounds of a room full of machines.
MPEG Stream: "Eye"
MPEG Stream: "Noon"
MPEG Stream: "Deed"

BASTIEN, PIERRE Visions Of Doing (Western Vinyl) cd 14.98
Oooh. We're always excited about any new releases from French automated-instrument builder and trumpeter Pierre Bastien. How often do we get records featuring music made (in part) by robots? Not often enough. And such lovely music too. All these tracks were originally composed as soundtracks to projects by a Dutch experimental filmmaker by the name of Karel Doing (hence the title). But Bastien's music so readily stokes the imagination than Doing's cinematic visions are not necessary accompaniment.
We said 'automated-instrument builder', those instruments being what Bastien calls his 'Meccano', simple sound-making robots or kinetic sound sculptures, that make looping music box melodies and provide a backing of slow, steady mechanical clank for Bastien's own wheezing, muted trumpet. Bastien plays in a smokey jazz mode, breathy, beautiful, oh so melancholic, that in the this context reminds us of Chet Baker in some sort of Tom Waits-ish instrumental junkyard. The gamelan or thumb piano like plinkings of Bastien's Meccano - exotica for scrappy homebuilt robots - are rendered somehow more human by the sweet sighs of Bastien's trumpet. He also makes use of field recordings, unidentified underwater warblings, and other mysterious textures in constructing these tracks. Wonderful stuff, so languid and relaxed and full of life, animated indeed by Bastien's Visions Of Doing. Bastien's previous discs for Rephlex, and others, have all been 'late night faves' here at AQ, and this latest gentle gem from Bastien joins them for sure.
MPEG Stream: "The American On The Highway"
MPEG Stream: "Visions Of Shanghai"
MPEG Stream: "The Thermodynamic Orchestra"

BATAGOV, ANTON The Wheel Of The Law (Listen Different) 3cd 38.00
We first listed this late last year, and it was a HUGE hit around here, but before we knew it all of our suppliers were out of it and we were unable to get more, waiting for copies to make it here all the way from Russia! Well, it's a few months later and we finally got enough to re-list! So those of you who slept on this the last time get another chance to pick up this gorgeous chunk of dreamy minimalism...
This is not actually new, but this is the first time we've been able to get this, and the moment we heard it, we knew it was something we had to list! Recorded in 1999, and orginally released in 2002, The Wheel Of The Law compiles three epic pieces of gorgeous minimalism from Russian composer Anton Batagov. Three discs, three tracks composed for organ, glockenspiel, xylophone, piano and percussion, inspired by Buddhism and the Quest for Nirvana, and the practices involved: peace, meditation, deep thought, breathing, conciousness. Repetitive and melodic, lush and so so beautiful. Someone once referred to Batagov as sounding "like Reich on vodka", not sure we hear the vodka, or even any sounds distinctly and immediately recognizably Russian, but there is certainly plenty of Reich here, as well as Riley, and most definitely some Harold Budd, especially in the delicate, spare piano arrangements. The first disc, "Circle Of Time" is four long movements of warm rich swells of organ, flowing lazily beneath delicate cyclical chimes and abstract piano figures, very dramatic and hypnotic. The second disc, the 4 track Voidness cycle: "Appearances And Voidness", "Clarity And Voidness", "Bliss And Voidness", "Mind And Voidness", introduces the same delicate chimes found on the first disc, but this time over a repeating series of haunting moaning violin melodies. Minor key and mildly atonal, the melodies are spread out over a spare background of complex overtones, all drifting dreamily into space. The final disc: "Liberation Through Listening In The Between" is again a massive sprawl of lush static organ drones, wavering and subtly pulsing, with simple three and four note melodies played out over minutes instead of seconds, chiming and ringing, resonating above the organ's mesmerizing drone, the whole thing supported by a barely there framework of simple percussion, so subtle and simple that it's basically a single drum, muted and way down in the mix, offering a sort of pulse for the piece, a musical heartbeat, slowed down, as if in meditation or contemplation.
So completely an utterly breathtaking.
MPEG Stream: "Dus-Kyi Khor-Lo 1"
MPEG Stream: "Dus-Kyi Khor-Lo 4"

BATES, MARTYN / TROUM To A Child Dancing In The Wind (Transgredient) cd 14.98
For those well acquainted with the prose of Aquarius Records, the German duo Troum should be a familiar reference to any one keen on dark dronescapes; but Martyn Bates is something of an enigma to us despite being a stalwart of neo-romantic British art-rock thanks to wealth of recordings with his group Eyeless In Gaza. Blessed with the angelic voice of a classic crooner, Bates certainly fits in with the theatrically inclined singers such as David Sylvian, Scott Walker, and Gordon Sharp. Even when Eyeless In Gaza began under the banner of post-punk, Bates' impassioned delivery enveloped the anti-pop sensibilities with a majestic aura that probably repelled just as many potential fans that might be swayed by his rapturous clarion. To be completely honest, we've never been entirely convinced by Bates or Eyeless In Gaza, despite numerous attempts by lifelong fan and AQ pal Loren Chasse to convince us otherwise. In working with Troum on To A Child Dancing In The Wind, Bates has presented himself again as the occultish troubadour, but with Troum's dark elegance wrapped around his voice, we may need to reconsider. Nocturnal for sure, but hardly as overwhelmingly dark as some of the other Troum records (i.e. Tjurkurppa 2 or Sigqan); To A Child Dancing In The Wind has Troum wrapping shadowy drones and their slow motion churn of heavily processed guitar, accordion, harmonica, and bass as the tapestry for the celestial hymns scribed by Bates. For those transfixed by David Sylvian's collaborative efforts with Fennesz on Blemish, we would hazard to guess that you'll find this album equally as emotive and beautiful.
MPEG Stream: "To A Child Dancing In The Wind"
MPEG Stream: "Mad As The Mist And Snow"

BAUDRILLARD, JEAN Le Xerox et L'Infini (The Tapeworm) cassette 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second of two releases on the newly launched UK label Tapeworm, the other being a killer solo bass record from long time aQ fave and turntablist, Philip Jeck, while this one, well, this one is a bit harder to describe. A spoken word record by two mysterious ladies called Patrica And Ellen, reading a work by legendary (anti) post modernist Jean Baudrillard. Recorded By Vicki Bennet of People Like Us, these readings are riveting, due in no small doubt to Baudrillard's tangled wordplay, but also due to the strange delivery of the two women, who take turns, in their thickly accented voices, reading the texts, sounding like they're perhaps seeing those words for the first time, struggling through pronunciations, little giggles and asides, brief breaks as one hands the text to the other. We'll be the first to say, that we're not much for 'spoken word' records, but somehow this transcends, becoming some sort of art, or sound poetry, especially when the two are reading together, those moments are fantastic, playful, silly, and the delivery of the two, slightly off, with both randomly dropping out, or stopping for a breath, makes the reading sound less 'read', and more weirdly musical.
Obviously, this won't be everyone's cup of tea, but it's definitely fun, and interesting, and quite strange! Like the Jeck tape, LIMITED TO 250 COPIES, we got about a dozen...

BAUER, KARL AND ELISA AMBROG (AXOLOTL & MAGIK MARKERS) Psychic Hygiene (Spirit Of Orr) 7" 8.98
Found a little stash of these. Already out of print so these are the last copies...
Another strange (but then again, maybe not so strange) collaboration. Karl from Axolotl and Elisa from Magic Markers get together to make some beautiful and slightly noisy music together.
Elisa's guitar seems to be taking center stage on the A side, scrabbly and angular, chaotic and scarping and grinding, dense tangles of high end squiggle and scrape laid over a distant hum of tape hiss and other abstract ambience.
The flipside is more bluesy, kind of. A sort of ghostlike disembodied folk, a bit of twang, lots of clunk and clatter, stumbly and spacious, the notes and melodies gnarled and twisted into strange atonal shapes, deep rumbling swells here and there, clouds of high end shimmer, soft washed out buzz, a dreamy creaky blissed out noiseflecked abstract guitarscape. Haunting and strangely pretty.

BAYER, BLARKE The End Of You (Numerical Thief) 3" cd-r 11.98
If we didn't know better, we'd think that Australia and New Zealand were both made up of nothing but experimental musicians and dudes who run cd-r labels. How else to explain the seemingly endless supply of weird and wonderful music coming to us from those two places. Here's another new name to add to the rapidly expanding roster of enigmatic soundmakers from down under, Blarke Bayer. Sharing a label with US noisemakers Yellow Swans and Aussie powerviolence outfit Agents Of Abhorrence, Bayer aligns himself more with the processed guitar soundscape school of folks like Fennesz, Ambarchi, and the like. Gauzy strips of sound, layered into drifting waves of gentle feedback, warm fuzzy swells of muted guitar growl, distant keening melodic fragments, occasionally disrupted by cavernous resonant rumbles or tiny glitchy squalls, but for the most part, The End Of You is one long languorous sea of tranquility, a washed out dream world of layered guitar warmth and shimmery ambience. Quite beautiful.
LIMITED TO 200 COPIES! Packaged in a cool mini 3" printed gatefold sleeve.
MPEG Stream: "The End Of You"

BEAR BONES LAY LOW Djid Hums (Gipsy Sphinx) lp 17.98
We know close to nothing about this band, other than it's the work of an 18 year old Venezuelan kid who lives in Belgium (and is now a member of Silvester Anfang) and who in addition to having a cool and mysterious name, has managed to whip up a pretty seriously blissed out and beautiful record of gorgeous psych-drone.
Two sidelong krautrock drone jams, mining similar territory as fellow noisemakers like Astral Social Club, Hototogisu and Burning Star Core. The first side begins with glistening streaks of fuzzed out synths and decaying tape loops, all wrapped in smeared clouds of blissy FX, but it quickly transforms into a very SUNNO)))-like low end dirge, bombarded on all sides by hiss and glitch and crumbling effects before building into a fuzzed out epic, a wall of rich, thick, subtly shifting sound, droney, dreamlike and sort of cinematic.
The flipside is another slow building epic, this time a wash of fuzzy warble and layered drones, voices and melodic fragments all processed and blurred into a gorgeous abstract soundscape, peppered with bits of percussion and all sorts of swirling sonics. Eventually, the track begins to fall apart, until all that is left is a strange chaotic swirl of percussion, hissy and buzzy and murky, while a ghostlike super distorted melody drifts and sways in the foreground.
LIMITED TO 525 COPIES! Each cover is signed and hand numbered. Super striking paste on covers, SUPER thick sleeve, pressed on 180 gram vinyl, with a photocopied insert.

BEAUSOLEIL, BOBBY Dreamways Of The Mystic (Arcanum) 2cd 28.00

MPEG Stream: "Dreamways Of The Mystic - Part One: Overture"
MPEG Stream: "Return To Punjab"
MPEG Stream: "Songs Of The Forest People"

BEAUSOLEIL, BOBBY Lucifer Rising Sessions (Qbico) picture disc 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We were able to get Bobby Beausoleil's legendary Lucifer Rising soundtrack on cd for a brief time, but it seems to be unavailable again, so for now, this super limited picture disc may be your only chance to hear this awesomely freaked out music. Side A was recorded live in San Francisco in 1967, and features a killer live version of "The Magick Powerhouse of Oz". The B side is a different version recorded a decade later, in Tracy State Prison where Bobby and and least one other Manson family member was doing time. Here's a truncated version of our review for the now out of print cd version to give you more background on Beausoleil and the Lucifer Rising soundtrack:
The rare soundtrack to cult underground director and Crowley-ite Kenneth Anger's film Lucifer Rising (begun in the mid-'60s, completed in 1980). Originally Jimmy Page was supposed to do the score, but he bowed out and the music was instead handled by another cult figure, the musical visionary and imprisoned killer Bobby Beausoliel, who composed and performed this spacey psychedelic opus with his Freedom Orchestra (presumably all fellow prisoners with Bobby).
Bobby and the Freedom Orchestra play electric guitars, Fender Rhodes electric pianos, some synths and bass...there's two drummers, and a trumpet player. The result is a sometimes sinister, sometimes blissful, always beautiful and "cosmic" drifting soundscape. Gurgling old-school electronics blend with propulsive rock drumming, while psychedelic guitar soloing tears across the sunset horizon created by the synths...The combination results in what you might imagine an early '70s Tangerine Dream/Ennio Morricone collaboration might have sounded like. It's indeed a lost classic. And the composer's life story is at least as weird and interesting as the music...
In the late Sixties, Bobby was a rising star in the LA rock-pop scene, hanging with Zappa, the Beach Boys, and Love. But then a drug deal went bad and he was sent to death row for murder, arrested 3 days before the Manson killing spree. Fortunately for him, his sentence was eventually commuted, but he's spent like the last 30 years in jail. He's been a model prisoner, pursuing his talents in music and art despite his incarceration, and you'd think that the parole board would have let him out by now (he's been paying his debt to society longer than anybody else has for a similar crime, we're told) but sadly for Bobby, he's got to deal with his association with the notorious Charles Manson. While never a member of Manson's Family (a common misconception), he did play in a band with Manson, and the media hype surrounding anything to do with Manson hasn't helped Bobby's case, as you might imagine! (At least that's the way Beausoleil tells it. But the more one delves into the story of "Lucifer Rising", the weirder things get -- for instance, apparently Bobby was supposed to PLAY the role of Lucifer in the original 1966 version of Anger's film, but the two had a falling out and Bobby allegedly stole the footage and buried it in Death Valley! How this jibes with him later writing this soundtrack, we don't know.)
Although for obvious reasons Bobby wouldn't probably approve of the use of the word to describe himself and this soundtrack, in the Aquarius Records' musical context it's quite appropriate: Cult!

BEAUSOLEIL, BOBBY The Lucifer Rising Suite: Original Soundtrack And Sessions Anthology (Ajna) 4lp box 53.00
We've carried this longtime aQ fave several times over the years, in multiple formats, in varying degrees of availability, unfortunately, it never seemed to stick around for long. For a while we were even in contact with Beausoleil himself via his wife who was handling his business for a while, trying to get copies. Well, now you can thank the fine folks at Ajna, who have not only reissued it again, but added TONS of unreleased material, included all sorts of new, original artwork, pressed it up on VINYL and packed it all in a super deluxe box. These are expensive, but so worth it, after all, it's the only way to currently get Lucifer Rising, and of course it's a limited pressing, so these won't be around forever...
Ahhh Lucifer Rising, the rare soundtrack to cult underground director and Crowley-ite Kenneth Anger's film Lucifer Rising (begun in the mid-'60s, completed in 1980). Originally Jimmy Page was supposed to do the score, but he bowed out and the music was instead handled by another cult figure, the musical visionary and imprisoned killer Bobby Beausoleil, who composed and performed this spacey psychedelic opus with his Freedom Orchestra (presumably all fellow prisoners with Bobby).
Bobby and the Freedom Orchestra play electric guitars, Fender Rhodes electric pianos, some synths and bass...there's two drummers, and a trumpet player. The result is a sometimes sinister, sometimes blissful, always beautiful and "cosmic" drifting soundscape. Gurgling old-school electronics blend with propulsive rock drumming, while psychedelic guitar soloing tears across the sunset horizon created by the synths...The combination results in what you might imagine an early '70s Tangerine Dream/Ennio Morricone collaboration might have sounded like. It's indeed a lost classic. And the composer's life story is at least as weird and interesting as the music...
In the late Sixties, Bobby was a rising star in the LA rock-pop scene, hanging with Zappa, the Beach Boys, and Love. But then a drug deal went bad and he was sent to death row for murder, arrested 3 days before the Manson killing spree. Fortunately for him, his sentence was eventually commuted, but he's spent like the last 30 years in jail. He's been a model prisoner, pursuing his talents in music and art despite his incarceration, and you'd think that the parole board would have let him out by now (he's been paying his debt to society longer than anybody else has for a similar crime, we're told) but sadly for Bobby, he's got to deal with his association with the notorious Charles Manson. While never a member of Manson's Family (a common misconception), he did play in a band with Manson, and the media hype surrounding anything to do with Manson hasn't helped Bobby's case, as you might imagine! (At least that's the way Beausoleil tells it. But the more one delves into the story of "Lucifer Rising", the weirder things get -- for instance, apparently Bobby was supposed to PLAY the role of Lucifer in the original 1966 version of Anger's film, but the two had a falling out and Bobby allegedly stole the footage and buried it in Death Valley! How this jibes with him later writing this soundtrack, we don't know.)
Yet, not being one to simply sit in his cell and rot, Bobby has, as we said, kept quite busy within the clutches of the California Penal system.
This new vinyl box set, includes all the music on the various versions we've carried over the years, plus SO MUCH MORE.
This version includes newly remastered recordings spanning 11 years, from the original 1967 recordings to the Tracy Prison recordings in 1978. 4 lps, 2 of which are entirely unreleased material, nine new pieces of art by Beausoleil, 8 on the printed inner sleeves, and one 2 foot by 3 foot poster, a second poster, a massive booklet, with tons of new liner notes, and loads of photos, the box gorgeous and hefty, full color outside and inside, this is THE outsider lost seventies occult rock soundtrack holy grail for sure.
And although for obvious reasons Bobby wouldn't probably approve of the use of the word to describe himself and this soundtrack, in the aQuarius recOrds' musical context it's quite appropriate: CULT!

BECKETT, SAMUEL Whole Thing's Coming Out Of The Dark (Intermedia / Strunz) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
BACK IN PRINT! (Now in a jewelcase, not digipack.)
This is such a strange cd. And we've all become completely obsessed with it. A bizarre series of spoken instructions and long droning notes. Easier to just share Forced Exposure's description:
"The playing directions for the instrumentalist on this CD are derived directly from the so-called sucking stones sequence in Beckett's Molloy, where the author has his protagonists invent three variations of the correct way to suck 16 pebbles -- distributed between two coat or trouser pockets. Everything takes place inside the head, and yet these image provoking speech rituals find their way to the outside. Everything becomes the listener's projection room. We look on the speakers as we would an open, exposed interior. Speech is its own dissecting instrument. Existence is transferred into speech, being is removed from its time. The images remain, the sound of speech remains -- in which the secret of an entire world is concealed." Simply, it's 3 actors, reciting instructions like: "Take a stone from pocket one. Put it in your mouth. Suck it. Suck it...." and so on. With the occasional moaning horn. Totally surreal and creepy and super great.
RealAudio clip: "Image 1"
RealAudio clip: "Rule Number 3"

BEEQUEEN A Touch of Brimstone (Korm Plastics) cd 16.98
"A Touch Of Brimstone" was intended to be the 10th anniversary release for the Dutch ambient / industrial duo Beequeen (Frans De Waard and Freek Kinkelaar), but the nature of Beequeen's extensive side projects delayed the anniversary by almost 4 years. Nevertheless, this album collects a number of (mostly) unreleased tracks from 1989 to 1995, with the one previously released track coming from their debut recording "Scala Destillans" which was issued in a whopping pressing of 250 copies. The Beequeen sound has been and probably will always be a synthesis of a number of pre-existing ideas. At this time, those references for Beequeen were the phasing ambience of Klaus Schultz and Brian Eno, the isolationist practices of Maeror Tri, the clinical feedback noise of early SPK, and the magickal psychedelia of the Legendary Pink Dots. Thus, soft drones, ghosts of songs, and distant drum machine pulsatsions structure Beequeen's ongoing activities.
RealAudio clip: "A Touch Of Brimstone"

BEEQUEEN Der Holzweg (Tantric Harmonies) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This happens to be the fourth and most comprehensive edition of the best album from Beequeen, the ephemeral drone project spearheaded by Frans de Waard and Freek Kinkelaar. Der Holzweg was originally released by Anomalous Records back in 1993, housing the disc in a smartly designed wooden sleeve. At the same time, a tiny cassette edition made its way into the world. Many years, later a vinyl edition of the material was issued; and now the Russian imprint Tantric Harmonies has thankfully reissued this album once again, with all of bonus material found on the cassette and vinyl versions as well as three additional tracks from some contemporary seven inches. Whew! Beequeen's musical output is emblematic of the dreamy, soft focus ambience that emerged out of a post-industrial framework back in the early '90s. Zoviet France, Paul Schutze, O Yuki Conjugate, Christoph Heemann, and Cranioclast were some of the more obvious influences on Beequeen, whose backwards masked guitars and ambling tape loops flicker across grey, synthetic drones. It's very nice to see this back in print, one more time!
MPEG Stream: "Dead Hares"
MPEG Stream: "Chorok"

BEEQUEEN Gund (Plinky Plonk) cd 16.98
Beequeen is the duo of Freek Kinkelaar and Frans De Waard, whose name you might recognise from his other projects, Goem, Shifts, Kapotte Muziek and a bunch more. Can't say I have been all the taken with most of De Waard's projects, but for some reason Beequeen records always hit the spot. The sound of Beequeen has been anything but static, with two musically restless souls exploring all aspects of sound and recording, coming up with extremely varied results, most actually quite appealing, but Gund, a collection of old unreleased tracks finds Beequeen at what I think is their perfect sound, dreamy drony, hypnotic, minimal throbbing shimmerscapes of dark rumbles, ethereal wisps of high end incandescence, and subtly shifting, distant low end murmurs of rustle and thrum, that will most definitely tickle the cochlea of even the most discerning of drones fans, and of course folks who can't get enough Coleclough, Mirror, and the like. This collection assembles four tracks from a proposed 12" where all four tracks were to be cut at different speeds, 16, 33, 45, and 78 RPM (eventually scrapped due to the difficulty in pressing such a record) as well as two tracks from an aborted collaborative split with MSBR. Really beautiful stuff. Limited to 500!
MPEG Stream: "For Daniel In The Lion's Mouth"
MPEG Stream: "I'll Call You Claude"

BEEQUEEN Music For The Head Ballet (Infraction) cd 11.98

BEEQUEEN Ownliness (Infraction) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Beequeen is but one of the many sides to Frans De Waard - the Dutch vangardist who has also explored post-techno minimalism in Goem, blissful guitar drone work in Shifts, musique concrete in Kapotte Muziek, and about a half-dozen other smaller projects. As with all of those aforementioned projects, De Waard typically follows the lead of a 'trendy' line in experimental music -- PanSonic, Main, Pierre Henry, etc. For Beequeen, it's a little more vague, originally taking off from the Legendary Pink Dots (as De Waard met fellow Beequeen member Freek Kinkelaar out of their mutual admiration of Ka-Spel and Co.), but more recently picking up cues from the Temporary Residence aesthetic of quiet guitar led introspection and moody post-rock atmospheres espoused by Sonna and Tarentel. As with the majority of the De Waard projects, Beequeen mimics its influences remarkably well.
RealAudio clip: "My Wicked Wicked Ways"
RealAudio clip: "Beam Ends"

BEEQUEEN Sandancing (Important Records) cd 14.98
Frans De Waard and Freek Kinkelaar have been very active in the Dutch experimental sound community for well over two decades in far too many projects to count. Beequeen was one of those projects, having originally producing some lovely post-Eno driftwork ambient pieces; yet, over the past three album, De Waard and Kinkelaar have steadily pulled atmospheric songs and folk structures out of that ambience. Sandancing is the latest venture and really seems to be mining the same skeletal songwriting as Low had on Secret Name. It doesn't hurt that the two have recruited vocalist Olga Wallis to join their project, as she's got a voice eerily similar to Low's Mimi Parker.
MPEG Stream: "Breathe"
MPEG Stream: "The Honeythief"

BEEQUEEN The Bodyshop (Important) cd 13.98

MPEG Stream: "Sad Sheep"
MPEG Stream: "The Dream-O-Phone"

BEHEMOTHAUR Darkcrystal (200mg) cd-r 8.98
It's funny that we mentioned the Dead C in describing the last blackened missive from the mysterious outfit known as Behemothaur, since we later discovered that there was in fact a definite New Zealand noise rock connection. Some very well know dudes from some very well known NZ outfits (well, at least around here) apparently spend their nights lurking in caves, and in dark woods, performing unholy blacknoise rituals, the latest of which is presented here in all it's filthy, hellish buzzing droning noisedrenched glory.
While Behmeothaur is presented as a sort of outsider black metal project, they really hew closer to good old noise rock, or some sort of post industrial freerock. The darker dronier tracks sound a lot like the various members musical day jobs, soundscapes of rumbles and whirs, shimmering and throbbing expanses of crumbling low end, the sound that has become ubiquitous among cd-r labels. That said, these guys do add some blackness, some serious grimnity, their own take on the abstract drone is appropriately dense and heavy.
Then there's the other side of the band, their more 'rock' side, more abstractly 'metal', and this is where the bands NZ noise lineage really shows. Huge grinding slabs of blown out, slightly blackened lurching noise rock, the guitars ugly filthy squalls, the bass a rib cage rattling throb, the drums blown out and chaotic, the entire sound so in the red, the production sounds like another instrument, the Dead C are of course an obvious comparison, so is Wolf Eyes, a massive crumbling noisy doomy dirge.
The band do spit out a brief blast of buzzing blackness near the end of the disc, but even then it's so doused in fuzz and hiss the fidelity is so low, that again it ends up sounding like some super obscure nineties noiserock outfit, albeit with some definite blackened tendencies.
Awesome stuff, just fair warning to black metallers to be prepared for some abstract noise, but the rest of you, who are into all that sort of cd-r style droning and bashing and buzzing, this will obviously, and summarily kick your ass.
LIMITED TO 100 COPIES! Packaged in a cool oversized screenprinted cardstock sleeve, with creepy red ink blood splatters all over the front, inside a 12 page printed black and white booklet packed with creepy images and some liner notes.
MPEG Stream: "Deadchant I"
MPEG Stream: "Thenameofthesilenthorizon"

BEHEMOTHAUR Necroglacial Enema (Faunasabbatha) 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.
In a world full of tiny labels, it takes a lot to stand out, whether it's some amazing and mysterious sounds or super unique and hand made packaging. And if anything RuralFaune as shined in both respects, a crazy collection of some of the weirdest noisemakers in the world, and some seriously amazing, and in many cases, fragrant, packaging. Hand printed, painted, folded, pasted, held together with string or wire, often filled with branches or flowers, scraps of paper, seeds or bits of plant matter, many of them very strong smelling, all of them amazing.
Well, Bruno, the man behind RuralFaune, was really getting into heavy music, and decided that maybe RuralFaune was not the place for such musics, so he started FaunSabbatha, a new label dedicated to heavy, creepy, dark music, metal, metallic, or just plain evil. Four new releases, each one outrageously limited, gorgeously hand packaged, and gone before you know it.
The first in the series comes from the very strangely named Behemothaur, and their even more strangely named record Necroglacial Enema. With a name like Necroglacial Enema, you might expect this to be a joke, some sort of goofy pisstake on black metal, but there's nothing finny about these three songs. All three are dense and heavy and noisy and chaotic. The opener, the shortest of the three, clocking in at 8+ minutes, is the noisiest of the bunch, the drums blown out and in the red like a rehearsal recording, the guitars moaning and keening, lots of crumbling low end and squealing feedback, there might be riffs but if so, they're hard to follow, instead it sounds more like some noise rock blow out. Dead C, Harry Pussy, locking into stumbling jams, hurling cymbals, blowing speakers, all maybe wreathed in just a bit of murky blackness.
The second track, clocking in at a whopping 21 minutes, is a strange looped guitarscape, coruscating angular chiming crunch, looped into grinding arcs of moaning guitar howl, like jagged shards of Keiji Haino blow outs hurled into an expense of noise rock sprawl, a furious roiling concoction of psychedelic skree and smoldering deconstructed riffage, that eventually gives way to a surprisingly serene stretch of murky whir.
The closer is another downtuned noise rock murk fest. This one WAY heavier on the low end sprawl, lots of crashing percussion, splattery snare, cymbal sizzle, all draped over a slow lava-like crawl of doomy riffage, and all of THAT, wrapped in thick swirls of crumbling distortion.
While this is definitely heavy, it seems like this stuff might be a bit abstract for most metalheads, but fans of stuff like Heavy Winged, White Heaven, Fushitsusha, Dead C and the like will most likely dig big time!
SUPER LIMITED. ONLY 73 COPIES!!!! Packaged in a full color, oversized jacket, with a full color insert, housed in a plastic sleeve, with two crossed twigs like nature's crossbones!
MPEG Stream: "Discombulated By Blasphemy"
MPEG Stream: "Necroglacial Enema"

BEHRENS, M. Contraction (Digital Narcis) cd 17.98
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After a handful of releases on Bernhard Gunter's label Trente Oiseaux, M. Behrens turns to the exceptional Japanese label Digital Narcis. Here his precessed environmental recordings take on a particularly artificial quality through a use of digital distortion and timestretching, altering the exaggerated microscopic striations and air-duct drones to otherworldly sounds, beyond the original sources of frogs, insects, and owls. 'This new Behrens is the best work I've heard from him to date!' - Vital Weekly / Staalplaat

BEHRENS, M. Elapsed Time (Intransitive) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
For his "Elapsed Time" album, the German ultra-minimalist Marc Behrens uncovered a handful of his old cassettes of field recordings and compositions for analogue synthesizer, which he then ran through his current studio set up of digital signal processing. The original recordings date back to the late '80s and early '90s when Behrens had begun to wonder if the technology that he had been using for his recordings may have been the by-products of the military-industrial complex, and thus his responses and applications of his equipment were imbued with a rising paranoia. These reprocessed compositions for "Elapsed Time" draw heavily from Behrens' paranoia with an opening track of very quiet tremolo droning with randomly shifting tones, sounding like one of Maurizio Bianchi's late-period albums played very quietly down a long hallway. Behrens' field recordings are quite often documentations of active spaces in which he was smashing glass, hammering a large piece of metal on the floor, or dragging the piece of metal through the smashed glass, recalling the physicality of Z'ev, Test Dept, and Einsturzende Neubaten. These recordings had been chopped up with eerie Francisco Lopez grey drones, fragments of silence, and an occasional Otomo Yoshihide slow-motion turntablist backspin.
Behrens' has done well to keep his original intent of manifesting a paranoid listening environment with the original recordings, but some of the recordings do show their age from time to time (especially the sporadically used but sorely out of place Arp synth). Certainly recommended to those fans of current ultra-minimalism who have a healthy appetite for the cut-up experiments from the Industrial Culture.
RealAudio clip: "Elapsed Time 1"
RealAudio clip: "Elapsed Time 5"

BEHRENS, M. Integracao (SIRR.ecords) cd 16.98
The title "Integracao" translates from Portuguese as "Integration," which is the title of a series of microsound performances by Michael Behrens, in various locations around Europe during the past couple of years. In each successive performance, he would add material culled from field recordings of the locations where he was performing; yet, the focal elements of this series were a set of digitally manipulated recordings that Behrens made by shaking some small trees and saplings. Using various frequency and gate filters, these recordings become spiked clusters of miniscule noise events which pop into the foreground, above distant acousmatic washes and environmental rumblings. After a lengthy bit of these digitally reconstructed field recordings, Behrens gets incredibly quiet, sounding much like Gunter's "Details Agrandis", marked by extended periods of inactivity that abruptly end with tiny pricks echoed by distant drones. The album ends a little awkwardly with down pitched versions of those tree recordings looped into glitched rhythms that don't quite have the subtle multi-dimensionality of Carsten Nicolai. But quite nice nonetheless.
RealAudio clip: "Peripheral Molds"
RealAudio clip: "Integration Of Silence"

BEHRENS, M. Security vs. Freedom (edition...) 2x3"cd 14.98

BEHRENS, M. Transition (edition...) 2x3"cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As on the preceding album "Elapsed Time" for Intransitive Recordings, German composer M. Behrens has been digging through his archival recordings and digitally reworking them. Lately, Behrens has been veering away from the delicate minimalism of his earlier work (paralleling Francisco Lopez and Bernhard Gunter), in favor of the jump-cut collage techniques employed back in the '80s by The Hafler Trio, in order to articulate a decentralized narrative through the fragmentation of time and space. Behrens' retro-grade shift is like the lowercase equivalent to electronica groups like Adult. and Fisherspooner reclaiming 'new wave'. Across this double 3" cd, Behrens contextualizes an ever shifting series of manipulated field recordings into densely collaged material with abrupt cuts between all of his transient sounds. Thus, fluctuating time-stretched textures are coupled with deep low end rumbles before Behrens forces them into muffled environmental recordings, or blisters sound from turntable grit into explosive screeches and turgid blasts of noise. Beautifully packaged, as with all of the Edition... releases.
RealAudio clip: "Decaying Study 1"
RealAudio clip: "Statics"

BEHRENS, MARC & PAOLO RAPOSO Hades (And / OAR) cd 13.98
Sourced from recordings made aboard Lisbon ferries and at the quays of Cais do Sodre (one of the neighborhoods in the Portuguese capital), Marc Behrens and Paolo Raposo have constructed an allegorical set of compositions on Hades that intentionally mirror the mythological journey in crossing the River Styx. According to the ancient Greek beliefs, Styx was a border between the Underworld and Earth; and a ferry was the only means of transportation across the river. When put into a modern context of sound art and field-recording based collage, quotidian sounds sucha as the rumble of a diesel motor as it spews crusty exhaust and the creaking of the hull against the pier takes on a much more profound significance. Behrens and Raposo have done quite a good job in highlighting particular sounds, frequencies, and vibrations from the aquatic journey in traveling through Lisbon by way of boat, as a way of transforming that experience into a sombre event of mournful bellows and anguished sighs. Yet on occasion, Hades becomes agitated with rasping clatters of mechanical noise, alluding that the end of life is certainly not an easy journey. For an album about such a portentous subject as death, Behrens and Raposo do well to concentrate upon their sounds through the lens of a minimalist conceptual framework and allow the mythological and allegorical images to flow around their well-grafted sound.
MPEG Stream: "Gate"
MPEG Stream: "Crossing Into Hades"

BELFI, ANDREA Between Neck And Stomach (Hapna) cd 16.98
So many good releases on the Swedish label Hapna, it's hard to keep up! But we didn't want to overlook this one, 'cause Italian experimentalist Andrea Belfi is one half of the duo known as Crista Pfangen, whose Watch Me Getting Back The End, an album of (in our words) "fragmented yet melodic, experimental avant-indie pop", appeared earlier this year on Die Schachtel, and got a big thumbs up from us.
As a solo artist, Belfi delves here into a weird (but successful) conceptual minimalist electro-acoustic experiment based around something about making music from ordinary household sounds. Hmm... it's an interesting house Belfi must live in! It's a dwelling of gentle drones, glitchy mystery, and shimmering, skitteringly propulsive percussion (sounding at times not unlike that recent excellent Tarentel double cd). And the neighbors doing strange things upstairs, moving furniture and stuff. Field recordings, electronics, vague voices, and regular ol' instruments mesh into a lovely bit of work here. Definitely worth investigating especially if you're into the Italian scene populated by Belfi's pals like 3/4hadbeeneliminated, Stefano Pilia, Giuseppe Ielasi, etc.
MPEG Stream: "Extraevil"
MPEG Stream: "Sleeping With Extraevil"

BELL, NATHAN @2640 (West Main Development) cd-r 9.98
Another solo outing from a member of the mighty Lungfish, and another disc of looped repetitive transcendental mesmer. First Daniel Higgs, then Asa Osborne's Zomes, and now Nathan Bell, how these guys ever put together an actual ROCK band we'll never know, we'll blame it on the drummer for now, at least until he comes out with some insane raga drone solo record, then we just give up.
It makes sense though as Lungfish songs weren't like normal songs, they were like minimal loops writ large, expanded into hypnotic epics, the band locked into an incredible groove, while Higgs does his thing over the top. But it becomes more and more apparent, that all the various members of Lungfish had a thing for minimalism, for drones, ragas, for repetition, and thus we have Nathan Bell's @2640. Recorded in a massive crumbling old cathedral, plugged into a blown out amplifier, these four tracks, while played on the banjo, don't sound country, or bluegrass, or even remotely twangy, in fact they don't really sound like they were played on a banjo. The notes have a sharp attack and a quick decay, but the massive space helps them stay afloat a bit longer than normal, Bell's arrangements and compositions offering nods to Reich and Riley, the pieces nearly static, a simple melody wound up within the endless repetition. So simple and gorgeous and absolutely mesmerizing. If you dug the Higgs solo records and the Zomes, you pretty much need this too.
Limited cd-r, in a hand screened fold over cardstock sleeve with a printed insert. And of course, as always LIMITED!
MPEG Stream: "Moonsblood"
MPEG Stream: "Devil's Breath"

BELLOWS s/t (self released) cd-r 8.98
They had us at DOOM BAND, NO STRINGS. Just drums, sax, and TUBA. That's IT. FUCKING tuba and sax, seriously, no guitar, no bass, just two horns and a drum kit, and these guys kick up a sound that dwarfs plenty of bands with axes to spare. Bellows is the perfect name for these guys, cuz the lungs on these guys must be like bellows, the horns moan and howl, the sax especially, the lead instrument, is wrapped in effects, and essential lays down some wailing, FX drenched, leads, that squeal and howl, the bands lock into killer lurching groove, the tuba, letting loose with an elephant roar low end, the sax just as often laying down a weird sheet of hiss or washed out drone, sometimes so effected it sounds like some fucked up synthesizer. And the drums, heavy and chaotic and mathy, the band locked into lurching lumbering dirges, post rocky workouts, and full on noise rock freakouts. It's a little like a marching band gone over to the darkside, some sinister assembly held in the deepest recesses of hell. The vocals are also bellowed, distorted and growled, venomous and malevolent, giving the sound a distinctly nineties East Coast noise rock Cop Shoot Cop sort of vibe. There's always a groove, but it's typically a woozy doomic one, the drums driving the sound big time, but those horns are just insane, some of the sounds they get out of 'em, on "Haunts" it's all drums and tuba, while the sax unfurls a creepy minor key melody, over and over, so hypnotic, before the track breaks down, and the low end is transformed into what sounds like a choir of throat singers, while the sax bleats and trills, and the drums just bludgeon.
There are moments, where the sound borders on jazzy, it's sort of unavoidable, but we're talking face melting Brotzmann style jazz, and that jazziness is inevitably all filtered through some crusty, creepy, blown out super distorted space doom filter, that makes these guys sound absolutely like no one else, and just as often as it gets jazzy, it gets something else, "Story Of A Giant" is all spaced out and almost waltzy, and there's no way you could tell the instrumentation, the sax unfurling shimmery psychedelic clouds of tangled melody, the tuba a thick bass throb, all wrapped in a druggy haze, and on the record closer, "Half-Life", the sax is super processed and becomes some fractured angular noisemaking machine, leading the group into an extended drone-out, all long tones, chanted vocals, swirling effects, total psych drone trip out, before finally slipping into a woozy jazzy outro, and finally a crushing chugging closing burst of ultra distorted crunch.
Fuck yeah. Came close to making this a fourth Record Of The Week!
MPEG Stream: "Haunt"
MPEG Stream: "Scratching The Wrong Itch"
MPEG Stream: "Story Of A Giant"

BELONG October Language (Carpark) cd 16.98
Belong, belong (couldn't resist) in a world of washed out sound, faded memories and blistering layers of sound. Imagine the warm crackles of Endless Summer era Fennesz, a touch of Godspeed You Black Emperor aimed at monumental peaks and valleys, a Flying Saucer Attack eyes half closed eyes half open delivery with a My Bloody Valentine shimmering layer of sound thrown in for good measure. A duo from New Orleans, Belong do a really nice job of taking from their influences but also having their own unique take on the whole gauzy smeary ambient free noise sound. Their take being a thick heady blast of sound that doesn't at all lose any of its gauzy dreaminess. October Language is that great kind of record that can take on different lives when played soft vs. loud. It allows you to enjoy it quiet, as a textural layer that you can dream beneath or drift away on top of. Or you can blast Belong and they'll take you out of your dreams, and your head and into another state completely. So nice!
MPEG Stream: "I Never Lose. Never Really."
MPEG Stream: "October Language"

BELONG October Language (Geographic North) lp 14.98
Finally this blissed out dreamy drone-y aQ favorite is available on vinyl!!
Belong, belong (couldn't resist) in a world of washed out sound, faded memories and blistering layers of sound. Imagine the warm crackles of Endless Summer era Fennesz, a touch of Godspeed You Black Emperor aimed at monumental peaks and valleys, a Flying Saucer Attack eyes half closed eyes half open delivery with a My Bloody Valentine shimmering layer of sound thrown in for good measure. A duo from New Orleans, Belong do a really nice job of taking from their influences but also having their own unique take on the whole gauzy smeary ambient free noise sound. Their take being a thick heady blast of sound that doesn't at all lose any of its gauzy dreaminess. October Language is that great kind of record that can take on different lives when played soft vs. loud. It allows you to enjoy it quiet, as a textural layer that you can dream beneath or drift away on top of. Or you can blast Belong and they'll take you out of your dreams, and your head and into another state completely. So nice!
MPEG Stream: "I Never Lose. Never Really."
MPEG Stream: "October Language"

BELONG Same Places (Slow Version) (Table Of The Elements) 12" 17.98
There have been a whole bunch of killer installments in Table Of The Elements' recent guitar based series of one sided 12"s: Oren Ambarchi, Lee Ranaldo, Jon Mueller, but this is the one everyone seems to have been waiting for.
Especially considering what went on with the last belong 12". We sold out in a flash, got more and then sold out again, we couldn't keep that in stock. Well, we're happy to report that this latest is just as good if not better. Whereas the other 12" was all covers, the single looooong track here is an original and it's a doozy. A warm, washed out, dreamy, delicate, gauzy blurred woozy drift of pixilated sound. Jeck, Tim Hecker, Fennesz, all those guys have nothing on Belong. If anything, Belong take those sorts of sound and transform them into something more organic, more amorphous. "Same Places" sounds almost like actual people playing actual guitars, instead of something assembled on a computer. Layered and dense, the melodies obscured by thick swells of fuzzy whir, the fact that this is the "slow version" does explain how gorgeously glacial it sounds, and how many of the tones do sound like someone with their finger on the vinyl slowing the record player down to a crawl, but all that does is let the lowend sprawl, the melodies become even more abstract, pulled apart, and slowed down to the point where their constituent parts almost separate and drift away, almost. Instead, it's an underwater whirl, everything shimmery and indistinct, the sound as you sink deeper and deeper into the abyss, but instead of getting darker, the sounds begin to glow from within, bathing you in their unearthly light. So totally gorgeous.
Pressed on thick clear vinyl. One sided, the other side with a super bad ass etching by Savage Pencil, housed in a thick vinyl sleeve, and of course, as always LIMITED!

BENEATH THE LAKE Inside Passage (Glass Throat) cd 10.98
Beneath The Lake is the new ambient drone project of Nicolas Lampert, who was one third of AQ faves Noisegate, a bay area crusty, death-drone-ambient project with two records out on Andee's tUMULt label. Beneath The Lake finds Nicolas and new partner Dave Canterbury exploring similar sonic space as Noisegate did on their last full length 'Suspended Animation', but with more emphasis on the nature of sound and a much more dense and heavily layered approach. Utilising cello, guitar, pedals, processors and environmental recordings of sea lions, water, whales, wasps, wolves, owls and wind, Beneath The Lake manage to create rumbling pulsing drones that feel somehow alive, with organic thrum and cavernous shimmers, sounds slipping in and out of the sonic landscape, sparse and desolate one moment, lush and overpowering the next. Haunting and chillingly beautiful. One of our new favorite drone records.
RealAudio clip: "Water"
RealAudio clip: "Inside Passage"

BENEATH THE LAKE Silent Uprising (Glass Throat) cd 13.98
This is record number two from Beneath The Lake, whose first record from 2002, Inside The Passage, was a huge hit around these parts. BTL is made up of Nicolas Lampert, who was one half of Oakland ambient terrorists Noisegate, who released two records on Andee's tUMULt label, and Dave Canterbury who is a fixture of the noise underground performing as Wage Class Slave. Beneath The Lake is a project based on creating soundscapes combining minimal ambient music and found sounds, with an emphasis on composing the music to compliment the sounds instead of just using the sounds as a backdrop. Where their first record focused more on nature, Silent Uprising shifts the focus a bit more toward the increasing influence of the urban landscape as cities continue to encroach on nature and change the balance forever. The record begins with the clatter of trains rushing past, the receding sound of the train is soon joined by a simple strident guitar riff, accompanied by a mournful wooden recorder. The two drift and shift and slowly build in intensity. Very reminiscent of Neurosis at their most mellow, surprisingly enough. The riff shifts and twists, shadowed by the recorders melodies eventually being joined by the sound of another train and eventually being drowned out by the roar of the wheels on the tracks. The second track is a simple, gorgeously melancholy guitar melody, slowly and deliberately picked, over a bed of crackly static that could be either the sound of rain falling or the crackle of a fire, or both. The sound on Silent Uprising is much more musical than on Inside The Passage with the drone being relegated to just one of many instruments / approaches as opposed to the very dark and slow shifting all encompassing drone of the earlier record. Here, it's -that- guitar, all dark and shimmering and reverberant, and the brooding slow building melodies that creep across the sonic landscape. It sometimes almost sounds like the slow core of Low being performed in a steel mill or a rail yard, the band struggling to be heard over the sound of rain and wind and trains and passing cars. Strangely powerful and poignant. Packaged in a gorgeous oversized sleeve with breathtaking images of winter foliage and urban landscaapes, printed in all muted browns and tans. So lovely.
MPEG Stream: "Empty Highway - Highway / City / Sheep"
MPEG Stream: "Fire And Rain - Rain / Rattlesnake / Thunderstorm / Owl"

BEPLER, JONATHAN Cremaster 2 (Bepler) cd 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Glacial drones, beautifully sung songs by/about a notorious killer, thousands of buzzing bees and a death metal cameo...all are elements of this gorgeous and bizarre soundtrack to one of the weirdest and biggest budget art/film projects ever, Matthew Barney's million-dollar "Cremaster 2".
We were lucky enough to get a hold of some copies of the rare soundtrack composed by Johnathan Bepler. For the most part, Bepler layers multiple atonal church organ chords with varying effects that tweak the underlying sound. The Mormon Tabernacle Choir makes an appearance as does some digitally bent country twang. But the mindblowing highlight (both here on the cd and in the film) is the massive blastbeat provided by ex-Slayer drummer Dave Lombardo as Morbid Angel's bass player and vocalist Steve Tucker sings into a phone while cloaked in bees, who also contribute much buzzing to the wall of sound.
Barney's "Cremaster" series is arguably the most important work to emerge from the artworld in the past decade. To discuss in depth Barney's convoluted symbolism and bizarre Lynch / Cronenberg / Greenaway imagery would take up far too much space even for this increasingly verbose new arrivals list, but we'll attempt a brief introduction for the uninitiated: Barney's sound / film / installation pieces are poetic and difficult allegories, centered on the growth of human sexuality and its psychological implications. "Cremaster 2" is actually the fourth in a five part series (the order went 1, 3, 5, and then 2), and is, quite crassly put, a really good dick joke. More critically put, Barney abstracts the life & times of the serial killer Gary Gilmore to portray an archetype for a pre-linguistic male figure who lacks the super-ego control over the id's proclivity for sex & violence.
Music has always played an important part in the Barney work, and Jonathan Bepler's score for "Cremaster 2" certainly does its best to support Barney's complex visual elements. If you haven't seen the film, this soundtrack will make you want to.

BEPLER, JONATHAN Cremaster 3 (Bepler) 2cd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Without getting too much into the meta-narratives of Matthew Barney's masterpiece "Cremaster 3" which loosely has something to do with the history of Freemasons, the Guggenheim Museum, macho-minimalist Richard Serra hurling vaseline, a punk battle of the bands between Murphy's Law and Agnostic Front, video games, and multiple references to Chrysler (both the car and the building). However, we can get a little worked up about the "Cremaster 3" soundtrack composed by Jonathan Bepler (who scored the two preceding films "Cremaster 5" and "Cremaster 2.") Yes, the numerical sequencing of this series is supposed to be out of order, merely one of many convolutions of logic. As in "Cremaster 2," Bepler masterfully constructs his soundtrack out of pre-existing musical genres and recognizable codifications of sound. Gaelic bagpipes blurt a dissonant stream of polyphonic notes, theremins sadly pull a solitary croon from the ether, violins glide through sustained tones, lurid artnoir grooves further corrode Barry Adamson's dark application of be-bop, and the drones, oh the drones. Much like the Alan Splet score for David Lynch's "Eraserhead" and even some of the later Ligeti chorale pieces, Bepler dissolves all of these references into pools of droning sound which allow him to fluidly work in and out of the huge pastiche. As before, Bepler's work is totally amazing.
RealAudio clip: "Chrysler Chorale Overture"
RealAudio clip: "Initiate's Serenade"
RealAudio clip: "Crown's Overture"
RealAudio clip: "Rainbow Girls Idyll"

BERAN, GRANT The Another Ones (Postmoderncore) cd-r 14.98
Any record bearing the legend: "All the music on this cd has been created using a very old record player, second hand microphones, discarded tape recorders and various bits of wire" pretty much has to be good. Well okay, maybe HAS TO is exaggerating, but at the very least that sort of description is enough to get us very intrigued.
And in this case, it is good, but at the same time nothing at all like we were expecting.
We had imagined some sort of washed out Philip Jeck style drones, or pixelated Tim Hecker-ish soundscapes, or even the sort of crackling slow decay of William Basinski's tape pieces, but instead, Grant Beran has taken old records and some junky beat up equipment and used them to create surprisingly rhythmic tracks, utilizing various cracks and pops, and skips to fashion almost-grooves, like a lo-fi DJ Shadow sort of. The opener is all fuzzy and buzzy, but with a super driving beat, a skipping record looped into a hypnotic groove, a little bit techno, a little bit hip hop, a little creepy Goblin soundtrack, and a lot fuzzed out turntable buzz. It's not hard to imagine some clever DJ adding huge beats to this and you'd have the most fucked up lo-fi dancefloor jam ever. But we don't want to exaggerate the 'dance' aspect, it's more like the soundtrack to some lost John Carpenter movie, dubbed from VHS to VHS to home stereo to microcassette recorder until it ended up sounding like this, groove and fuzzy and murky and awesome!
The second track is much more moody and atmospheric, the rhythms an afterthought, that seem to surface randomly, while the meat of the track is deep sonorous tones, throbbing and distorted, woven into some low end melody. The rest of the record is split pretty evenly between hushed whispery ambient drone, and weirdly distorted lo-fi grooves, standout's include the buzzy electro jam of "The Man In The High Castle", the cinematic krautrocky murk of "Double Star", the almost Chain Reaction dub of "Star Collector" and the droney buzz and grind of "Gleanings".
Falling somewhere between experimental turntable soundscapery and a moody cinematic DJ record, Beran has skillfully woven sonic straw into fuzzy, stuttery, groovy gold, taking turntables and dreamdrone ambience into rhythmic places until now, as far as we know completely unexplored! WAY recommended.
MPEG Stream: "My Own Private Tokyo"
MPEG Stream: "Sci-Fi Lullaby"
MPEG Stream: "Here At The Western World"

BERKOWITZ LAKE AND DAHMER Contraception of the Gods (Fflint Central) cd-r 9.98
Yet another slab of crunching, crushing electronica from our friends at Fflint, brought to us (of course) by the so far infallible Berkowitz, Lake and Dahmer.
This time it's all about the drone, and no one here at AQ can argue with that. While some of the stuttering skitter and jagged glitch remain, they are surrounded by and occasionally overtaken by washes of speaker melting hum and foundation rattling rumble. Fucking amazing.
RealAudio clip: "Skeletal Articulation"
RealAudio clip: "Tones In Red"

BERKOWITZ LAKE AND DAHMER Drain Salmon Forgery (Fflint Central) cd-r 9.98
Fflint Central is a U.K. label run by two extraordinarily nice guys and darn fine hosts (good enough to befriend a sick and bedraggled on-tour Andee and buy him Cokes). Fflint specializes in experimental electronics and harsh abstract noise. One would think that there's enough, or too much of both, but the men from Fflint have that something special (fuck-you attitude? undefinable sound? sense of humor?) that makes these records way better and way more interesting than the majority of the 'electronica' we hear these days. Fans of VV/M, Lesser and other 'troublesome' electonica will dig this stuff. Affordable CD-Rs. Go ahead and take a chance. You may regret it...
Besides having the greatest band name ever, BL&D whip up a malfunctioning maelstrom of stuttering, fuzzed out synth and hiccupping bursts of skull pounding glitchery.
Sputtering clicks and oscillating low end rumbles are draped over chest rattling modulated pulses, creating some of the fiercest, coolest experimental electronica we've heard in a while. Like music for that video game the devil forces you to play in hell, for eternity. Awesome.
RealAudio clip: "Homunculus"

BERKOWITZ LAKE AND DAHMER Lunge Howler e.p. (Fflint Central) cd-r 7.98
Fflint Central is a U.K. label run by two extraordinarily nice guys and darn fine hosts (good enough to befriend a sick and bedraggled on-tour Andee and buy him Cokes). Fflint specializes in experimental electronics and harsh abstract noise. One would think that there's enough, or too much of both, but the men from Fflint have that something special (fuck-you attitude? undefinable sound? sense of humor?) that makes these records way better and way more interesting than the majority of the 'electronica' we hear these days. Fans of VV/M, Lesser and other 'troublesome' electonica will dig this stuff. Affordable CD-Rs. Go ahead and take a chance. You may regret it...
Record number two from the brilliantly named BL+D. This is a little more droney and hypnotic than the first Berkowitz record, but equally as fucked.
Spazzy organ solos degrade into super distorted, hypnotic pulsing, slowly evolving like a Charlemagne Palestine piece, albeit with a full battery of broken down machinery, malfunctioning effects, and distorted alien transmissions. Noisey but still musical, BL+D are like a thinking man's VV/M.

RealAudio clip: "Tinklebox"

BERKOWITZ LAKE AND DAHMER Tar Weasels (Fflint Central) cd-r 9.98
It's been almost three years now since our little musical community has been terorrized by everyones favorite serial dronesters Berkowitz Lake and Dahmer. And once again, the guys at Fflint Central, our favorite UK electronic / experimental / noise / drone label, have come up with an absolute killer (um...pun intended actually). BLD just so happens to be the duo of Barry and Tim, the men behind the Fflint curtain, and so it makes sense that BLD are probably the most musically powerful and fully realized Fflint entity. Tar Weasels is as good as anything BLD has done, the difference this time around, being that there seems to be much more of a focus on melody and texture, melodic swells, dreamy drones, gone are much of the abrasive noise and squelchy rhythms of past releases, with Weasels being a far more tranquil affair. There are rhythms, but they tend to be minimal little seismic events, or squeaking alien weirdness, present, but only in the background, while in the foreground, the world is a slow motion snapshot of an alien landscape, all shifting swirls and slow building swells, ambient, but an active ambience, static sheets of drone demarcated by little sonic imperfections, somehow wrangled into a marked musical path, guiding us through a dense and darkened world of crumbling drones, and billowing waves of rumble and rattle, a murky otherworldly vacuum, where each sound is frozen in time, and then hurled into a black hole, but instead of being swallowed up and lost, each sound is stretched into infinity, every sound pulled apart and stacked into a single, slowly slithering, gorgeously thick shimmer, occasionally cracking, sonic shards dropping onto the surface below, creating more barely-there, off kilter rhythms for BLD to bury under their warm thick blankets of bowed drones and reverberating fuzz. What else can we say at this point? If you're already a member in good standing in the church of Fflint, then you already know you need this latest Fflinty sacrament, and it you have yet to be converted, well, you can only resist for so long...
MPEG Stream: "Sky Burial"
MPEG Stream: "Cinnabar Grove"

BERKOWITZ, LAKE AND DAHMER Missionary District (Fflint) mp3-cd 6.98
Berkowitz, Lake & Dahmer have easily become our new favorite electronica renegades (having easily overtaken V/Vm, what with being more musical and less annoying (just barely) and not so concerned with inane 'concepts'). The 'Missionary District' cd is their newest offering and is only available though Aquarius. But be warned, it's not a normal cd, it's a rectangular credit card sized mp3 cd-r(om) with the new record, and a ton of other Fflint propaganda and goodies on it, and is only playable on your computer!!! That said, this is their best yet, weird and grating and beautiful and baffling. Since I don't have the technical know how to make these mp3s into real audio samples, i'll just describe each song for you in a sentence:
1. an indian soundtrack being overtaken by a bleeping hyper distorted techno marching band.
2. grinding scraping pulsing drone, like a small village being over run by snakes made out of bowed cymbals and broken samplers.
3. hissing ambience created by a choir of traecheotomy patients w/intercepted short wave transmissions interrupted by gunfire, only the bullets are Masonna cassettes.
4. skittery but smooth. like someone drugged Boards of Canada and then pushed them down the stairs, while outside BL+D tried desperately to start the getaway car.
5. shortwave, high pitch skree like a Skullflower / Sun City Girls pool party.
6. like laying prone in a pool of Rephlex 12"s while hundreds of 'electronica artists' piss on you from above.
7. ultra harsh noise over a strange man humming into a broken telephone, while Glen Branca and his orchestra try desperately to compete in the background.
8. unwrapping cellophane candies in a hyperbolic chamber, while little girls in tap shoes run laps around the room.
9. pipe fight and synthesiser fight double tag team. broadcast through a toy megaphone set on 'monster'.
So definitely, if you've bought anything or everything on Fflint, then this is obviously essential, and if you haven't yet, what the hell's wrong with you?! This is as good a place to start as any. Fucking great!

BERKOWITZ, LAKE AND DAHMER Without Chemicals He Points (Fflint Central) cd-r 9.98
The mighty Fflint Central again prove that they have cornered the market on subversive (and intelligent) electronic fuckery in the UK. Why listen to the retarded antics of V/VM or the pedestrian downtempo dreck of Boards Of Canada when you can get the best elements of both AND THEN SOME from almost any band in the Fflint stable?! The return of the 'killer' electronica threesome (actually a twosome, like the 3 piece Thompson Twins) and their imbalanced, dangerous and baffling electronica. Balancing noise and melody, BL+D craft noisy epics, with gurgling, sputtering synths, purloined Middle Eastern melodies. distant rumbles, screeching high end crunch, chopped and shuffled 20th century classical, ultra-abstract musiqe concrete, bursts of face melting noise, running water framing delicate far-away melodies, totally nonsensical, epileptic drum programming, and more strange and beautiful sounds than any two guys should be able to produce. Gorgeous, challenging, intense and completely original. If there was any justice in this world, Berkowitz, Lake + Dahmer would be the jewel in someone's electronic crown (Warp, Skam, Lo, etc...) They'll just have to settle for Andee's tUMULt label, who will be releasing their first non cd-r release towards the end of the year. In the meantime, don't miss out. You know you want to be able to say 'Oh yeah, I was into BL+D way back in February!' SO RECOMMENDED.
RealAudio clip: "Blighted Sump"
RealAudio clip: "Cyan Krilp Vipers"
RealAudio clip: "Graphic Tanquiliser"

BERNSTEIN, DAVID W. (EDITOR) San Francisco Tape Music Center: 1960s Counterculture And The Avant-Garde (UC Press) book+dvd 26.00
We apologize to tape music buffs near and far, but we shamefully snoozed on reviewing this awesome book about this music movement's seminal Bay Area based hub back in June of this year when it was first published. We thought that now would be a good time (what with the holiday gift-giving season just around the corner as well as the chillier stay-inside-with-a-good-book autumn and winter months) to give it a good ol' shout out! Better late than never, right?
Those already well acquainted will need no further explanation, but for those unfamiliar, in a nutshell, the San Francisco Tape Music Center was a vital cultural and educational meeting ground of adventurous pioneers in audio arts and science. The sonic explorations of composers Morton Subotnick (who performed an in-store presentation here a few years back), Steve Reich, Ramon Sender, Don Buchla, Pauline Oliveros, Terry Riley among others produced some of the most stunning and influential avant-garde sounds of the period in an utterly unassuming locale right here in SF. This creatively tangled web of tape-loop and tape-delay, analog synthesizers and various other electronic tentacles came into fruition back in the early '60s. These days, having been schooled by the wonderful reissued works of numerous seemingly like-minded audio renegade technicians of the BBC Radiophonic Workshop (Daphne Oram, Delia Derbyshire, John Baker to name a few), we still can't help but conjure images of the electronic music artists of that decade donning lab coats with pocket protectors and bespectacled consternated gazes, but this 344-page book reveals just as much the kaleidoscopic opening of minds induced by sound (and in some cases substances). In fact, for those of you who were captivated by the revelatory glimpse of the LA counterculture in the '60s courtesy of the recent Source Family book (The Source: The Untold Story Of Father Yod, Ya Ho Wa And The Source Family), this serves to some degree as a Bay Area counterpart (albeit perhaps somewhat less Hollywood tabloid scandalous). It's the first ever first-person retrospective of the SFTMC. Many a fond memory and occasionally a hair-raising tale were unearthed for this tome. Our current favorites include one involving wild escapades to keep the center afloat on a less than shoestring budget as well as a desperate search across a floor/sea of tape edit detritus to find an errant single note snippet using a dismantled reel-to-reel playback head!
An inspiring, fascinating and often entertaining document of interviews with and essays by all the key figures and more. This 322-page softcover tome is also packed with color and black & white photos, diagrams, drawings, and a comprehensive chronology. But wait, there's still more! A dvd is tucked away in the back which features video documentation from the 2004 Wow & Flutter: The San Francisco Tape Music Center, 1961-Now festival / reunion of sorts that took place in Troy, NY.
Highly recommended!

BERROCAL, JACQUE / DOMINIQUE COSTER / ROGER FERLET Musiq Musik (Fractal) 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 1973 in France by Futura Records via their SON series (which also included the wonderful "Tacet" by Jean Guerin. Futura also released otherworldly tripped-outness from the likes of Red Noise and Mahogany Brain). Recorded between '71 and '72, "Musiq Musik" saw Berrocal's introduction of his Musik Ensemble on record, combining gamelan and free jazz splendour with restraint and droneful grace. An amalgamation of eastern instrumentation (bells, Tibetan shells as well as various percussion and wind instruments), western instrumentation (just some horns), and just plain wacky instrumentation (ropes, balloons, explosives (!)), the music itself is an imaginative, lyrical journey into the landscape of the mind.