TEXT OF LIGHT Rotterdam 1 (Room 40) cd 16.98
Live document of a TOL performance recorded at the Rotterdam International Film Festival in January of 2005. This rotating collective of improvisers, which this time around include Alan Licht and Lee Ranaldo on guitars, DJ Olive on turntables, Tim Barnes on percussion and Ulrich Krieger on sax, continue their practice of performing to the films of Stan Brakhage and other members of the avant-garde cinema of the fifties and sixties. While only 20 minutes long, each musician is allowed their moment to shine before the piece culminates in an otherworldly full band racket. Although, it would be nice to see the film with the music meant to accompany it, the overall piece works well without the aid of visuals, and is a good introduction to anyone curious about this organic collective of experienced free-players.
MPEG Stream: "Rotterdam 1 (excerpt)"

TEXT OF LIGHT s/t (Starlight Furniture Co.) cd 13.98
This is the first full length release (after a 12" on Table Of The Elements) by the group Text Of Light, named for a 1974 Stan Brakhage film and made up of Sonic Youth's Lee Ranaldo, Alan Licht, DJ Olive, Christian Marclay and Uli Krieger. Originally Text Of Light was formed to perform along with Brakhage films, and while Brakhage was an inspiration for these recordings they are not "potential Brakhage soundtracks". Text Of Light weave spare soundscapes of clatter and creak, enviornmental sounds, free jazz splatter, No Neck Blues Band style hippy rock-brut, avant turntablism, deep drones and abstract ambience.
MPEG Stream: "Knitting Factory (Quartet)"

TEXT OF LIGHT Text of Light (Dirter Productions) 3cd 41.00

MPEG Stream: "052901 Tonic 5/4/6"
MPEG Stream: "052901 Tonic 1"
MPEG Stream: "05291 Tonic 7"

TH. Afflux (Small Doses) 3" cd-r 5.98
Another mysterious little noisy sonic gem from the Small Doses label, one of our new favorite small labels, due in part to the cool shit they put out, but also the fact that no matter how limited a release is, the packaging is super deluxe.
tH. is the work of a guy named Taylor Holdgraf, and Afflux is a strange composition for glitch and static and feedback and basically all the parts of music that aren't traditionally music. On the surface, Afflux sounds a bit like someone dragging a needle across an lp, or changing radio stations while driving through a tunnel, but it's arranged and structured into strange little microrhythms, drawn out expanses of super minimal drone, high end sine waves waver and shimmer, chunks of white noise are chopped into stuttering sort-of grooves, bits of feedback transform into what sounds like chirping crickets, some parts the hiss and glitch and crackle are smoothed into thick whirring textures, while other parts the grind and crunch are unfettered, allowing for little jagged bursts of super dynamic buzz and speaker rattling bzzzt.
Very noisy for sure, but structured and arranged in a surprisingly listenable, and surprisingly musical way.
As always, gorgeous packaging, a miniature three panel two sided full color vellum sleeve. And again LIMITED TO 77 COPIES.
MPEG Stream: "Afflux"

TH26 La Haine (A Silent Place) cd 10.98
We managed to get a small handful of these from a distributor, they're priced super cheap, as the label has since folded, so these are the very last copies we'll ever be able to get, and we have only THREE of theseÉ
We reviewed a handful of releases from Italian post-industrial / dark pop combo T.A.C., all part of this batch of Small Voices releases, along with those albums proper, came this, TH25, a project of T.A.C. member Simone Balestrazzi, which the label describes as: "Hard electro-core, pure rhythmic & synthetic EBM sounds, rumoristic experiments & great filtered vocals." Not sure what 'rumoristic experiments' are, but the rest is pretty spot on. Super pulsing, pounding minimal electronics, skittery and stuttery, with darkly crooned vocals, occasionally sung/spoken, for those of us without deep roots in electronic music culture, it's difficult to make any sort of sonic cultural references, but much of this sounds to us like a more gothic/gloomy Meat Beat Manifesto, if that makes any sense, there's also some references to old Ministry, which is never a bad thing, it's that sort of industrial pound, fused to dark minor key synths, and deep vocals, creating a sort of beat heavy gloom pop if you will, the vibe in many places more new wave or cold wave, minus those step sequenced synths and pulsing beats, but the vibe is definitely dark enough, that this would probably appeal to folks into the whole new wave of dark pop and cold wave electro. We're actually digging this quite a lot!
MPEG Stream: "TV Germs"
MPEG Stream: "The Enemy Inside"
MPEG Stream: "Second Skin"

THAEMLITZ, TERRE Die Roboterrubato (Mille Plateaux) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Kraftwerk songs "interpreted" on the piano, with extensive liner notes explaining Thaemlitz's approach. Quite beautiful, although the Kraftwerk component is not always immediately obvious. One of several now domestically-priced releases from the European electronica label of the moment, Mille Plateaux.

THAEMLITZ, TERRE Oh, No! It's Rubato (Mille Plateaux) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The third in trangressive experimental musican Terre Thaemlitz's series of unlikely piano recitals... Previously he's turned the melodies of both Kraftwerk and Gary Numan into gorgeous, sort-of-ambient piano meditations. Here, completing a twisted trinity of '70s/'80s new wavy electronic-rock genius, he interprets the music of Devo! (Risking cries of sacrilege from those of us who consider Devo holy -- he's even calling himself General Grrl!) Yup, "Jocko Homo", "Whip It", "Through Being Cool", "Mongoloid", and a bunch of others are given Terre's treatment. Sure, just reading about it, it seems kinda gimmicky, but the results are more than schtick -- this is lovely lovely stuff. And truthfully, you can barely recognize the source material -- this is slow and melanchonic rather than hectic and poppy. This disc and those two others are certainly our favorites amongst Thaemlitz' varied ouevre, and indeed are rather atypical of his usual output. The cover art (a parody of Oh, No! It's Devo! with Terre's head on a spud) is scary, though.
RealAudio clip: "Jocko Homo"
RealAudio clip: "Whip It"

THAI ELEPHANT ORCHESTRA s/t (Mulatta Records) cd 15.98
First it was Frogs of North America invading our record bins, then it was Antarctic Seals and Penguins, followed by Insects in Stored Foodstuffs... now it's Elephants from Thailand! Brilliant recordings by non-human, um, sound-artists that we just can't get enough of here at Aquarius. In this case, the elephants are not just making their natural noises, they are indeed playing instruments! You may have read about this project in the New York Times -- when we found out about it we immediately contacted the label and ordered a whole bunch (based also on the on-line sample we heard at www.mulatta.org) and now here they are. These are elephants from a elephant preseve in Thailand who have been trained to play specially-built instruments (many marimba-like instruments similar to the traditional Thai renat, as well as such things as harmonicas, drums, and even a stringed "electric bass"), but they haven't been trained *what* to play, it's all improvised with minimal human guidance! Yet it's definitely music. It was kind of an experiment to find out how the creatures might express themselves, and we'd say it was very successful indeed. If we didn't know these were elephants, we'd think this was a strange No Neck Blues Band recording or something. Imagine a stumbling, primitive hippy folk jam on gamelan instruments, but not one that's random or erratic. The elephants play steady beats, the struck gongs or chimes interspersed with their vocalizations as well. With no overdubs and few edits this is certainly a very impressive recording!
The Thai Elephant Orchestra was dreamed up, and this disc produced, by David Soldier (New York musician and academic) and Richard Lair (American expatriate elephant expert, who advises the Thai Elephant Conservation Center where this project goes on). The two came up with the idea that elephants, being social animals, might enjoy playing music together, and proceeded to investigate... Happily, not only did the elephants enjoy playing, they were good at it, demonstrating that they were able to decide what sounded good (to them) and what didn't.
The booklet features photos and detailed, fascinating liner notes by both men. Here is what Soldier says the criteria was for the construction of the instruments, which were made by New York instrument builder Ken Butler (of "Gravikords, Whirligigs..." fame):
"1. The instruments must be suitable to the elephant's anatomy, which means large instruments operated by the trunk.
"2. The instruments must withstand jungle heat, humidity -- and the elephants.
"3. The instruments should require minimum upkeep.
"4. The instruments should have a Thai sound, because the regular daily audience is Thai, the mahouts would enjoy the music more, and the elephants have heard Thai music all their lives."
Some more great tid-bits from the notes: "The elephants took easily to the harmonica, which sparked the first elephant music fad: one morning I arrived to hear the sound of harmonicas from all over -- from the hills and from the river. The elephants were walking in from the forest playing harmonicas, which they hold easily in the tip of their trunks."
"The elephants didn't seem interested in the bells or theremin. At first they were spooked by the synthesizer keyboard, but later two animals were entranced by it. They disliked playing Ken's reed instruments with a large mouthpiece, or rather, trunkpiece. A mahout told me they were afraid that a snake might jump into their nostrils!"
As sort of bonus tracks, in addition to the forty-plus minutes of elephant improv, there's also some non-instrumental elephant field recordings, several tracks of humans and elephants playing together, and even a few traditional Thai songs played by humans, about elephants.
Sure there's a bit of simple amusement to be found here just from the concept alone, but in actual fact the music these elephants make is, to our ears at least, quite beautiful. We could go on and philosophize about how this project speaks to the relationship between man and animals in this world, but we'll leave those thoughts for you to explore if you chose to check out this album, which we highly recommend! Amazing and wonderful.
MPEG Stream: "Jojo"
MPEG Stream: "Duo For Renats"
MPEG Stream: "Harmonica Music"
MPEG Stream: "Heavy Logs"

THANK YOU Golden Worry (Thrill Jockey) cd 14.98
Expectations are set pretty high when your band is compared to This Heat, Swell Maps and The Ex, but for Baltimore math rockers Thank You, the comparison is pretty apt.
Over the course of six songs and about 30 minutes, the band unfurl some seriously intricate and dense sonic workouts, forgoing traditional song structure, and instead trafficking in tension and release, repetition and texture, whipping up super repetitive cyclical jams, the guitars alternately jangly and crunchy, the vocals yelped and anthemic, the record opener sounding like a post punk no-wave take on Animal Collective, with long stretches of frantic drumming and swirling droned out guitar.
The rest of the record spreads out, dipping into blissed out tribal psychedelia, motorik minimal krautrock, angular jagged punkish crunch and manic super intense mathiness. Chiming guitars swell and soar over avalanche like rhythms, laced with playful flurries of tinkling melodies, occasionally getting super abstract and dubbed out, just as often slipping into something more gnarled and chaotic, but when the vocals come in, all high and harmonious, the transform whatever is going on into some unlikely psychedelic pop.
Crunchy indie rock explodes into something much more frenetic and frenzied, before slipping into a slithery buzz drenched bit of woozy swirl, only launch into some organ driven psychedelia, noisy and loose, and again the vocals grounding the sound, while the organs and drums do the best to drag everything heavenward, and finally, the record closes with maybe the poppiest of the bunch, the guitars and drums locked in a rollicking tumble beneath the soaring vox, again the Animal Collective comparisons are unavoidable, but those vocals coupled with a sound more angular and jagged and noisy, make this a sort of avant post punk psych pop, that should appeal to modern pop kids, as well as folks who lean more toward sounds with prefixes like post and kraut...
MPEG Stream: "1-2-3 Bad"
MPEG Stream: "Birth Reunion"
MPEG Stream: "Can't / Can"

THANK YOU Golden Worry (Thrill Jockey) lp 14.98
Expectations are set pretty high when your band is compared to This Heat, Swell Maps and The Ex, but for Baltimore math rockers Thank You, the comparison is pretty apt.
Over the course of six songs and about 30 minutes, the band unfurl some seriously intricate and dense sonic workouts, forgoing traditional song structure, and instead trafficking in tension and release, repetition and texture, whipping up super repetitive cyclical jams, the guitars alternately jangly and crunchy, the vocals yelped and anthemic, the record opener sounding like a post punk no-wave take on Animal Collective, with long stretches of frantic drumming and swirling droned out guitar.
The rest of the record spreads out, dipping into blissed out tribal psychedelia, motorik minimal krautrock, angular jagged punkish crunch and manic super intense mathiness. Chiming guitars swell and soar over avalanche like rhythms, laced with playful flurries of tinkling melodies, occasionally getting super abstract and dubbed out, just as often slipping into something more gnarled and chaotic, but when the vocals come in, all high and harmonious, the transform whatever is going on into some unlikely psychedelic pop.
Crunchy indie rock explodes into something much more frenetic and frenzied, before slipping into a slithery buzz drenched bit of woozy swirl, only launch into some organ driven psychedelia, noisy and loose, and again the vocals grounding the sound, while the organs and drums do the best to drag everything heavenward, and finally, the record closes with maybe the poppiest of the bunch, the guitars and drums locked in a rollicking tumble beneath the soaring vox, again the Animal Collective comparisons are unavoidable, but those vocals coupled with a sound more angular and jagged and noisy, make this a sort of avant post punk psych pop, that should appeal to modern pop kids, as well as folks who lean more toward sounds with prefixes like post and kraut...
MPEG Stream: "1-2-3 Bad"
MPEG Stream: "Birth Reunion"
MPEG Stream: "Can't / Can"

THE RITA Thousands Of Dead Gods (Pacrec) cd 8.98
We first heard from Canadian harsh noiseniks The Rita, when they teamed up with local primitive lo-fi black metallers Bone Awl on a cassette a few months ago. Not so much a split as a weird collaboration, the two bands switching back and forth, Bone Awl's black buzz perfectly complimenting The Rita's brutal noise squall crunch, so much so that it was kind of tough sometimes to tell who was who. No such problem here, Thousands Of Dead Gods is nothing but The Rita and their huge caustic cloud of churning, roiling psychedelic white hot white noise!
This is definitely one for noise freaks only. One hour long track of relentlessly brutal N.O.I.S.E. Nothing subtle, no buried melodies, no shimmery atmospherics. Just a grinding, grit drenched, buzzy, prickly, poisonous Merzbowian blast of pure noise. The coolest part is that all of the sounds are sourced from a Great White Shark diving cage, recorded underwater and from the deck of the boat. Hence the dead shark on the cover. But there is a turbulent underwater feel to this noise, like dunking your head in super violent rapids, or the churning wake of a boat, or in the ocean amidst wildly thrashing sharks going in for the kill. Brutal.
MPEG Stream: "Thousands Of Dead Gods (excerpt 1)"
MPEG Stream: "Thousands Of Dead Gods (excerpt 2)"

THE SKULL DEFEKTS & THE SONS OF GOD Received In Studio Dental, Gothenburg (Utech) cd 14.98
We like Skull Defekts, but this collab isn't the one to start with.

THEE OPEN SEX (Is Not A Cult) (Auris Apothecary / Magnetic South) cassette 7.98
It's like Christmas around here (we know, it is ACTUALLY like Christmas around here right now), whenever we get a new batch of tapes from Auris Apothecary, not only is it bound to sonically all over the map, without fail the packaging is totally stellar, often high (or low) concept, meticulously hand assembled, often involving organic matter, or broken glass, or sponges, or scrolls, or who knows what else. Needless to say, every AA release is special, and is often as much a work of sonic art, as it is a piece of music.
Thee Open Sex is apparently, according to the label, "a psychedelic supergroup of mammoth proportions" from the label's hometown of Bloomington, Indiana. We sense a bit of tongue in cheekiness there, but this is most definitely a primo slab of droned out mysterious psychedelia, with long tones layered into thick undulating drones, buzzing synths, plenty of buzz and hum, some bowed metal, a slow ominous build, buried melodies drifting in viscous swells of rumble and whir, laced with saxophone blurts, and eventually driven by pounding tribal percussion, the sound super druggy and gauzy and abstract, but with a strange internal propulsion, that adds tension and intensity, this is the sort of stuff that would most definitely appeal to fans of Avarus and No Neck Blues Band and Sunburned Hand Of The Man, the same sort of abstract sonic ritualism, totally mesmerizing, and per the above description, the sort of thing most aQ-ers, especially the psych-kraut-space-drone inclined, will flip over. Includes members of aQ faves Dylan Ettinger, Circuit De Yeux along with a bunch of other Indiana psych rockers.
LIMITED TO 150 HAND STAMPED COPIES. The tapes are housed in anti-static ziplock bags stamped on the front with some strange pink symbol, and stickered on the back, inside a thick printed cardstock insert, the tapes featuring hand-printed paper labels, each stickered bag numbered/stamped in red.

THEOLOGIAN The Further I Get From Your Star, The Less Light I Feel On My Face (Crucial Blast) cd 13.98
We had never actually heard much from NYC power electronics / black ambient / dark industrial / synthdrone outfit Navicon Torture Technologies, but we were definitely intrigued by this latest installment of blackened sound from NTT mainman Leech, under the name Theologian. Even before hearing it. It's on Crucial Blast, and if anyone knows their way around grim, bleak, black heaviness, it's CB. Then there's the gorgeous oversized cover, a long haired figure holding her head, underneath a strange sigil and surrounded by a decahedron and a field of pure black, and then the record title, The Further I Get From Your Star, The Less Light I Feel On My Face, and the accompanying song titles: "In Times Of Need, We All Go Against Our Natures", "The Fragility Of The Male Ego", "Bearing Bitter Fruit", and the packaging folding out to reveal more mysterious shapes and strange shadowy nudes, a pretty compelling chunk of art, even before we get to the sounds within.
And if anything, the sounds inside more than live up to that promise, the opening track "Zero" begins the proceedings, and we expectantly wait for some serious harsh noise, or some grim black ambience, and while there is a little of both, it's molded into something much more, well, lovely for lack of a better word, 5 minutes of crumbling black beauty, gorgeous plaintive melodies buried in a thick morass of buzz and blur and swirling hiss and whir, like a way more ominous and blackened Philip Jeck or Tim Hecker, gorgeous, and gorgeously harrowing.
"In Times Of Need, We All Go Against Our Natures" is 24 minutes long, the majority of which is spent drifting through some nightmarish landscape of hushed minimal rumbles and post industrial grit, again, far more 'pretty' than we might have expected, a smoldering chunk of subterranean blackness, a roiling murky surface than offers brief glimpses of melodies and voices below, unsettling but gloriously grim, and in case we find the proceedings too soothing, the last few minutes find those sounds expanding and exploding into thick crumbling swells of blown out synths and fractured black electronics, underpinning some seriously anguished super distorted vokills.
The record continues in a similar fashion, creating blackened shades of beauty out of elements harsh and hateful, abject and bleak, the sound almost shoegazey at times, hints of Nadja for sure abound, but a Nadja stripped to its essence, the tracks creep, and crawl, and drift, thrumming and pulsing softly, wreathed in sheets of grit and grime, but always glowing from within, the melodies like buried black secrets. Occasionally, like on "The Fragility Of The Male Ego", the sound becomes super blown out and corrosive, an ultradistorted blacknoise, that for all it's corrosive clamor, remains somehow, if not lovely, at least haunting and mysterious, while other tracks, like "It's All Gone", take unlikely elements, and again, weave them into something strangely beautiful, but still undeniably pitch black.
Dark and mysterious and troublingly lovely, some seriously intense power electronics flecked black ambience, most definitely recommended for fans of Lustmord, MZ412, Nordvargr, Blue Sabbath Black Cheer, Wicked King Wicker, Locrian, Wraiths, Wolf Eyes, etc...
Incredible packaging, 6 panel dvd sized digipak, black and spare on the outside, full color on the inside.
MPEG Stream: "Zero"
MPEG Stream: "Unfamiliar Skies"
MPEG Stream: "The Further I Get From Your Star, The Less Light I Feel On My Face"

THERE GOES NEUTRO! Organelle (self-released) cd-r 8.98
We've actually been sitting on these for a while now, another victim of the too many records to review and not enough time problem we seem to perpetually have.
There Goes Neutro! is the project of aQ customer John Ira Thomas, and the minute we first heard about his Organelle record, we knew we had to hear it. One of those discs that we liked based on the description alone, having yet to hear a single note. C'mon, here's what it's all about (from the liner notes): "Thomas cut the advance frame noise from an old filmstrip record about the life of Jesus Christ, cut it into about 400 pieces, and with the magic of computers made something new out of it." Exactly. Jesus, chopped up records, noise, we knew it had to be good, or at the very least, interesting, lucky for us, it's both.
Obvious references would be Jeck and Tetreault and Basinski, especially since the main component is record crackle, and damaged vinyl, and the arrangement is a looped assemblage of stuttering chopped up bits, like a rougher more raw Oval. But it's not just hiss and crackle, the first few seconds of music are also captured, sounding a bit circusy, even more so once they get looped up and tangled. Four long tracks, all movements in one epic and fractured soundscape.
Woozy, trippy, warped and warbly and definitely a bit psychedelic. Super cool!
MPEG Stream: "Untitled 1"
MPEG Stream: "Untitled 2"

THERIOS II (Hollenden) cd-r 11.98
More one-man metal band madness. This time from Cleveland Ohio, and man is this stuff crazy. Instead of just playing all the instruments himself like a 'normal' one man band, he records the drums, the bass, the guitars, -and- the vocals, loads them into his computer and chops and shuffles, and distorts and chops some more and comes up with something that is sort of a metal record, but is so alien and completely bizarre that just calling it metal sort of sells it short. This is primitive-futuristic-lo-fi-black-grind-electronic-metal. Or something. I played it for my friend Josh in the car, and I think he mumbled something like 'Hmm, sounds kind of weird.' Or maybe he said 'bad'. But it -does- sound weird -and- bad and great and bizarre and completely amazing. Ultra lo-fi, fuzzed out blurry grinding metal, like Darkthrone mixed with Anal Cunt, thrown in a blender, and then played back through an AM radio. The guitar is so distorted, it sounds like a swarm of angry bees recorded on a dictaphone. The drums either sound like cardboard boxes run through a chain of distortion pedals or huge metal garbage cans thrown down a flight of stairs. But it's the vocals that blew us away, completely freaked out and so demented. Insanely inhuman and raw, sounding a bit like wild demons being beaten to death and a little bit like a drag race mic-ed and broadcast through a bullhorn, threatening to blow out the speakers with shards of distortion and hiss. When people talk about music being extreme, take into consideration the fact that they probably haven't heard Therios, 'cause next to this, no band seems all that extreme.
RealAudio clip: "Punctured"
RealAudio clip: "Trauma"

THERIOS s/t (Hollenden) cd-r 11.98
We listed Therios' amazing "II" disc last time, and the response was so good that we just brought in a few of this older self-titled Therios release. Like "II", this recording is a studio/computer-assembled one man band project. It's constructed from samples, but as the back cover specifies, "Therios does not sample the work of others" -- this guy plays all the instruments himself and then chops and splices everything into noisy, chaotic, metallic compositions. This disc is somewhat less "metal" than its successor, however, sounding a little bit like stuff the Boredoms were doing back in their "Soul Discharge" days. Over the top distorted insanity.
RealAudio clip: "Components Of Lucifer Refraction"
RealAudio clip: "Cortex Implant"

THIEVES LIKE US Bleed Bleed Bleed (Captured Tracks) cd 13.98
We've long been pretty into Thieves Like Us, whose M.O. had been a sort of eighties style electro pop, a vintage sounding new wave that fused the sounds of classic New Order to an icy futureworld beholden to sci-fi author Philip K. Dick, but then something strange happened on their last record, the band ditching vocals completely and transforming into something totally (okay, well, maybe not totally) different, conjuring up a sound much more cinematic and krautrocky, definitely shifting toward the current crop of Goblin worshipping John Carpenter wannabes, experimental, psychedelic, kosmische, so that's pretty much what we were expecting from this, their brand new full length, but it seems that brief bit of sonic dabbling, was indeed just that, and with Bleed Bleed Bleed, regardless of the very evocative album title, the band returns to that shimmery eighties synth pop sound, the opening title track, slow burning and sultry, with a percolating bassline underneath swirling synths, and icy dueling boy / girl vocals. "Stay Blue" sounds opens up with a brief bout of serious Kraftwerk worship, before blissing out into something much more swoonsome and ballady, sounding like some lost jam straight off eighties FM radio or classic era MTV, reminding us more of ABC or Thompson Twins or any of those bands, more than the krautrock forebears who the band also obviously count as influences. And so it goes, a hazy time machine trip back into vintage new wave electro pop, and while more modern moments reminds us of M83 at times, folks who flipped over the anomaly that was the band's krautrocky last record, Berlin Alex, might be a bit confused, and perhaps even disappointed, but for the rest of us, who were already digging their fuzzy retro sound, this definitely hits that same sweet spot.
MPEG Stream: "Bleed Bleed Bleed"
MPEG Stream: "Stay Blue"
MPEG Stream: "Still Life"

THIEVES LIKE US Bleed Bleed Bleed (Captured Tracks) lp 16.98
We've long been pretty into Thieves Like Us, whose M.O. had been a sort of eighties style electro pop, a vintage sounding new wave that fused the sounds of classic New Order to an icy futureworld beholden to sci-fi author Philip K. Dick, but then something strange happened on their last record, the band ditching vocals completely and transforming into something totally (okay, well, maybe not totally) different, conjuring up a sound much more cinematic and krautrocky, definitely shifting toward the current crop of Goblin worshipping John Carpenter wannabes, experimental, psychedelic, kosmische, so that's pretty much what we were expecting from this, their brand new full length, but it seems that brief bit of sonic dabbling, was indeed just that, and with Bleed Bleed Bleed, regardless of the very evocative album title, the band returns to that shimmery eighties synth pop sound, the opening title track, slow burning and sultry, with a percolating bassline underneath swirling synths, and icy dueling boy / girl vocals. "Stay Blue" sounds opens up with a brief bout of serious Kraftwerk worship, before blissing out into something much more swoonsome and ballady, sounding like some lost jam straight off eighties FM radio or classic era MTV, reminding us more of ABC or Thompson Twins or any of those bands, more than the krautrock forebears who the band also obviously count as influences. And so it goes, a hazy time machine trip back into vintage new wave electro pop, and while more modern moments reminds us of M83 at times, folks who flipped over the anomaly that was the band's krautrocky last record, Berlin Alex, might be a bit confused, and perhaps even disappointed, but for the rest of us, who were already digging their fuzzy retro sound, this definitely hits that same sweet spot.
MPEG Stream: "Bleed Bleed Blees"
MPEG Stream: "Stay Blue"
MPEG Stream: "Still Life"

THIGHPAULSANDRA I, Thighpaulsandra (Chalice / World Serpant) 2cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Thighpaulsandra has recorded with Coil, Julian Cope, and Spiritualized. At times all of those bands have done some pretty amazing things... this album, on the other hand, will hopefully be forgotten as a bad mistake. Highlights include a song called "Home Butt Club" and some destined-for-the-bargain-bin photoshop work as cover art. Don't bother.

THIGHPAULSANDRA Some Head (Eskaton / World Serpant) cd 14.98
Thighpaulsandra has made his career out of being weird and making noodly electronic music. After working with Julian Cope (perhaps his only collaboration that really made sense) and Spirtitualized, he's joined Coil fulltime. And considering Coil's new direction; all lunar drones and breathy occultist polemics, this isn't a bad match. Working with Coil's John Balance and Hans Jurgen Rausch on this short EP, Thighpaulsandra merges alot of hallucinatory electronics into a seemless collage dominated by the synth knob twiddle found on the recent Coil release "Queens of the Circulating Library." Interspersed between the analogue synthesisis some early 80s 'Some Bizarre' arppegiated industrial and some space-age bachelor pad jazziness (like Dick Hyman without the great name).

THING, THE (WITH JIM O'ROURKE) Shinjuku Growl (Smalltown Superjazz) cd 16.98

THING, THE (WITH OTOMO YOSHIHIDE) Shinjuku Crawl (Smalltown Superjazz) cd 16.98

THIRTEEN GHOSTS WITH THURSTON MOORE AND DEREK BAILEY Legend of the Blood Yeti (Infinite Chug) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
British improv electronics/reeds project, with Moore and Bailey guesting individually on different tracks. Features lovely color graphics and interesting liner notes telling of the Blood Yeti.

THIRTEEN GHOSTS WITH THURSTON MOORE AND DEREK BAILEY Legend of the Blood Yeti (Infinite Chug) lp 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
British improv electronics/reeds project, with Moore and Bailey guesting individually on different tracks. Features lovely color graphics and interesting liner notes telling of the Blood Yeti.

THIS HEAT Deceit (These Records) cd 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It would be nice to think that These Records have only been releasing the reissues of "Deceit" -- This Heat's second and final proper album -- every ten years after the original release of the album in 1981. The first CD pressings arrived on 1991, and this remastered version of the album holds a released date in 2001. Regardless of These Records' coy intentions, the return of "Deceit" to the Aquarius Records' catalogue is very welcome indeed!!!
Almost all of the histories of UK avant-garde music have claim allegiances to This Heat, as Punk, New Wave, Industrial, Prog Rock, Jim O'Rourke, and even Electronica place the seminal outfit somewhere at the beginnings of their respective etymologies. To a certain extent all of these histories may be true, but then again the broad aesthetic and ideological contexts between all of those different styles may cross-each other out, leaving This Heat as one of the few artistic forces that truly exists all by itself.
Just a trio comprised of Charles Hayward, Charles Bullen, and Gareth Williams, This Heat manifested an incredibly explosive sound that hybridized all of the countercultural fury of Punk and Situationism, within a sonic context informed by technological advances of musique concrete techniques and electro-acoustic synthesis. Musically speaking, This Heat did not espouse the three chord structures or the snarling postures of Punk, instead injecting the complex pop agendas of Brian Eno (which were purposefully seeking to conflict the archetypes of rock into a new aesthetic language) with nervous tension building up to dramatic cathartic releases. "Deceit" is a record that was so ahead of its time that it has taken twenty years for artists like Fennesz and Radiohead to articulate ideas with such intensity and attention to the play between musical creation and technological advances. So highly recommended.

THIS HEAT Out Of Cold Storage (This Is / ReR) 6cd box 102.00
Trying to explain why this band is so good is sort of like trying to explain why ice cream is so delicious. Or why Bush is such a terrible president.
Or maybe it's kind of like writing an introduction for the new Pynchon novel. Or telling a few jokes before Richard Pryor comes on stage. Or throwing a couple quick passes before Joe Montana comes on the field. It's that daunting, that overwhelming, that impossible.
The trio of Charles Hayward, Charles Bullen and Gareth Williams known collectively as This Heat were one of the few bands that literally changed people's lives. Changed the way folks thought about music. I (Andee) couldn't believe music like this actually existed. It was everything I wanted to listen to before I knew that THIS was exactly what I wanted to listen to. Hit It Or Quit It publisher / rock critic / indie scenestress Jessica Hopper once wrote that she literally pee'd her pants the first time she heard This Heat. And it's not hard to see why. Without This Heat, modern, alternative, avant-garde music as we know it would be a whole different beast. Post-rock, math-rock, avant rock are hugely indebted to the genre shattering experimentalism of This Heat. Tortoise, You Fantastic, Yona Kit, Brise Glace, Psychic Paramount, Laddio Bollocko, Radian, Village Of Savoonga, Larsen, Starfuckers, Circle, Salvatore, I Am Spoonbender -- none of those bands would even exist if it weren't for This Heat, or if they still did you can bet they would sound a whole lot different. And that's just off the top of our heads, AND that's -just- bands whose sound directly reflects the influence of This Heat. Imagine how many performers and artists were influenced by This Heat but who let that influence manifest itself in not so obvious ways.
We once described This Heat as "Krautrock-ish hyper rhythmic tape-looped prog." Which comes close to succinctly describing the magical musical alchemy of This Heat, but still only scratches the surface. The sound of This Heat is rhythm and texture and dynamics. The recording studio as instrument. Every sound and every song is based on rhythm and texture. There are hooks, and melodies, but they exist to serve the rhythm and are often born from the deft manipulation of sound and tempo. Even the most static and repetitive parts manage to sound -musical-. There are vocals, but they are minimal and otherworldly, weary and sing songy and completely mesmerizing. A droning musical accompaniment to the haunting whirs and clanging percussion in the background.
Their entire catalog has gone in and out of print over the years, mostly out, with all of these records pretty much completely unavailable for the last 7 or 8 years. Rumors of a complete box set began to circulate a few years back and it has finally surfaced and it's everything we could have hoped for and more. Every single release, remastered, repackaged in swank digipaks, including a bonus live disc, a huge booklet, amazing archival photos, extensive liner notes, all packed in a gorgeous box. It's a testament to the power this band holds over their fans that pretty much everyone who owns all of these records already will buy the box without a second thought. We're almost jealous of folks who have never even heard This Heat. The thought of entering into this box set completely blind, is almost frightening, as the world of This Heat is so singular, so powerful, it will be difficult to ever listen to music the same way again.
This Heat's self titled debut, originally released in 1978 (which is almost impossible to believe, that people were making music this progressive, this intense, this fucked up and forward thinking) is such a totally immersive and strangely lovely musical environment. From the machinelike krautrock of "Horizontal Hold" to the dreamy contemplative "Twilight Furniture" with its simple chiming guitars, muted tribal percussion and keening vocals, to the bizarre affected drum workout of "24 Track Loop", it's like wandering through some alien musical world. A sky full of greys and blues, smeary drones floating gently by, haunting quavering vocals drifting below, like tendrils of smoke, the barren landscape littered with all manner of rhythmic outcroppings, harsh jagged crashes and booms, as well as low rolling thumps and stutters, off in the distance simple spare melodies float and hover, each note a glowing spot on the horizon. Absolutely and utterly overwhelmingly brilliant.
The Health And Efficiency ep followed in early 1981 and took their sound in a strangely pop (for them at least) direction, sounding like some tweaked and twisted version of Wire, the title track all angular new wave guitars, monotone vocals, driving drums, strange convoluted arrangements and creepy background sound effects before the whole thing splinters into super abstract rhythmic experimentalism, looped grooves, played over and over, while sounds float and careen in the background, so incredibly hypnotic and repetitive. The second track on Health And Efficiency (which runs a brief twenty minutes) is "Graphic/Varispeed (45rpm)", a lengthy drone, a warm synth whir that surfaces within other This Heat tracks, recontextualized and often chopped up and reassembled, but here, it's a slow shifting slow motion single tone soundscape, with the tone occasionally being pitched up or down, very simple but quite haunting, and a cool glimpse at how This Heat managed to mix and match, use and reuse, without ever treading water.
Later that same year came Deceit, with the band continuing to expand and explore. Deceit consisted of shorter songs, but that didn't mean their process, or disdain for convention was altered. If anything, they managed to subvert pop music in a way never thought possible. Imagine Brian Eno circa Taking Tiger Mountain, but filter that through some avant industrialism, angular new wave and hyper rhythmic krautrock and you'll begin to get the picture. The songs on Deceit are impossibly catchy, especially when examined closely. Abstract, obtuse, angular, convoluted, tangled up but without ever losing that thread, that melodic sensibility that grounded the songs, kept them from falling apart completely, instead, the perilous arrangements only added tension and emotion. An incredibly explosive sound that somehow hybridized all of the countercultural fury of punk and situationism, within a sonic context informed by the technological advances of musique concrete and electro-acoustic experimentation. The sound was definitely punk in its own way, but certainly wasn't expressed through three chord song structures or snarling postures, instead This Heat injected their own complex pop agendas with a jittery nervous tension always building to a dramatic and cathartic release. Deceit was sadly the band's final release disbanding soon after.
In 1993, a disc of unearthed This Heat recordings was released and consisted of three lengthy tracks of tape loop experiments and random rhythmic explorations. Repeat has come to be This Heat's defining work even though it is essentially a record of outtakes and pieces meant to be incorporated into other songs. But it's hard to argue with the 20 minute title track, and endless, almost funky groove, punctuated by weird electronic swells, sprinkles of woodblock percussion and occasional handclaps but held together by one of the most amazing drum parts ever. A relentless pound and shuffle, drenched in effects, sound very dubby, but also very krautrock, a tripped out blissed out drone drenched rhythmic space jam never matched to this day. Every time this is played for a friend, musician or not, the listener is inevitably confused, perplexed and then quickly obsessed with hearing more. The second track, appropriately titled "Metal" is an abstract soundscape of, well, metal, clanging, clinking, like some ancient junkyard gamelan, almost like the previous piece transcribed for sheet metal, garbage can, metal pipe and dumpster. The metallic symphony shifts and sways, melodies surface, rhythms twist and turn, all very hypnotic and quite lovely. The final track revisits a song on Health and Efficiency, but slows it down a bit to become "Graphic/Varispeed (45rpm)", the same sort of slow, murky drone, just made even slower, so more tonal colors surface, and the subtle shit is much more noticeable, a gloriously dreamlike warm warbly whir.
In 1996, This Heat's 1977 Peel Sessions were finally released and demonstrated once again that This Heat were untouchable, effortlessly unfurling a sound equal parts avant pop, krautrock, progrock, musique concrete and a handful of parts that defied easy classification. Every track here a jaw dropping, mind blowing performance. Especially the new version of "Horizontal Hold", one of This Heat's finest moments already, played here with much more verve and vigor and with a sound quality so much clearer, a recording so incredibly hot, that the song is reborn and completely confounds and amazes. The whole session is rhythmically dense, rife with bastardized pop, incredibly complex arrangements all rendered again in such a way that they are emotional and moving, instead of just intellectual musical exercises. And the sound is so crystal clear, that you can hear a band at the top of their game, taking over the BBC studio and using it like they would a second guitar or another drummer. The Peel Sessions also include a handful of songs that never made it onto records proper. All as good as anything on their official releases.
The bonus disc included in the box is a compilation of live tracks recorded between 1980 and 1981 all over Europe and sequenced to resemble the set list the band used on tour in the eighties. Recorded using a single stereo mic, the sound is less that crystal clear, but captures the band in their element at the top of their game. The songs are amazing, it's awesome to hear the band recreate pieces that on record relied so heavily on the studio, more evidence as to the genius of This Heat.
Our only complaint about this box was that there is definitely more This Heat material out there, and anyone picking up this box, would have gladly paid a few bucks more for one or two more discs of lost rare material. But then we spied this in the liner notes of the live cd: "Further CD's from other stages in This Heat's music to follow, including collaborations, improvisations and site-specific work as well as other live cds."
We can hardly wait!
There are plenty of places on the web and in magazines to read more about the history of the band, the band members, various versions, releases and re-releases and past reissues, but none of that ultimately matters as much as the sound. And oh the glorious sound. Just take a listen to the sound samples and no words will be necessary.
MPEG Stream: "Horizontal Hold (Peel Session)"
MPEG Stream: "Repeat"
MPEG Stream: "Paper Hats"
MPEG Stream: "Health And Efficiency"

THISQUIETARMY & SCOTT CORTEZ Meridians (Three-Four) lp 21.00
Scott Cortez, he of shoegaze legends Lovesliescrushing, as well as the recently reviewed Astrobrite, teams up with Thisquietarmy, who we've heard from in the past via multiple collaborations with Nadja's Aidan Baker. Here these two create a gorgeous landscape of thick layered mesmeric guitardrone, playable at both 33rpm and 45rpm (of course we're always partial to the slower), the guitars rendered totally unguitarlike, more like sound generators, unfurling pulsing lush overlapping tones and chords, all blurred and smeared into bleary, druggy dreaminess. Hypnotic, with ever shifting overtones, subtle sonic colorations, abstract and ambient, but still dense and dreamily dark. Only got a few copies of this...

THOMAS, MATTHEW Remodulation (Dorobo) cd 18.98
While no information is present in the liner notes as to the origin of the strange clicks and whirls on this CD, I'm gonna go out on a limb and say that Matthew Thomas is reprocessing shortwave radio static and noises into tentative structures that every once in a while give hint at melodies. A very poetic album that falls between Stockhausen's "Hymnen" and the shortwave radio experiments of John Duncan.

THORAX WACH Die Euch Geht's Ja Noch Viel Zu Gut (Knack) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Had it not been for this LP re-issue, the obscure German project Thorax-Wach would have certainly disappeared forever, and been forever unknown to us. Thankfully, that didn't happen. That said, we still don't know about this group other than that we like 'em, and the basic biographical info that they were a Berlin-based duo who originally released "Die Euch Geht's Ja Noch Viel Zu Gut" as a cassette back in 1979. Everything else about the band is a mystery to us. Musically, they appeared to have been sympathetic with (if not comrades of) the Berlin punk community of 'destructive dilletantes' like Malaria!, Der Plan, Einstuerzende Neubauten, Sprung Aus Den Wolken, and especially Die Todliche Doris. Armed with two Korg synths and a chicken scratch guitar, Thorax-Wach build simple electronic arppegiations that alternate between abrasive Throbbing Gristle noise and sneering, synthetic noirish pop tunes matched with dueling German vocals about eating children, old people, the body, and German serial killers!! Much of the vocals play with pre-existing structures ("Happy Birthday" being of note) and take on much of Die Todliche Doris' dada / fluxist sense of the absurd. Definitely one for the retro-electro crowd. Vinyl only.
RealAudio clip: "Tango Fontanello"
RealAudio clip: "Sagblost2"

THOUGHT BROADCAST Up-Maker (Phaserprone) 7" 8.98
Phaserprone returns with more of their bunker mentality for obscurant synth-punk noise and rhythms, here authored by Brooklyn's Thought Broadcast (although now living in SF), who had at least one release on the uber-hip Gel label. Phaserprone champions this release as a surefire trajectory out of the "rarified TB discography," which seems to be wholly enigmatic from what we can discern; not surprisingly, this is our first exposure to the project. Thought Broadcast offers up 4 short monosynth and rhythm box trax whose dark-minded minimalism splatter with the power-electronics vibe of the pre-Brighter Death Now project Lille Roger or some of Cabaret Voltaire's more zombified efforts circa 1978 and with a little bit of Dome thrown in for good measure through TB's effects scrambling vocals, blorping synth sequencing, and monotonous mechanoid plod exhumed from a tarpit of tape murk. Cut at 45, so you know we're also loving this at the wrong speed! Elegantly packaged with Phaserprone's heavily embossed letterpress artwork. Limited to just 175 copies!

THRESHOLD HOUSEBOYS CHOIR, THE Form Grows Rampant (Threshold House) cd+dvd 38.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Nope. It's not actually a choir, but rather the solo project of Peter 'Sleazy' Christopherson, the enigmatic musician whose electronic sleights of hand steered the course for Throbbing Gristle and Coil as the charismatic frontmen for both ensembles proclaimed all things transgressive. Now that Sleazy has stepped into the spotlight on his own, it is apparent that his vocabularies for twisted nursery rhyme melodies, cross-pollinated electronic algorithms, and sinister soundscapes were as absolutely crucial to the development of Industrial Culture at large, with or without the presence of Genesis P-Orridge or Jhonn Balance. Nowadays, Christopherson resides in Thailand, far from his birthplace in Britain; but the sounds he crafts in Southeast Asia have all of the trappings of the English esoterica he's authored for nearly 30 years now. Christopherson digs into his bag of magical tricks for another fantastic album, which seamlessly follows from where Coil left off on their posthumous album The Ape Of Naples as well as The Remote Viewer and Black Antlers. Constantly ascending melodies mutate and fold on top of each other, fluid basslines counterpoint stochastic stabs of monotone arpeggiations, and the castrati boys who wailed at the conclusion of The Ape Of Naples return with their beatific innocence and darkly charged sexuality with their voices crooning over music box melodies playing just slightly faster than they are supposed to and thus appearing sharply atonal. While Christopherson has proven himself a deft engineer with all sorts of audio software, he intentionally gravitates towards the much simpler patterns generated by the Fairlight sampler, the machine which dominated so much of the early Coil records. These structurally evolving patterns and overlaid melodic repetitions result in a creeping hypnosis and seductively powerful atmosphere. It's no surprise that his Threshold Houseboys Choir successfully conjures the ghosts of Horse Rotovator, the masterful Coil album from 1986.
MPEG Stream: "Part 1 : "A Time of Happening""
MPEG Stream: "Part 4 : "So Free It Knows No End""

THROBBING GRISTLE 20 Jazz Funk Greats (Mute) cd 15.98

THROBBING GRISTLE 20 Jazz Funk Greats (Industrial Records) 2cd 23.00
The cover for Throbbing Gristle's 20 Jazz Funk Greats is a marvelous piece of subversive design. The four members of Throbbing Gristle look quite dapper, Genesis dolled up in a tailored white suit jacket, Cosey smiling happily in her pert miniskirt, and Chris & Sleazy both wearing rather conservative sweaters, but they had situated themselves on the cliffs of Beachy Head (a notorious suicide spot on the south coast of England) with a rented Range Rover in the distance and in a variation of this scene, a nude male body lies at their feet in the grass, presumably dead. This design (executed by Sleazy through his day job at Hipgnosis Design) was a sneering act of contempt for British society that failed to see the horrors and injustice which boiled just under the surfaces of congeniality and civility.
Both Second Annual Report and D.o.A. were ostensibly compilations of recontextualized material both from the studio and extracts from live recordings, but 20 Jazz Funk Greats - the third proper album from Throbbing Gristle - feels like a conceived album from beginning to end, even with all of its dead-ends and contradictions. The album opens with the title track, where a slow-motion drum machine and synthesized bass tones strut with a mechanical swagger with Cosey's discordant cornet blurts in the distance and predatorily whispered vocal extracts of what could be some smooth jazz DJ trying to set the mood - with that mood being a sickening, menacing threat. Such is also the case, with the lugubrious "Tanith" whose atonal rolling basslines churn against strange electronic blorp and tinkling chimes, which leads into "Convincing People" - whose metronomic synth sequencing became the signature for nearly every 'industrial' band that claimed TG as an influence. The detuned and distorted guitar from Cosey smears the mechanical edges while Genesis wailed through the lyrical repetitiveness which articulated to the effect that if you say it enough, people will start believing you. A hammer might help too. The minimalist club hit "Hot On The Heels Of Love" is one of the most memorable TG songs, and for very good reason as TG offered a much-imitated disco frugality through their insistent drum machine, squiggling sequencing, and Cosey's whispered vocals. Immediately following this is a nightmarish narration of the aftermath of a night of partying too much in "Persuasion", as disembodied female yelps of sexualized horror sporadically punctuate a slithering Genesis donning the role of a low-rent pornographer. "What A Day" is another 'industrial' template with a corrosive loop of cybernetic thumps forming the only backdrop to Genesis barking as loud as he can in a diabolical take on a footballer's chant. The finale "Six Six Sixties" finds Cosey's monochord guitar awfully prescient of Sonic Youth and Bailter Space in the drone intensity through distortion and rhythm, with Genesis reciting a suitably bleak monologue above, rounding out what is arguably the best of the Throbbing Gristle albums.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions apparently appear on the 24cd boxset of live TG material, although we've not cross referenced these facts yet). The two versions of "Discipline" (which were released as a 12" on Fetish Records in 1981) suitably conclude this disc, as that was the track that TG also performed at the end of their sets, with the heavy drum machines whipping the crowd into a frenzy and Genesis barking hysterically for some order. Such were the wonderful contradictions of Throbbing Gristle. About as a high a recommendation as we can give.
MPEG Stream: "20 Jazz Funk Greats"
MPEG Stream: "Persuasion"
MPEG Stream: "What A Day!"
MPEG Stream: "Discipline (Berlin)"

THROBBING GRISTLE 20 Jazz Funk Greats (Industrial Records) lp 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The cover for Throbbing Gristle's 20 Jazz Funk Greats is a marvelous piece of subversive design. The four members of Throbbing Gristle look quite dapper, Genesis dolled up in a tailored white suit jacket, Cosey smiling happily in her pert miniskirt, and Chris & Sleazy both wearing rather conservative sweaters, but they had situated themselves on the cliffs of Beachy Head (a notorious suicide spot on the south coast of England) with a rented Range Rover in the distance and in a variation of this scene, a nude male body lies at their feet in the grass, presumably dead. This design (executed by Sleazy through his day job at Hipgnosis Design) was a sneering act of contempt for British society that failed to see the horrors and injustice which boiled just under the surfaces of congeniality and civility.
Both Second Annual Report and D.o.A. were ostensibly compilations of recontextualized material both from the studio and extracts from live recordings, but 20 Jazz Funk Greats - the third proper album from Throbbing Gristle - feels like a conceived album from beginning to end, even with all of its dead-ends and contradictions. The album opens with the title track, where a slow-motion drum machine and synthesized bass tones strut with a mechanical swagger with Cosey's discordant cornet blurts in the distance and predatorily whispered vocal extracts of what could be some smooth jazz DJ trying to set the mood - with that mood being a sickening, menacing threat. Such is also the case, with the lugubrious "Tanith" whose atonal rolling basslines churn against strange electronic blorp and tinkling chimes, which leads into "Convincing People" - whose metronomic synth sequencing became the signature for nearly every 'industrial' band that claimed TG as an influence. The detuned and distorted guitar from Cosey smears the mechanical edges while Genesis wailed through the lyrical repetitiveness which articulated to the effect that if you say it enough, people will start believing you. A hammer might help too. The minimalist club hit "Hot On The Heels Of Love" is one of the most memorable TG songs, and for very good reason as TG offered a much-imitated disco frugality through their insistent drum machine, squiggling sequencing, and Cosey's whispered vocals. Immediately following this is a nightmarish narration of the aftermath of a night of partying too much in "Persuasion", as disembodied female yelps of sexualized horror sporadically punctuate a slithering Genesis donning the role of a low-rent pornographer. "What A Day" is another 'industrial' template with a corrosive loop of cybernetic thumps forming the only backdrop to Genesis barking as loud as he can in a diabolical take on a footballer's chant. The finale "Six Six Sixties" finds Cosey's monochord guitar awfully prescient of Sonic Youth and Bailter Space in the drone intensity through distortion and rhythm, with Genesis reciting a suitably bleak monologue above, rounding out what is arguably the best of the Throbbing Gristle albums.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions apparently appear on the 24cd boxset of live TG material, although we've not cross referenced these facts yet). The two versions of "Discipline" (which were released as a 12" on Fetish Records in 1981) suitably conclude this disc, as that was the track that TG also performed at the end of their sets, with the heavy drum machines whipping the crowd into a frenzy and Genesis barking hysterically for some order. Such were the wonderful contradictions of Throbbing Gristle. About as a high a recommendation as we can give.
The remastered vinyl version is limited to 2000 copies.
MPEG Stream: "20 Jazz Funk Greats"
MPEG Stream: "Persuasion"
MPEG Stream: "What A Day!"

THROBBING GRISTLE D.O.A.: The Third And Final Report (Mute / Industrial Records) cd 11.98

THROBBING GRISTLE Gristleism (Black) (Throbbing Gristle) battery operated soundbox 30.00
Finally, the long rumored Gristleism soundbox from Throbbing Gristle is here, and it's just about as cool as we hoped. Regardless of your feelings on Throbbing Gristle as a band, Gristleism is another must have for music obsessives and weird gadget freaks, like FM3's Buddha Machine, Gristleism is a small compact battery powered soundbox that plays loops, it has a volume and a pitch control, and a button to switch between loops, but UNlike the Buddha Machine, which until recently came in the generic Asian packaging that all similar machines came packaged in (originally these boxes contained prayers and were used for mediation), and finally got a minimal but stylish upgrade, the Gristleism box is all about the packaging, in fact, we balked at the price before we saw these, but now that we've seen one and held one, WOW. Totally worth it.
The outside sleeve is gorgeously printed shiny on matte on one side, elaborately diecut on the other, that immediately recognizable TG pattern, the bottom is printed in metallic silver ink. But that's just the outer slipcover. Once that is removed, the inside cover is revealed, again, shiny ink on matte paper, some of the details in shiny metallic silver, the credits, the tracklisting, then inside that is a small printed insert, on thick reflective paper, and then finally the soundbox itself, which even has the Throbbing Gristle logo pressed into the plastic. As an object, this thing is breathtaking, totally striking and even if you never listened to it, would look smashing on your shelf. But you WILL want to listen to it.
Thirteen TG loops, the bulk of which seem to harken from the classic late '70s period of Throbbing Gristle, before the project split into Psychic TV, Chris & Cosey, and Coil.
The low synthetic dirge of "Persuasion" (from 20 Jazz Funk Greats) is the first loop on the box, complete with those unsettling female vocalisations which may be screams of fear, ecstacy, horror, or somewhere in between. The seasick distorted swells and atonal melodica trilled with tremolo come next, culled from the TG classic "Hamburger Lady" (from D.o.A. The Third and Final Report), all that's needed is for you to fill in Genesis' vocals about encountering a charred human body still alive in a hospital ward. Similarly effective is the alien slow-motion grooviess of the title track from 20 Jazz Funk Greats, with Cosey's bleating trumpet hanging in the distance. The windswept eeriness and foghorn blurts on "Thank You Brian" seem to be a loop that's unique to the box, or at least we're not sure where it might have come from. But the proto-acid squiggliness and disembodied vocals of "Maggot Death" reprise a particularly great snippet from TG's Second Annual Report. The "Wimpy Bar" loop doesn't seem to come from one of TG's records either but is one that sounds really familiar with Cosey's knife-on-the-guitar-strings scraping and squiggled electronics, perhaps from one of the many live cassettes? The tenth loop reprises the darkly hallucinatory echoes and atonal blurts from "Heathen Earth". The shepherd tone crustiness of the "Industrial Intro" could have been an experiment that Chris and Sleazey worked out for Second Annual Report. Everything actually sounds pretty awesomely crappy through the little speaker, apparently the band worked quite hard to enhance the sound of these little boxes, according to their website, Gristleism has almost twice the frequency range of the original Buddha Machines, but it's definitely a pretty perfect encapsulation of the TG aesthetic. Low brow high art. We would have liked to have seen a chunk from United or the rhythm from Discipline added into the box, but hey save those for the next one. Please?
The one bummer is that there's no output / headphone jack, so there's really no way to hook this up to an amp or your stereo. Unless... you go to the band's website, where they provide specs for certain mods, insert a jack, do a little circuit bending, so you can add your own twist to TG's Gristleism box.
Needless to say, odds are you're probably gonna want one of these. Or two. If you loved the Buddha Machine, or the recent Black Box variation, then this one's gonna blow your mind. Available in black, red, and chrome (although, as of this moment, the chrome version is not available yet, it should be in a couple weeks). And be warned, these are super limited, we have a bunch, but we may not be able to get more, or if we can, it might not be all that many...

THROBBING GRISTLE Gristleism (Chrome) (Throbbing Gristle) battery operated soundbox 30.00
First black, then red, now CHROME (ok, chrome colored plastic)! Ooh, shiny!
Finally, the long rumored Gristleism soundbox from Throbbing Gristle is here, and it's just about as cool as we hoped. Regardless of your feelings on Throbbing Gristle as a band, Gristleism is another must have for music obsessives and weird gadget freaks, like FM3's Buddha Machine, Gristleism is a small compact battery powered soundbox that plays loops, it has a volume and a pitch control, and a button to switch between loops, but UNlike the Buddha Machine, which until recently came in the generic Asian packaging that all similar machines came packaged in (originally these boxes contained prayers and were used for mediation), and finally got a minimal but stylish upgrade, the Gristleism box is all about the packaging, in fact, we balked at the price before we saw these, but now that we've seen one and held one, WOW. Totally worth it.
The outside sleeve is shiny chrome, gorgeously embossed, or debossed, on one side, elaborately diecut on the other, that immediately recognizable TG pattern, the bottom lettering is debossed into the silver, with the word Gristleism printed in black. But that's just the outer slipcover. Once that is removed, the inside cover is revealed, again, shiny chrome, the credits, the tracklisting, debossed into the silver then inside that is a small printed insert, black ink on thick black paper, and then finally the soundbox itself, which even has the Throbbing Gristle logo pressed into the shiny reflective chrome finished plastic. As an object, this thing is breathtaking, totally striking and even if you never listened to it, would look smashing on your shelf. But you WILL want to listen to it.
Thirteen TG loops, the bulk of which seem to harken from the classic late '70s period of Throbbing Gristle, before the project split into Psychic TV, Chris & Cosey, and Coil.
The low synthetic dirge of "Persuasion" (from 20 Jazz Funk Greats) is the first loop on the box, complete with those unsettling female vocalisations which may be screams of fear, ecstasy, horror, or somewhere in between. The seasick distorted swells and atonal melodica trilled with tremolo come next, culled from the TG classic "Hamburger Lady" (from D.o.A. The Third and Final Report), all that's needed is for you to fill in Genesis' vocals about encountering a charred human body still alive in a hospital ward. Similarly effective is the alien slow-motion grooviess of the title track from 20 Jazz Funk Greats, with Cosey's bleating trumpet hanging in the distance. The windswept eeriness and foghorn blurts on "Thank You Brian" seem to be a loop that's unique to the box, or at least we're not sure where it might have come from. But the proto-acid squiggliness and disembodied vocals of "Maggot Death" reprise a particularly great snippet from TG's Second Annual Report. The "Wimpy Bar" loop doesn't seem to come from one of TG's records either but is one that sounds really familiar with Cosey's knife-on-the-guitar-strings scraping and squiggled electronics, perhaps from one of the many live cassettes? The tenth loop reprises the darkly hallucinatory echoes and atonal blurts from "Heathen Earth". The shepherd tone crustiness of the "Industrial Intro" could have been an experiment that Chris and Sleazey worked out for Second Annual Report. Everything actually sounds pretty awesomely crappy through the little speaker, apparently the band worked quite hard to enhance the sound of these little boxes, according to their website, Gristleism has almost twice the frequency range of the original Buddha Machines, but it's definitely a pretty perfect encapsulation of the TG aesthetic. Low brow high art. We would have liked to have seen a chunk from United or the rhythm from Discipline added into the box, but hey save those for the next one. Please?
The one bummer is that there's no output / headphone jack, so there's really no way to hook this up to an amp or your stereo. Unless... you go to the band's website, where they provide specs for certain mods, insert a jack, do a little circuit bending, so you can add your own twist to TG's Gristleism box.
Needless to say, odds are you're probably gonna want one of these. Or two. If you loved the Buddha Machine, or the recent Black Box variation, then this one's gonna blow your mind. Available in black, red, and now chrome. And be warned, these are super limited, we have a bunch, but we may not be able to get more, or if we can, it might not be all that many...

THROBBING GRISTLE Gristleism (Red) (Throbbing Gristle) battery operated soundbox 30.00
Finally, the long rumored Gristleism soundbox from Throbbing Gristle is here, and it's just about as cool as we hoped. Regardless of your feelings on Throbbing Gristle as a band, Gristleism is another must have for music obsessives and weird gadget freaks, like FM3's Buddha Machine, Gristleism is a small compact battery powered soundbox that plays loops, it has a volume and a pitch control, and a button to switch between loops, but UNlike the Buddha Machine, which until recently came in the generic Asian packaging that all similar machines came packaged in (originally these boxes contained prayers and were used for mediation), and finally got a minimal but stylish upgrade, the Gristleism box is all about the packaging, in fact, we balked at the price before we saw these, but now that we've seen one and held one, WOW. Totally worth it.
The outside sleeve is gorgeously printed shiny on matte on one side, elaborately diecut on the other, that immediately recognizable TG pattern, the bottom is printed in shiny black ink. But that's just the outer slipcover. Once that is removed, the inside cover is revealed, again, shiny ink on matte paper, some of the details in shiny black ink, the credits, the tracklisting, then inside that is a small printed insert, on thick reflective paper, and then finally the soundbox itself, which even has the Throbbing Gristle logo pressed into the plastic. As an object, this thing is breathtaking, totally striking and even if you never listened to it, would look smashing on your shelf. But you WILL want to listen to it.
Thirteen TG loops, the bulk of which seem to harken from the classic late '70s period of Throbbing Gristle, before the project split into Psychic TV, Chris & Cosey, and Coil.
The low synthetic dirge of "Persuasion" (from 20 Jazz Funk Greats) is the first loop on the box, complete with those unsettling female vocalisations which may be screams of fear, ecstasy, horror, or somewhere in between. The seasick distorted swells and atonal melodica trilled with tremolo come next, culled from the TG classic "Hamburger Lady" (from D.o.A. The Third and Final Report), all that's needed is for you to fill in Genesis' vocals about encountering a charred human body still alive in a hospital ward. Similarly effective is the alien slow-motion grooviess of the title track from 20 Jazz Funk Greats, with Cosey's bleating trumpet hanging in the distance. The windswept eeriness and foghorn blurts on "Thank You Brian" seem to be a loop that's unique to the box, or at least we're not sure where it might have come from. But the proto-acid squiggliness and disembodied vocals of "Maggot Death" reprise a particularly great snippet from TG's Second Annual Report. The "Wimpy Bar" loop doesn't seem to come from one of TG's records either but is one that sounds really familiar with Cosey's knife-on-the-guitar-strings scraping and squiggled electronics, perhaps from one of the many live cassettes? The tenth loop reprises the darkly hallucinatory echoes and atonal blurts from "Heathen Earth". The shepherd tone crustiness of the "Industrial Intro" could have been an experiment that Chris and Sleazey worked out for Second Annual Report. Everything actually sounds pretty awesomely crappy through the little speaker, apparently the band worked quite hard to enhance the sound of these little boxes, according to their website, Gristleism has almost twice the frequency range of the original Buddha Machines, but it's definitely a pretty perfect encapsulation of the TG aesthetic. Low brow high art. We would have liked to have seen a chunk from United or the rhythm from Discipline added into the box, but hey save those for the next one. Please?
The one bummer is that there's no output / headphone jack, so there's really no way to hook this up to an amp or your stereo. Unless... you go to the band's website, where they provide specs for certain mods, insert a jack, do a little circuit bending, so you can add your own twist to TG's Gristleism box.
Needless to say, odds are you're probably gonna want one of these. Or two. If you loved the Buddha Machine, or the recent Black Box variation, then this one's gonna blow your mind. Available in black, red, and chrome (although, as of this moment, the chrome version is not available yet). And be warned, these are super limited, we have a bunch, but we may not be able to get more, or if we can, it might not be all that many...

THROBBING GRISTLE Heathen Earth: The Live Sound Of Throbbing Gristle (Industrial) 2cd 23.00
While cataloged as the 'fourth and final' studio recording of Throbbing Gristle, Heathen Earth documents TG in a live context, as TG invited a couple dozen friends and hangers-on into the Industrial Records studio to witness the band in an intimate setting, while recording the proceedings to 8-track tape. Much of the slashing noise, atonal cornet blurts, and discordant oscillations from TG's live persona is front and center, but such brute noises are thrust against the clarity of sound from TG's step sequencing and electronic rhythms. Throbbing Gristle rework some tracks from the back catalogue, as the apocalyptic guitar drone of "Six Six Sixties" becomes all the more distorted and menacing in its new guise "The Old Man Smiled;" and some of that self same sequencing that went into the Schniztler-esque track "Dead On Arrival" re-emerges on "The Worlds Is A War Film." Presumably, a version of "After Cease to Exist" surfaces in the morass of murky noise that TG delves into, but it's hard to tell where that emerges as this track was such a gnarled abstraction to begin with. The cold electronic rhythms of "Don't Do As Your Told, Do As You Think" mirrors the jackbooted intensity that TG produced in their live-only cut "Discipline."
As with all of the other remastered versions of the cd, Heathen Earth comes with a bonus disc of live materials with a single at the end. Strangely enough, a track entitled "Heathen Earth" is featured in the live material, but was not included in the "live-in-the-studio" album. It's quite an incendiary number with pounding heartbeat drum machine grounding Genesis' tortured vocals and piercing feedback tones. A subterranean creepiness befits the track "Auschwitz" with bellowing cornet and distant drone sound design, prescient of pretty much every dark ambient / death industrial act to follow over the next three decades. The live material follows this trend up to the finale in the utterly haunting "We Said No," rounding out what is probably the best live material that TG has presented in this series of reissues. The finale seven inch is "Subhuman / Adrenalin" - the former being a throat-burning tirade from Genesis above a smoldering backdrop of electric noise, while the latter centers on the mechanoid sequencing of Sleazy and Chris Carter.
The vinyl version comes sans bonus disc, and is limited to 2000 copies!
MPEG Stream: "The Old Man Smiled"
MPEG Stream: "Don't Do As You're Told, Do As You Think"
MPEG Stream: "Heathen Earth"
MPEG Stream: "We Said No"

THROBBING GRISTLE Heathen Earth: The Live Sound Of Throbbing Gristle (Industrial) lp 25.00
While cataloged as the 'fourth and final' studio recording of Throbbing Gristle, Heathen Earth documents TG in a live context, as TG invited a couple dozen friends and hangers-on into the Industrial Records studio to witness the band in an intimate setting, while recording the proceedings to 8-track tape. Much of the slashing noise, atonal cornet blurts, and discordant oscillations from TG's live persona is front and center, but such brute noises are thrust against the clarity of sound from TG's step sequencing and electronic rhythms. Throbbing Gristle rework some tracks from the back catalogue, as the apocalyptic guitar drone of "Six Six Sixties" becomes all the more distorted and menacing in its new guise "The Old Man Smiled;" and some of that self same sequencing that went into the Schniztler-esque track "Dead On Arrival" re-emerges on "The Worlds Is A War Film." Presumably, a version of "After Cease to Exist" surfaces in the morass of murky noise that TG delves into, but it's hard to tell where that emerges as this track was such a gnarled abstraction to begin with. The cold electronic rhythms of "Don't Do As Your Told, Do As You Think" mirrors the jackbooted intensity that TG produced in their live-only cut "Discipline."
As with all of the other remastered versions of the cd, Heathen Earth comes with a bonus disc of live materials with a single at the end. Strangely enough, a track entitled "Heathen Earth" is featured in the live material, but was not included in the "live-in-the-studio" album. It's quite an incendiary number with pounding heartbeat drum machine grounding Genesis' tortured vocals and piercing feedback tones. A subterranean creepiness befits the track "Auschwitz" with bellowing cornet and distant drone sound design, prescient of pretty much every dark ambient / death industrial act to follow over the next three decades. The live material follows this trend up to the finale in the utterly haunting "We Said No," rounding out what is probably the best live material that TG has presented in this series of reissues. The finale seven inch is "Subhuman / Adrenalin" - the former being a throat-burning tirade from Genesis above a smoldering backdrop of electric noise, while the latter centers on the mechanoid sequencing of Sleazy and Chris Carter.
The vinyl version comes sans bonus disc, and is limited to 2000 copies!
MPEG Stream: "The Old Man Smiled"
MPEG Stream: "Don't Do As You're Told, Do As You Think"

THROBBING GRISTLE Part Two The Endless Not (Mute) cd 16.98
After twenty plus years since they terminated their mission, Throbbing Gristle have reformed. This collaborative reunion originally was to be just a one off live gig; then it became a second weekend long festival that had to be canceled; and it's quite probable that these four pioneers of Industrial Culture just shrugged their collective shoulders and decided, "what the hell, let's record an album!" So, here it is Part Two The Endless Not; and while no one is ever going to mistake this album for the follow-up to the primitive electronic constructions of DOA or Second Annual Report, this is a truly compelling album that successfully reintegrates the divergent aesthetics that evolved out of Throbbing Gristle. The erotically charged pulse streams of Chris & Cosey and the polyglot electric psychedelia of Coil combine perfectly as the shattered mirror sonic arrangements for Genesis P-Orridge's half-sung sermons, which continue along the same Burroughsian cut-up principles that have been his signature sound throughout the herky-jerky career of Psychic TV. It's still somewhat amusing that Genesis has chosen not to learn to sing, but his warbled slurring vocals still have a peculiar charisma that no one else could ever pull off. Musically, Part Two The Endless Not seems to have much more in common with the posthumous Coil releases, with melancholy marimba and slickly polished synthesized structures harboring funereal melodies and whirling data-crunched rhythms; and it causes one to ask if Sleazy Christopherson was in fact the man behind most of the brilliance of Throbbing Gristle's earlier work. Admittedly, Part Two The Endless Not exhibits a considerable cleanliness and palatability which couldn't have been a part of the early TG sound; but this is nonetheless a great record from four great musicians.
MPEG Stream: "Vow Of Silence"
MPEG Stream: "Almost A Kiss"
MPEG Stream: "Greasy Spoon"

THROBBING GRISTLE Second Annual Report of (Mute) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THROBBING GRISTLE TG24 24cd 220.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THROBBING GRISTLE The Second Annual Report (Industrial Records) 2cd 23.00
A five knuckle shuffle on my throbbing gristle! Yup, it's a crass reference to masturbation uttered by one of the associates of Coum Transmissions, the mid-'70s, British transgressive performance art ensemble whose happenings involved extreme rituals of sex, vomit, and blood, causing quiet a stir in the press, art world, and beyond. By 1976, the principle members of Coum - Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter, and Peter Christopherson - rechristened themselves Throbbing Gristle, as a musical outfit creating a confounding, bleak electronic parallel to the trajectory of punk. Over the next four years, TG released a handful of albums and toured constantly, always attuned to a coy semantic juxtaposition of gruesome, pornographic, or morbid imagery next to that which was cheeky and absurdly comical. Monte Cazazza's catch phrase "industrial music for industrial people" spoke not only the mechanical, de-humanizing mirror that TG was holding up to western culture, but also to the band's downright British industriousness. As such, the band's in-house label, Industrial Records, addressed all of this and more.
The Second Annual Report was actually the first release for Throbbing Gristle and Industrial Records in 1976, with the deliberately confusing title and catalogue number (IR 0002) alluding to then non-existent First Annual Report (which was recorded in 1975, although shelved by the band at the time and released as semi-official and un-official bootlegs from the '80s onward). The album is a collection of live recordings, showing the variations on two tracks - "Slug Bait" and "Maggot Death." The former is an unsettled, murky, barely formed set of lumbering tones with grim guitar drones and spluttering electronics, with Genesis caterwauling as he has done for close to four decades now. Sampled interviews with a child molester and a murderer dot the charred soundscape from the recording made in Brighton, marking a common application of appropriated 'true crime' objects which litter so much of the Industrial Culture which came after TG. "Maggot Death" is just as amorphous as "Slug Bait" with a morass of monochromatic bass-distortion and blurting electronics. The side-long "After Cease To Exist" rounded out the B-side of the original LP, and was a suitably disfigured soundscape of scraping violin, atonal guitar bursts, and dark electronic excursions. While each of these tracks is rudimentary in form and function, they lay the foundation for what would come next in TG's career.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions do appear on the 24cd boxset of live TG material), as well as the deliciously counterpointing single "United / Zyklon B Zombie." Aside from the perky Kraftwerkian percolation of "United", the second disc is overloaded with cacophonic dive-bomb squalls of noise with slashed vibrations of electronics, madman barked vocals, flanging guitar distortion, and decentered Burroughs-inspired collages of spoken texts, fitting with the cruel delirium of what's found on The Second Annual Report proper. Difficult listening for sure, but after all, "Entertainment Through Pain" was Throbbing Gristle's motto!
MPEG Stream: "Maggot Death"
MPEG Stream: "After Cease To Exist"
MPEG Stream: "Tesco Disco (Live)"
MPEG Stream: "United"

THROBBING GRISTLE The Second Annual Report (Industrial Records) lp 25.00
A five knuckle shuffle on my throbbing gristle! Yup, it's a crass reference to masturbation uttered by one of the associates of Coum Transmissions, the mid-'70s, British transgressive performance art ensemble whose happenings involved extreme rituals of sex, vomit, and blood, causing quiet a stir in the press, art world, and beyond. By 1976, the principle members of Coum - Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter, and Peter Christopherson - rechristened themselves Throbbing Gristle, as a musical outfit creating a confounding, bleak electronic parallel to the trajectory of punk. Over the next four years, TG released a handful of albums and toured constantly, always attuned to a coy semantic juxtaposition of gruesome, pornographic, or morbid imagery next to that which was cheeky and absurdly comical. Monte Cazazza's catch phrase "industrial music for industrial people" spoke not only the mechanical, de-humanizing mirror that TG was holding up to western culture, but also to the band's downright British industriousness. As such, the band's in-house label, Industrial Records, addressed all of this and more.
The Second Annual Report was actually the first release for Throbbing Gristle and Industrial Records in 1976, with the deliberately confusing title and catalogue number (IR 0002) alluding to then non-existent First Annual Report (which was recorded in 1975, although shelved by the band at the time and released as semi-official and un-official bootlegs from the '80s onward). The album is a collection of live recordings, showing the variations on two tracks - "Slug Bait" and "Maggot Death." The former is an unsettled, murky, barely formed set of lumbering tones with grim guitar drones and spluttering electronics, with Genesis caterwauling as he has done for close to four decades now. Sampled interviews with a child molester and a murderer dot the charred soundscape from the recording made in Brighton, marking a common application of appropriated 'true crime' objects which litter so much of the Industrial Culture which came after TG. "Maggot Death" is just as amorphous as "Slug Bait" with a morass of monochromatic bass-distortion and blurting electronics. The side-long "After Cease To Exist" rounded out the B-side of the original LP, and was a suitably disfigured soundscape of scraping violin, atonal guitar bursts, and dark electronic excursions. While each of these tracks is rudimentary in form and function, they lay the foundation for what would come next in TG's career.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions do appear on the 24cd boxset of live TG material), as well as the deliciously counterpointing single "United / Zyklon B Zombie." Aside from the perky Kraftwerkian percolation of "United", the second disc is overloaded with cacophonic dive-bomb squalls of noise with slashed vibrations of electronics, madman barked vocals, flanging guitar distortion, and decentered Burroughs-inspired collages of spoken texts, fitting with the cruel delirium of what's found on The Second Annual Report proper. Difficult listening for sure, but after all, "Entertainment Through Pain" was Throbbing Gristle's motto!
The vinyl is a re-mastered version of the original LPs tracklisting, and is limited to 2000 copies.
MPEG Stream: "Maggot Death"
MPEG Stream: "After Cease To Exist"

THUJA All Strange Beasts Of The Past (Emperor Jones) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Thuja, beautiful Thuja. While around here (San Francisco) this group of quiet, psychedelic improvisors doesn't get quite the attention we feel they deserve, they do have a devoted, international following of fans. Fans who will be thrilled with these two new releases: a new full-length cd (their third for the Emperor Jones label after one on tUMULt) and a cute lil' 3" cd-r installment in their own Jewelled Antler "Library Series".
All Strange Beasts Of The Past, the full-length, is also a record that should make Thuja some new fans if only folks get exposed to it. It's certainly their most acoustic instrument based, melodic, and folky sounding record to date, veering close to the territory explored by Thuja member Steven R. Smith on his Hala Strana releases. Not that they've abandoned their sticks and stones and drone, in fact you'll find that the last track -- they're all untitled as usual -- is entirely full of ambient grit and rattle and clank and the abstract drone sounds of undisclosed detritus found in the woods. This mellow, maybe menacing, dark forest epic takes up almost half of the disc's running time, and could easily have stood as a fine 3" release on its own. But it makes a great finale, after the shorter, more musically 'conventional' (by Thuja standards) instrumentals that preceeded it. It's as if they finally reached the dragon's lair suggested by the album's title (and wonderful cover photo and other graphics). They're creeping about, exploring a hopefully uninhabited cave, littered with strange glittering treasures and terrible old bones.
MPEG Stream: "track 2"
MPEG Stream: "track 7"

THUJA Fable (Jewelled Antler) 3" cd-r 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Meanwhile, Thuja have also released a new 3" cd-r as we mentioned above: Fable. It's #10 in the series of twelve, getting close to the end, about time for these guys to finally make an appearance (unless you count the almost-Thuja Tomes entry). 20 or so minutes, 2 tracks. Again, the Thujans (Loren Chasse, Rob Reger, Steven R. Smith, and Glenn Donaldson) make some of the most beautiful and mysterious abstract instrumental improv we've heard. All we're told is that Fable was "recorded at night in the Garden of Kains, August 30, 2003". There could have been weird old hippies sitting in, or magical woodland beasts (of the past), or academic dronologists gone a bit strange on natural pharmacueticals...but probably it was just Thuja, and their music is conjuring these imaginary visitors not the other way around. Get this one.
MPEG Stream: "Fable (track 2)"

THUJA Hills (Last Visible Dog) cd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A far cry from the elaborate packaging of their previous releases, such as the charming homebrewed "Thuja Museum" treasure-boxes produced by their own Jewelled Antler label, Thuja's third full-length album suffers from the dodgy packaging aesthetic of Last Visible Dog, who've rendered the cover art as a high contrast black-and-white photocopy. Fortunately, Thuja's music redeems the packaging, with another fantastic album of their signature organically evolving improvizations haunted with the ghosts of folk and psychedelia.
This quartet -- whose Rob Reger, Loren Chasse, and Glenn Donaldson reside in San Francisco while Steven R. Smith calls Los Angeles his home -- strives to evoke the emotional tenor of an environment. Cramming themselves and their instruments amidst exotic plants, ready made constructions of urban refuse, seascape dioramas, and Reger's collection of thrift store 'bad art,' Thuja often steps away from the traditional instrumentation of drums, guitar, etc. to tinker with a rusted bicycle wheel, to slash a pile of sticks with a violin bow, or to rummage through a trough of gravel (which Chasse later discovered was cat litter). Such textural details beautifully illuminate their sustained organ drones, spluttering duets for dulcimer and oud, tinkling of bells 'n' chimes, and impressionistic piano plinkings, opening the psychedelic window into an abstracted, imaginary space. As Thuja's cyclical fluidity of sounds and deep plunking reverberations offer possible readings of ancient seafaring tales, "Hills" isn't so much a description of the place, but a vantage point from which the ocean can be seen. All of Thuja's recordings come highly recommended, and "Hills" is no exception!
RealAudio clip: "Hills 4"
RealAudio clip: "Hills 7"
RealAudio clip: "Hills 8"

THUJA Pine Cone Temples (Strange Attractors Audio House) 2cd 17.98
Ah, Thuja, the mothership if you will of the Jewelled Antler armada. Featuring names that by now should be quite familiar to AQ customers: Loren Chasse, Steven R. Smith, Glenn Donaldson and Rob Reger.
Between them, these four are responsible for fifty records at least, under twenty or more different monickers. All of them great, and all of them loosely based in one way or another on nature, or natural sounds, or the way music and found sounds interact with the spaces they are performed in. There are instruments like guitars, drums, bass, but more often than not, you'll find sticks and stones, found objects, junk, all sorts of industrial and natural detritus, recorded, re-broadcast, and recorded again. Utilizing natural reverb, the sounds of certain spaces, ambient sounds as well as making the act of making music, music in itself. Wow. So what does Pine Cone Temples sound like?
It's wide open and expansive. Ambient perhaps, but there's too much going on for it to be strictly ambient. It's more a sort of abstract soundscape, the sort of soundscape the requires close listening, active listening, in order to understand, and feel the sounds, not just hear them. The rustle of leaves, crickets maybe, running water, or are those sounds manufactured by the band in an attempt to pay homage to the music of nature? Does it matter. Maybe its both, the sound of running water accompanied by Thuja emulating the sound of running water. Clicks and creaks, and little bits of clatter, a simple melody played on a recorder, warm organ warble, whipsering wind, toy xylophone notes released and left to drift in the slowly shifting breeze, distant bird calls, reverbed piano, dark cavernous rumbles, shimmering single notes stretched perilously across a sound field dotted with the echo of dripping water and the buzz of vibrating guitar strings. This isn't so much music as it is simply sound, sound that has been lovingly shaped and guided, observed and interacted with, recorded in its element. As if Thuja were just recordists, who use their own sounds to lure the sounds of nature to come just a little closer, in order to capture them raw and natural, and incorporate them into the sun dappled cloak of their jewelled nature-folk. The sounds of music can be smooth and soothing, or raw and primitive, as can the music of sound, and thus Thuja, whose music of sound is pure, and organic, lush and lustrous, and breathtakingly beautiful.
MPEG Stream: "Untitled One"