GOLIATH BIRD EATER Blood Generation (Caligulan ) cass 7.98
We haven't heard from Goliath Bird Eater in a while, a guitar and drums duo from LA featuring one Mr. Bobb Bruno as the axe wielding half. We were warned (or was it promised?) by Caligulan label head honcho Anthony, that this GBE was gonna be the heaviest yet, and just a few minutes in, and we're convinced. Whereas the last GBE was sort of mathy and freaked out, we compared it to a stripped down Dazzling Killmen, this new one is all slow burning heaviness, heaving churning guitars, sounds like an ocean of guitars, all tuned as low as they go, and unfurling massive swells of crumbling rumbling glacial heaviness. Eventually, the heaviness recedes, leaving something much more abstract and spacey, all processed guitars, swirling effects, very droney and krautrocky, fans of Expo 70 will probably flip, but best not be averse to heaviness, as they band slip right back into that churning roiling crush that started things off, before finally slipping into a slow simmering low end drift to finish off the first side. There doesn't seem to be any drums on side A so as he's credited with organ too, we can only assume that some of that heaviness could be attributed to some serious organ abuse.
The flipside starts off with another metallic riff, this one a bit more propulsive, and wreathed in shimmering organs, somehow melding some grinding slow motion metal with spaced out krautrock drift, pretty bad ass for sure. This side two doesn't offer up much in the way of drumming, other than what sounds like the click of a hi-hat keeping time, but it hardly detracts from the oozing sprawling heaviness, in fact if anything, the lack of drums lets the sound spill over in all directions, the main riff becoming more and more muddy and blown out, the organs and synths taking on more of the sound, until yes, the drums finally drop, and the song is transformed into some gorgeously in-the-red krautdrone space rock groove that definitely rivals anything you've heard from the various sonic space explorers reviewed elsewhere on the site. The music gets downright majestic, the drums locked in and motorik, the sort of jam that could, and as far as we're concerned SHOULD, go on forever. FUCKING AWESOME.
Killer packaging too, silkscreened and painted photo paper sleeve, with printed metallic gold cardstock insert.

GONJASUFI A Sufi And A Killer (Warp) cd 16.98
One of our favorite tracks from Flying Lotus's excellent Los Angeles record was the penultimate track "Testament" that featured a singer we imagined was discovered in some remote smoky opium den in Morocco. The voice felt ancient, a weezing whispering mixture of Jimmy Scott and Billie Holiday that we thought could have been a sample from an old dusty recording. Well, it turns out that voice is one Sumach Ecks (aka Gonjasufi), a San Diego based yoga instructor and one-time rapper and DJ who in a chance meeting with The Gaslamp Killer and Flying Lotus in Las Vegas, struck up a bond with the two producers and they started working together. A Sufi And A Killer is an amazing debut, a perfect fit between the dark off-kilter beats of Flying Lotus, Burial and King Midas Sound. But it also surprisingly displays a lot of vocal and musical range, moving into some rockier moments, tripping out on short interludes or sometimes delving down strange, mysterious but always interesting sonic tangents. Supposedly it took much longer to mix than it did to record, showing a dedication to detail that is truly rewarding to listen to. Highly recommended!
MPEG Stream: "Kobwebz"
MPEG Stream: "Ancestors"
MPEG Stream: "Candylane"
MPEG Stream: "Klowds"

GONJASUFI A Sufi and A Killer (Warp) 2lp 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on vinyl!
One of our favorite tracks from Flying Lotus's excellent Los Angeles record was the penultimate track "Testament" that featured a singer we imagined was discovered in some remote smoky opium den in Morocco. The voice felt ancient, a weezing whispering mixture of Jimmy Scott and Billie Holiday that we thought could have been a sample from an old dusty recording. Well, it turns out that voice is one Sumach Ecks (aka Gonjasufi), a San Diego based yoga instructor and one-time rapper and DJ who in a chance meeting with The Gaslamp Killer and Flying Lotus in Las Vegas, struck up a bond with the two producers and they started working together. A Sufi And A Killer is an amazing debut, a perfect fit between the dark off-kilter beats of Flying Lotus, Burial and King Midas Sound. But it also surprisingly displays a lot of vocal and musical range, moving into some rockier moments, tripping out on short interludes or sometimes delving down strange, mysterious but always interesting sonic tangents. Supposedly it took much longer to mix than it did to record, showing a dedication to detail that is truly rewarding to listen to. Highly recommended!
MPEG Stream: "Kobwebz"
MPEG Stream: "Ancestors"
MPEG Stream: "Candylane"
MPEG Stream: "Klowds"

GOOD STUFF HOUSE Endless Bummer (Root Strata) cd 15.98
Endless Bummer is such a good name for a record. Usually we're not all that into puns as titles (or band names), but Endless Bummer manages to be a pun, while sort of flipping the spirit of the original inside out. We always wanted to call a record Endless Bummer, but we've now been beat to the punch TWICE. At least. Once in the nineties by Further, whose Endless Bummer was an effervescent chunk of in the red post-Pavement slacker Beach Boys worship, and now this record right here, by the mysteriously named Good Stuff House, whose own particular Endless Bummer is much darker and more sedate, a sprawling drift of minimal shimmer and fluttery folk enveloped by dense clouds of natural reverb and billows of soft buzz.
We didn't know too much about Good Stuff House, we had another cd-r that we dug quite a bit, but which went out of print before we could get enough to review, but now we know just why we liked GSH so much, it's the two guys from dronedrift duo Zelienople, and none other than long time aQ fave, guitarist Scott Tuma, he of the legendary Souled American as well as a clutch of amazing solo records (including a recent record of the week). Pretty much hard to go wrong. And Endless Bummer is further proof of just how far from wrong these guys can get....
Apparently Endless Bummer was recorded in unorthodox spaces, warehouses, churches, basements, and it's not just the band performing live, but much like Taj Mahal Travellers 30 years earlier, who would record various performances, then broadcast them into the space, playing along live, often more than once, every step adding more and more murk and buzz and reverb and echo, the sound getting less and less distinct, until it became the sound of drifting along some murky body of water, through a sonic fog so thick it clings to the surface of the water, every note sounding like it had travelled up from the bottom of the sea, or echoing off of the distant shore. Tuma offers up bits of his gorgeous distinctive guitar, and while they do manage to hover briefly, they seem to absorb the sounds around them, soft spidery tendrils transformed into thick swells, the trio introducing bits of voice, various other sounds, all rendered almost immediately unrecognizable, becoming more another part of this sprawling organic whole, cymbal sizzle becomes shimmering clouds, drifting over the drifting murkscape below.
The sound is simultaneously muddy, murky and lo-fi, yet warm, glistening, and subtly melodic, everything is muted, the softened edges barely hiding the glowing sonic glimmers within. Gorgeous.
LIMITED TO 300 COPIES. Packaged in super subtle silver ink on pale blue fold over origami style sleeve.
MPEG Stream: "Untitled I"
MPEG Stream: "Untitled II"

GOODWIN, SCOTT Impeccable Surface (Autonomous Object ) cd-r 8.98
Scott Goodwin is probably not a name most of you know off the top of your head. But as the man behind minimal drone combo Bonus, we were pretty excited to hear what he had been up to lately, especially since the Bonus discs we'd carried in the past were some of our favorite minimal drone music,
Impeccable Surface is definitely less rumbly and buzzy and low end than Bonus, but no less drone-y or hypnotic, this 32 minute disc begins with a pulse like high end tone, some strange klaxon, bleating out a machine like throb, while beneath and all around it, thick textured electronic tones ebb and flow, swallowing the pulse entirely, then fading to a distant whisper, the sound incredibly lush and full, the sounds slipping back and forth from ear to ear, heavily panned, the sound very spatial and expansive. A few minutes in and another, louder layer of tones join the fray, and seem to swoop wildly over the proceedings, but begin to blend with the various other sounds, and suddenly it's almost like one of those paintings you stare at a different shapes emerge. The tones blend and then beat against each other, the sounds stuttering, buzzing, transforming into smooth long harmonies, and then back again, a glorious sonic tangle, that seems to spin and change shape, change colors, change appearance right before our ears. A dog whistle tone soon joins in and the whole thing gets that much more intense, until finally, at about the halfway mark, the piece becomes much more minimal, a single tone undulating, wavering, joined by another tone, way off in the distance, the distant ultra high tone eventually eclipsing the lower tone, until it sounds like Ryoji Ikeda or Francisco Lopez. The main tone lurches back in, and suddenly the tones are winding in and out of each other's space, drawing all sorts of minimal melodies and not quite rhythms until the track shuts down, leaving just that impossible dog whistle tone, and then silence.
Some seriously incredible minimal drone music for sure. The usual suspects will definitely need this. And of course, be warned, SUPER LIMITED, when we run out, we may not be able to get more.
MPEG Stream: "Impeccable Surface"

GOODWIN, SCOTT Off Light (Root Strata) cd 12.98
First proper cd (not cd-r) release from Scott Goodwin, whose day job is in the group Bonus, but who spends his spare time, making even MORE drone music. Unlike the thick and rumbling, almost doomlike drone of Bonus, on his own, Goodwin tends toward the minimal, more Niblock than SUNNO))), less distortion, more timbre and tone. Goodwin's most recent cd-r Impeccable Surface demonstrated a dramatic shift in that direction, but with Off Light, Goodwin full realizes his vision, crafting too extended drones from pure tones, sine waves, the result is a subtle dronescape of shimmering overtones, and of sound in flux. Niblock is definitely the closest reference, as Goodwin seems to approach his drones in a similar fashion, lining up the layers, the tones, and then shifting them microscopically to create various rhythms and colors. For what seems fairly static, the sounds are incredibly active. Changing shape, their textures constantly shifting, the overtones creating rhythms, those rhythms interacting with the tones and creating counter rhythms and more overtones. With headphones it's easy to get sucked in, it almost makes the listener dizzy, the way the sound seem to move and breathe, but take a step back, and the sound seems more static and manageable, but ever beckoning, with its own impossible gravity. The two tracks, one low, one high, both offer up glimpses into sound, both entrance and enthrall, each soothing in its own way, but far too complex to be ambient music. The sound is academic as well as primal (what's more primal than the drone?), ethereal and ineffable, yet measured and composed, the sounds here are complex enough that they can be appreciated on either level, as a world of sound to explore, and attempt to understand and unravel, or as pure sound, simple and subtly lovely. Or better yet, a mix of the two.
LIMITED TO 300 COPIES!!!
MPEG Stream: "Arc"

GORDON, JACQUELINE dreamBlanket (Diagnosis...Don't!) cd-r 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Not only do the Grey Daturas kick up a serious noiserock ruckus, they also run their own cd-r label, the mysteriously titled Diagnosis... Don't! There are three new releases, and we managed to get a handful of each.
Gordon is an Oakland-based sound artist, who designs blankets with speakers sewn into them, each connected to some sound producing device, a toy or musical instrument, the listener is then encouraged to wrap themselves in the blanket, and luxuriate in the sounds produced by the listener's movement. Incredibly immersive and so goddamn cool! This disc captures a brief snippet of Gordon's installation. A warm fuzzy soundscape of distorted electronics, droning and growling, hissing and rumbling and whirls of haunting electronic glitches all woven into an undulating swirl of thick buzz and strange murky and mechanical melody.
SUPER LIMITED (of course!). Each disc comes packaged in two squares of one of Gordon's blankets, sewn together into an oven mitt like sleeve.
MPEG Stream: "dreamBlanket"

GORDON, KIM / DJ OLIVE / IKUE MORI SYR #5 (SYR) cd 9.98
The fifth title in Sonic Youth's self-released series of experimental work isn't Sonic Youth proper: instead it's bassist Kim Gordon, lauded avant-percussionist Ikue Mori, and DJ Olive of the illbient drum'n'bass group We. And guest Yuka Honda of Cibo Matto. Certainly all these folks have made excellent music with their regular groups, but in the name of that emperor who had no clothes, we must tell you that this record sucks. It's terrible. It's trying to be avant improv, I think (it certainly wasn't composed), but just comes across as utterly self-indulgent noodling without a center, a focus, or a point. The sound of a toilet flushing just might be the most apt moment on the record. Wanting to be supportive of Kim's side projects, and being a big fan of We and Mori, it pains me to have to write this. They're smart people, they must have realized this is BAD! How could they NOT know? For heaven's sake! A total disappointment.

GORGONTONGUE The Lighter Side of a Suicidal Mind (Universal Tongue) 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.
What do Aidan Baker, Gnaw Their Tongues, Alkerdeel, Persistence In Mourning, Caina and Expo 70 all have in common? Well they've all released records on ultra cool Portuguese micro label Universal Tongue. And to that list you can add these guys, the strangely named Gorgontongue, one part Arizona black metal outfit Ganzmord, one part Oklahoma funeral doom horde Persistence In Mourning. Although the parts don't necessarily predict the whole in this case, as The Lighter Side of a Suicidal Mind is not in fact metal, black, doom or otherwise, instead this duo are exploring some grim, haunting, oppressive black ambient otherworld, blending soft noise, field recordings, mysterious murky effects, layered drones, much of this sounds like a prettier, less harsh Gnaw Their Tongues, sort of epic and cinematic and dramatically doomy, but also a bit like a more grim blackened Expo 70, that same sort of glimmering slow burn kosmische krautdrone, but laced with strange processed vox, crumbling industrial detritus, swaths of wheezing organs, buried barely audible rhythms, the occasional hellish shriek, tangled bits of detuned acoustic guitar, dubbed out electronics, ghostly vocals, woozy arpeggiated melodies, keening feedback, bits of Dead C like free rock drift, sprawling expanses of space-y ambience, various bits of crash and clank twisted and transformed into strange sonic streaks, rumbling low end pulses, crumbling walls of corrosive metallic crunch, tinkling chimes, all drifting through epic black expanses and dense squalls of psychedelic abstract effects-damaged buzz, culminating in the near meditative final track, a haunting, black ambient driftscape, hushed and haunting and weirdly lovely.
LIMITED TO ONLY 100 COPIES!!! Housed in a Blue Ray style dvd case, with a printed two sided front cover, and a printer insert / mini poster.
MPEG Stream: "Everytime Something Falls"
MPEG Stream: "The Children Of Their Gods Writhe At My Feet"

GOSFIELD, ANNIE Burnt Ivory and Loose Wires (Tzadik) cd 15.98
Sometimes aggressive, sometimes gentle, and as the title suggests, having to do with the destruction of a piano. Extended performance techniques reconfigured through a sampler. Features the Rova Sax Quartet. Quite nice.

GOSLINGS, THE Between The Dead (Conspiracy) lp 29.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Our pals at Conspiracy Records, a label/distro based in Belgium, who in the past have brought us records by Boris, Jesu, Shora and more, are this year celebrating their 10 year anniversary. A decade of amazing music. From a bedroom based punk label, to one of Europe's most important and influential labels and distros, all we can say is HURRAY! And HUZZAH! It's always so exciting, when a bunch of folks get together to spread the word about great music, great WEIRD music, and survive, even thrive. Such is the case with Conspiracy. And as if that weren't already enough, just knowing that some great people were selling some amazing music, those sweeties at Conspiracy have decided to share the love with us. And you.
To celebrate their 10th anniversary, they've decided to do a super limited subscription series, 12 records over 12 months, each limited to somewhere between 200-500 copies, ONLY available to series subscribers. EXCEPT, they've decided to let AQ have 20 copies of each, we're the only store with copies of these subscriber only lps, and for a brief moment, we can offer them to you, our loyal AQ customers. Needless to say we are thrilled, as the series lineup reads like a who's who of AQ faves, as well as including a handful of lesser knowns. All pressed on super thick vinyl, and packaged in killer hand screened original art sleeves. But be warned, we only got 20 of each, and we will run out fast and we will not be able to get more. When we do run out, there is a chance you can still get more (or even subscribe to the series) from Conspiracy direct, but what that means is act fast and prepare to leave empty handed.
For the fourth installment in the series, Conspiracy have decided to briefly resuscitate the sadly now out of print Goslings cd Between The Dead. But we're happy to have it available again, no matter how briefly. AQ regulars are by now probably quite familiar with Goslings, but in case you missed it, here's what we had to say when we first got our hands on this amazing disc:
A couple customers suggested we track this down, the debut record from the Goslings, and from what we heard about it we were expecting yet another record of downtuned sludge doom drone, SUNNO))) / Earth worship, but man is this anything but. It's definitely heavy, but not typically heavy, or really sludgy even, which probably has a lot to do with the way this was recorded, ultra blown out and super distorted, sheets of crumbling high end and maybe the harshest crunchiest guitar sound we've heard in forever, but the Goslings take this white hot heaviness, this blown out brutality and somehow make it pretty, lovely, gorgeous even. Drifting female vocals and sweet sweet melodies are buried beneath a dumptruck of fuzz, like the a Mazzy Star record, covered by the Melvins, recorded by Merzbow or Masonna. Every track is hiding a secret center, a streak of lush melodicism that sound like bits of My Bloody Valentine, Jesus And Mary Chain, and huge slabs of warm and wonderful dream pop, all roughed up and dipped in tar and rolled in dirt and sent staggering through a minefield of razor sharp guitars, pounding Teutonic drums, all tangled up into a machinelike throb, trudging relentlessly at a snails pace, a head crushing plod wrapped in barbed wire riffs and a thick haze of violent whir, but still you can see a little glimmer, a shiny little wink from within the massively suffocating clouds of drum dirt and guitar grime, all tape hiss and recording grit and musical chaos, a glowing orb of crystalline shimmer, buried and barely visible, almost like someone was tossing bright shiny pop hooks into a pit filled with snakes and nails and used syringes and garbage and soiled diapers and rocks and dead animals. So is this the most gorgeous ugly record ever? The ugliest lovely record ever? The harshest, sludgiest pop record ever? The loveliest harsh noise-sludge record ever? Maybe all of the above. So good!
Original artwork on hand silkscreened sleeves. The LP's are pressed on super thick 180 gram vinyl and housed in thick plastic sleeves.
MPEG Stream: "Crow For Day"
MPEG Stream: "Brindle"

GOSLINGS, THE Between The Dead (self-released) cd-r 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A couple customers suggested we track this down, the debut record from the Goslings, and from what we heard about it we were expecting yet another record of downtuned sludge doom drone, SUNNO))) / Earth worship, but man is this anything but. It's definitely heavy, but not typically heavy, or really sludgy even, which probably has a lot to do with the way this was recorded, ultra blown out and super distorted, sheets of crumbling high end and maybe the harshest crunchiest guitar sound we've heard in forever, but the Goslings take this white hot heaviness, this blown out brutality and somehow make it pretty, lovely, gorgeous even. Drifting female vocals and sweet sweet melodies are buried beneath a dumptruck of fuzz, like the a Mazzy Star record, covered by the Melvins, recorded by Merzbow or Masonna. Every track is hiding a secret center, a streak of lush melodicism that sound like bits of My Bloody Valentine, Jesus And Mary Chain, and huge slabs of warm and wonderful dream pop, all roughed up and dipped in tar and rolled in dirt and sent staggering through a minefield of razor sharp guitars, pounding Teutonic drums, all tangled up into a machinelike throb, trudging relentlessly at a snails pace, a head crushing plod wrapped in barbed wire riffs and a thick haze of violent whir, but still you can see a little glimmer, a shiny little wink from within the massively suffocating clouds of drum dirt and guitar grime, all tape hiss and recording grit and musical chaos, a glowing orb of crystalline shimmer, buried and barely visible, almost like someone was tossing bright shiny pop hooks into a pit filled with snakes and nails and used syringes and garbage and soiled diapers and rocks and dead animals. So is this the most gorgeous ugly record ever? The ugliest lovely record ever? The harshest, sludgiest pop record ever? The loveliest harsh noise-sludge record ever? Maybe all of the above. So good!
MPEG Stream: "Crow For Day"
MPEG Stream: "Brindle"

GOSLINGS, THE Grandeur Of Hair (aRCHIVE) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Not sure if this got repressed or if the label just found a stash of discs under the bed, either way, this monstrous slab of sound is available again, if only briefly...
We've been pretty dang obsessed with the Goslings since the very first second we heard them. They have found massive favor with the SUNNO))) crowd, but other than being slow and heavy, they seem to be a whole 'nother beast. This married couple from Florida, craft impossibly noisy and gu wrenchingly heavy pop songs. That's right, you heard us, pop songs. "But wait," you say, "I'm listening to the sound samples and I don't hear any pop..." Well listen closer. Much closer. Hold your breath and close your eyes and dunk your head into the Goslings gorgeously abrasive soundworld and you will feel the pop. That's the beauty of the Goslings, each song is like a diamond dipped in mud and wrapped in barbed wire. Beautiful lilting shimmer-pop doused in crumbling crunchy downtuned guitar sludge and sheets of jagged feedback. A brief snippet, a casual glance, and all you'd see or hear is NOISE. But settle in, lean back, let the Goslings wash over you, suddenly shapes begin to emerge. melodies drift in and out, riffs take shape and then fade into the mist. A super blown out in-the-red dreamlike sludge, equal parts Boris drone, My Bloody Valentine bliss-out, and shimmering crystalline pop. Like a Mazzy Star record dipped in hot tar and then wrapped in a hundred layers of feedingback guitars. So beautifully heavy. And as we've mentioned in other reviews, the Goslings just might be the loveliest harsh noise-sludge pop band ever!
Packaged in a cool silkscreened oversized sleeve with abstract pink art and the cd affixed to a little plastic nub on the inside. As always, way too limited.
MPEG Stream: "Own A Car"
MPEG Stream: "Croatan"
MPEG Stream: "Golden Stair"

GOSLINGS, THE Occasion (Not Not Fun) cd 14.98
Not many artists can lay claim to their very own musical genre, but Hollywood, Florida's The Goslings are among the elite few who most definitely can. On first listen their sound seems to fit pretty comfortably amongst the current crop of distorted deconstructed decaying blissed out dreamy dirge rock that seems to be all the rave (Nadja, Alcest, Hjarnidaudi, Procer Veneficus, etc.), after all they often get described as half SUNNO))) and half My Bloody Valentine, but that's really only half (again) true. And while their sound does share some of the elements of those other bands, The Goslings are their own perfect, synergetic sonic force, an organic, original soundworld that has absorbed and re-synthesized those influences entirely. In other words, on this latest record, they somehow manage to sound way, way heavier and much, much more lush, transforming any vestiges of other bands' sounds into something distinctly theirs. Formerly just a husband and wife duo, Max and Leslie Soren, Occasion finds the couple joined by two apparently full-time members which does nothing but help make their sound, thicker, and more dense, more intense, more distorted, and impossibly, more beautiful. It's not a huge departure from the sound of their previous outings, but that's not really a bad thing. Occasion just serves to demonstrate that their sound is now even more of a particularly refined and menacing chunk of skull crushingly gorgeous sound.
Each of The Goslings' records has been self-recorded straight onto tape in their $15 an hour rehearsal space. Before it was a 4-track, now it's a reel-to-reel 8-track tape, with any additional tracks being added at a friend's house in Pro Tools -- a slight upgrade, but again, one that merely serves to push their sound even further into some hellish sonic realm. Mastered by James Plotkin, their commitment to relatively lo-fi, analog recording a significant part of why each and every track is so totally ear-stabbingly, skull-fuckingly shit heavy. But beneath the obvious doom veneer, the crushing sludge, the washed out hiss and buzz, there are buried some lovely melodies and more of the Goslings' near perfect pop songs. Fear not though, it's not like Nadja or Jesu, where there is potentially enough of said pop to turn-off those more dedicated to the seriously heavy and/or utterly grim. Regardless of the surprising melodic structures lay hidden beneath the blown out bluster, or the prettiness of Leslie's vocals drifting ethereally throughout, the music, the sound, the Goslings' sheer power continually threatens to overwhelm, a bludgeoning slab of sonic destruction that's systematically destroying your entire life, note by note. Then out of nowhere, there's a weird little bluegrass number, a brief respite before the band lurch back into motion, unleashing another avalanche of village crushing, ultradistorted, stumbling, downtuned beautiful brutality.
A higher recommendation would be difficult to give. Essential!
MPEG Stream: "Mew"
MPEG Stream: "Parsley Halo"
MPEG Stream: "Vitium"

GOSLINGS, THE / ROXANNE JEAN POLISE Heaven Of Animals (X Died Enroute Y) cd-r 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MPEG Stream: "Pixelated Blue Flashes Of Past Lives"
MPEG Stream: "Thotrol"

GOSTA BERLINGS SAGA Glue Works (Cuneiform) cd 15.98
A few years ago (2006) we reviewed the debut album from unpretentious modern day prog rockers Gosta Berlings Saga, of Sweden. Checking in with them again, they're up to album number 3, released Stateside by the venerable progressive rock / new music label Cuneiform. This actually came out last year, so we're a little late to it, but this sort of prog rock is timeless anyway (it might as well be from 1975!). They're still pushing our "traditional" prog rock lovin' buttons, so we thought we ought to list it for those of you likely to feel the same way, who dig other 21st century efforts at updating this '70s genre from the likes of Astra, Diagonal, and Crime In Choir, for instance.
Glue Works, like GBS's preceding albums, is mostly instrumental, and not overindulgent (for prog) - and thus could just as easily be seen as a moderately mathy "post-rock" album (but with mellotron!) instead of anything self-consciously retro. Most of the songs are even quite short and succinct, with only two of the 7 tracks breaking into double-digit lengths, those would be the powerful symphonic epic "Island" (12:58), and the album's multifaceted grand finale, "Sorteragatan 1" (12:51).
Filled with the varied drama & delight of grimy distortion, pleasant keys, eerie synth, sweeping strings, some angular new wavy guitar, and even musical saw, the entirety of Glue Works is a melodic and moody opus that nods to the proggy '70s without growing a ponytail or anything. Quite nice!
MPEG Stream: "354"
MPEG Stream: "Island"

GOTTSCHE, MATHIAS Fledermausrufe Im Modulationsverfahren (Gruenrekorder) cd-r 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We recently discovered this little German label called Gruenrekorder, who specialize in "Phonography and Audio Art" which translates to field recordings, turntablism and audio installations, which definitely sounded right up our alley. We then discovered that they had 60 or 70 releases, probably more by the time of this review, most cd-r's and all incredibly limited, usually to 50 or less. Yikes. Had to do some quick thinking, so we picked two of the most promising sounding and got a bunch of those (a bunch meaning 25 copies, which is half of the pressing). So elsewhere on this list you'll find the other Gruenrekorder release, a sound installation for turntables and plastic angels, which somehow seems to perfectly balance this one right here, a field recordings of bats, collected via ultrasound, much like the The Inaudible World cd / book we listed a while back, but while similar, the sounds here are different enough, that if you dug The Inaudible World, Fledermausrufe Im Modulationsverfahren makes a good addendum.
Collected by Matthias Gottsche, head of the NABU department for protection of the bats in Schleswig-Holstein, the sounds here were a part of an infrared film project, assembled for species analysis, but due to the overlap and chaos of the various animals recorded, it ended up useless as research material, leaving it to exist simply as sound art.
The best part is the description of this disc on Gruenrekorder's website, explaining why it is all one track "Because of the reduction to only one track the listener has to go through it all at once and with it is confronted with his one staying power." Yes! And this will definitely test your staying power. As the sounds of bats, their sonar rendered audible to human ears, sounds a bit like several people playing Yahtzee!, shaking dice in those little plastic cups, but never actually rolling them, just shaking and shaking. The percussive rattle fluctuates from baseball card in the spokes flutter to a dense clattery cacophony, a tangled rhythmic web that is constantly shifting and undulating, and is in its own weird way quite soothing and hypnotic. Still hard to believe these sounds come out of bats...
Beautifully packaged, printed cd-r, striking black and white sleeve, cool infrared photos, but again, LIMITED TO ONLY 50 COPIES!!! So once these are gone, we won't be able to get more.
MPEG Stream: "Fledermausrufe Im Modulationsverfahren (excerpt 1)"
MPEG Stream: "Fledermausrufe Im Modulationsverfahren (excerpt 2)"

GOULD, BILL / JARED BLUM The Talking Book (Koolarrow) cd 10.98
Not to be confused with Stevie Wonder's album of the same name, this is a new collaboration between Bill Gould (of Faith No More as well as numerous other diverse international projects) and Jared Blum (whom aQ followers may recognize from his numerous musical aliases such as Beaks Plinth, Blanketship, Vulcanus 69, and their Bay Area parent indie label Gigante Sound).
Perhaps needless to say, this is quite different than the elder Talking Book or than any of Gould's past predominantly metal-rooted musical pursuits for that matter, but it's very much in familiar abstract sound shaping territory for Blum. Indeed, although you will find keyboards and synthesized sound here as you would on Wonder's 1972 classic, Gould and Blum sculpt them (as well as tapes, vintage vinyl and acoustic instruments) into shadow shrouded soundscapes instead of driving funk or soulful pop. The album starts out lurking in the dank gloom of earth-bound recesses, but later tracks drift out into the heavens with shimmering melodic guitar lines. Nice! It's an effective collaging together of the hazily delicate and the gristly dissonant. Soft crackle and hiss suggests something aged, dusty and weathered. Haunting moods are conjured by shifting tonal and textural layers with shards of piano and guitar cutting through the foreboding clouds. A darkened room and headphones are most certainly advised to best experience Gould and Blum's assemblage of blistered drones, faded abrasions, buzzing protrusions and bass-heavy contusions. Recommended for fans of Aidan Baker (Nadja, Arc), BJ Nilsen and Stilluppsteypa, Campbell Kneale (Birchville Cat Motel, Our Love Will Destroy The World, TRMRS) and followers of the abovementioned Gigante Sound label. Released on Gould's Koolarrow label.
MPEG Stream: "Sundown"
MPEG Stream: "The Fallen"

GOWN For The Maples (Three Lobed Recordings) lp+cd 21.00
Somehow, we have never reviewed anything by Gown (not to be confused with Gowns plural), the work of Andrew Macgregor, who is one half of Bark Haze with Thurston Moore. But this is as good a place to start as any.
On For The Maples, Macgregor enlisted the help of longtime AQ faves Sunburned Hand Of The Man, for one big final psychrock blowout before he left the US of A for more Northernly climes (aka Canada), and it is indeed a blowout, but not without plenty of gentle twang, fluttery folk, and meandering jams. The opener starts out with a massive multiple drum jam, a furious percussive cacophony, with thick streaks of blown out psych guitar, but all that quickly settles down, into a spacious twangy drift, the vocals crooning over slowly unfurling minor key guitars, and shuffling drums, but the track ramps it up and is soon a murky krautdrone groove, Macgregor's guitar, keening and wailing over Sunburned's druggy drift. The second is another woozy spaced out jam that builds to a total wild pagan psychrock freakout.
And finally, the nearly 20 minute closer, Sunburned in full on caveman drug jam mode, Macgregor wrangling some seriously cosmic sounds out of his guitar, the whole group locked into a psychrock duel to the death, culminating in blown out blast about halfway through, before the track devolves back into a churning space drone plod, gradually petering out to fuzzy soft shimmer.
Gorgeous heavy 180 gram vinyl, thick silkscreened sleeves, hand numbered, LIMITED TO 698 COPIES, each lp comes with a real cd (not a cd-r) of the whole record, AND while they last, a SECOND disc, of previously unreleased material. But there are only about 300 of those, and we only got a handful so those definitely won't last long.
MPEG Stream: "Part II"
MPEG Stream: "Taylor's Jam"

GOWNS Red State (Cardboard) cd 11.98
Strange and shambling ode to the underbelly of the American heartland from this duo comprised of Ezra Buchla (ex- Mae Shi) and Ericka Anderson (Amps For Christ). Mixing dusty feedback squalls, damaged electronics and bummed out gospel-y folk with distorted narratives involving drugs, cataclysmic weather and self-abuse, Gowns sounds at times like a primitive Cat Power if Chan Marshall went in a much darker direction after recording Moon Pix. Red State is mournfully elegiac with a simmering intensity that is barely restrained, much like the rarely lit corners of our troubled country.
MPEG Stream: "Rope"
MPEG Stream: "Fake July"
MPEG Stream: "Advice"

GR A Reverse Age (Mexican Summer) lp 16.98
Huzzah! Here's another vinyl-only dose of the wigged out freakery whipped up by French guitarist Gregory Raimo, aka GR, whom you might also know as chief gunslinger in the psychpunk gonzo combo Gunslingers (the other 2/3's of which operate separately as well, in the form of AQ fave occult metal-kraut unit Aluk Todolo). Gregory's latest solo blast is an escaped inmate from the Mexican Summer sanitarium, an agitated record full of slashing buzz-fuzz geetar tangle, distorted ranting vox, and clattery drum skitter-scatter, bashed out in frenzied yet hypnotic fashion, the kind of psychedelic greasy sizzle that would make unsuspecting square's heads explode. It's raw, one-man band sounding stuff for sure, mostly on the electric extreme, but GR does for a moment get into folkier realms with the acoustic strum and echoing Gallic vox of "Hymn Of Pan" closing side one, based on the Shelley poem.
On the cover it mentions you'll hear "Guitar Hoodoo", "Liquid Bass" and "Spiral Drums" but it could just has easily have said, "Spiral Guitar" and "Hoodoo Drums", the bass liquid all the way though. Definitely something for fans of Michael Yonkers (with whom GR has previously collaborated, if you liked their super limited out of print lp The High Speed Recording Complex you'll like this), also maybe Bill Orcutt/Harry Pussy, The Fall, ESP-Disk influenced freejazzrockn'roll, and really all kinds of primitive krauty splatter and staggering art-punk damage.
Limited to 750 copies, includes mp3 download card.
MPEG Stream: "Vapours Invisible"
MPEG Stream: "A Reverse Age"
MPEG Stream: "Bradtenhend"

GRABOWSKI, PAWEL Cirr's Song (Drone Records) 7" 7.50
Inspired by a month long series of nightmares in which Grabowski found himself drowning in deep water, over and over again, the Polish electro-acoustic composer produced this exceptional piece of dark ambience for the Drone Records series of 7" singles. His subaquartic shimmering sounds slip in and out of the sonic landscape, punctuated by echoing gasps, wooden creaks, and thunderous rumbles, somewhat like the epochal Nurse With Wound album Salt Marie Celeste. Already in its second pressing which is limited to 300 copies.

GRALE Eternity (Alethiometer Records) cd 11.98
Grale is one of the many projects encircling Bruce Anderson and Dale Sophiea, both of whom are best known for their work in the seminal Bay Area art-punk project MX-80, with another Sophiea (this being Nicolas) contributing alongside those two elder statesmen, as well as Gregory Hagan (from Common Eider, King Eider and the Thomas Carnacki ensemble). The recent productions from Bruce Anderson have evolved through a somber palette of doleful guitar plucks treated with plenty of effects to blur and shapeshift his rich guitar tones. With the extra hands lurking behind the curtains to conjure soft drones, textural abrasions, electro-acoustic hocus-pocus, and tape loop machinations, Anderson steers his contributions towards devolved, formless blurs and echo to complement the ectoplasmic emations of darkened sound. Yet, when the supporting cast mounts rhythmic pulses (as is done towards end of the second suite through a spry Necks like drum-kit march), Anderson's guitar mimics the twin guitar swarm of Lee Ranaldo and Thurston Moore on the instrumental Sonic Youth suites from Anagrama and Slaapkaamers. Released on Thomas Carnacki's Alethiometer Records.
MPEG Stream: "Where The End Stops A"
MPEG Stream: "Where To Begin B"
MPEG Stream: "Where To Begin D"

GRAND HOTEL, THE The Upper Reaches Of Wind River (267 Lattajjaa) cd-r 9.98
What a nice surprise this record turned out to be. It's on legendary Finnish microlabel 267 Lattajaa, but these fellas are in fact American, and while they do traffic in a similar style as many of those forest Finns we love so much (Avarus, Anaksimandros, Kemialliset, Islaja) they seem to hew closer to the drifting murky, field recording flecked nature folk of the Jewelled Antler collective. But all that makes them sound super derivative, which they definitely are not. Three songs, all woven into one gorgeous sonic patchwork, tangled and gloriously blissed out, beginning with a soft bramble of acoustic guitars, hovering on a bed of blear eyed FX, over the top, sing-songy falsetto vocals coo and croon, sounding not unlike Glenn from Skygreen Leopards. The second track is a strange lo-fi rhythmscape, focused around a martial drum beat, pounding tribal and insistent over a swirling morass of processed vocals, bits of shimmering feedback, murky ambience, and thick swells of subtly melodic whir. The final track, which at 17 minutes makes up the bulk of the record, is a sprawling epic, that traverses all sorts of different sonic territories, managing to make them all sound wholly interconnected. A burst of hiss and damaged FX, synths and feedback, gives way to deep resonant stretches of metallic buzz, which in turn give way to some aggressive acoustic guitar strumming and muted percussion, a creepy haunting Comus-like ritual, before morphing into an ever changing soundscape of glistening melody, rumbling low end, fractured folk, and smeary soft focus abstract ambience, finishing off with an almost peppy sounding outro, all major key guitar, strange percussion, a simple barely there rhythmic pulse, and slithery strands of glimmering fuzzy melody. Wow.
The bad news is... we only got a handful of these, and we're not entirely sure we'll be able to get more. But give it a go, fans of dreamy abstract free folk do NOT want to miss out on The Grand Hotel...
MPEG Stream: "The Bird Feeder Of The Park"
MPEG Stream: "The Upper Reaches Of Wind River"

GRAND ULENA Gateway To Dignity (Family Vineyard) cd 14.98

GRAND ULENA Neosho (Family Vineyard) cd ep 9.98
This sophomore release from St. Louis instrumental art-core trio Grand Ulena is an ep comprising three fairly lengthy tracks. Each one builds a massive, almost static crescendo of bass, drums and guitar. Loud, difficult, trance music for those already attuned to the likes of Fushitsusha, who will find this cool indeed. Btw, Darin Gray (of Dazzling Killmen, Brise Glace, You Fantastic, etc.) is one of Grand Ulena's component parts.
MPEG Stream: "Flyer"

GRASS MAGIC s/t (Earjerk) lp 17.98
Just a list of the folks playing on this here record should have most aQ customers all in a lather: The Skaters, Glenn Donaldson (Jewelled Antler Collective, Skygreen Leopards, Blithe Sons), Clay Ruby (Burial Hex, Zodiacs, Totem), Mansfield (Bruce Carkiss, Garage Indians), Nic Stage (Davenport), Endless (Craig Microcassette System, Drunjus), Tyler Olson (Davenport), Clay Kolbinger (Math Balance Volumes, Davenport), db Pedersen (Ng Keindhiet, Three Bags Full, Rope)...
Recorded one night in 2004, in a barn, and it sounds like it. Fuzzy and warbly and creaky, these tracks were originally released as a super limited tape, and are now available as a slightly less limited lp, with an extra track from the same session, not on the tape!
You know who was there, so you probably have a rough idea of what it sounds like. Gorgeous gauzy drift and drone, lots of fuzz and crackle, everything muted and washed out, clattery percussion, chant like vocals, lots of room sound and delay, swirling FX, underneath the soft swirl of lo-fi ambience lurks some sort of rickety skeletal dronefolk, songs that are barely recognizable, threatening to fall completely apart, all wrapped up in the warm whir of the recorder, bits of feedback, electronics, and here and there some propulsive krautrock like drumming, but all muddy and blurred into something more tribal and primal. Anyone who digs any of the folks taking part, is bound to dig this A LOT.
Beautifully packaged in old lp sleeves, turned inside out and hand screened in green and brown, quite lovely and QUITE LIMITED!!!!

GRASSLUNG In Bad Fields (Black Horizons) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've only heard just a couple of recordings from Jonas Asher; but those we have heard - the UW Owl LP done with Jochen Hartmann and the split release under Asher's Grasslung moniker - have been outstanding pieces of analogue electronics that run the gamut from the glumly sublime to the dourly ominous. This super limited edition cassette from the local imprint Black Horizons slants more to the blackened electronic side of Asher's aesthetic. A turgid, low-end pulse marches through the first side of In Bad Fields, much like an even slower version of Wolf Eyes' cancerous rhythms. Sinewaves and speckles of electro-magentic static flicker through the lurching pulse. The second side fashions those bass rhythms into an unsettling roar whose surfaces get abraded through a similar undercurrent of static found on the first. Very dark stuff.
Given that Asher's Phaserprone label produced some of the finest letterpressed editions of artwork well suited in its iron hued colors and post-industrial iconography, Black Horizons had to come up with something special for Asher's first release outside of Phaserprone. The artwork is a nice silver-offset print job on a darkened metal-colored paper, and the whole cassette is encased in a hand-cut plastic slipcase. Watch out for the blackened nail hiding in the packaging, too. Really cool!
The tape is a C20 and is limited to 100 copies, or thereabouts!

GRASSLUNG Sincere Void (Root Strata) cd 14.98
After a whole bunch of super limited cd-r's and tapes, dronelord Grasslung, aka Jonas Asher, finally releases his first proper cd full length, on Root Strata, which is seemingly right where it belongs, as sonically, it definitely falls right in line along side Barn Owl, Pulse Emitter, William Fowler Collins, Grouper, Keith Whitman, Duane Pitre, Le Revelateur, and the like, and much like many of the Root Strata crew, Grasslung's approach to the drone is similarly abstract, something much more ethereal and ephemeral, almost new agey, hushed and minimal and slightly ominous, haunting even, long tones, layers and textures, fragmented melodies left to drift in soft expanses of hushed hum and burnished shimmer, the sound both lush and spare, some tracks dense and dark, others seemingly lit from within, glowing softly, from gorgeous contemplative piano driven minimalism, the notes allowed to ring out and gradually fade, the overtones subtle and the low end rumbling way below, to something more glimmery and reflective, soft billowy synthscapes, the melodies stretched way out, allowed to sweetly swell, and to drift dreamily through fields of blurred organ chords and washed out streaks of windswept muted thrum, to a Caretaker like victrola-ed haze, all looped warble and sepiatoned thrum, to smoldering distorted dronedreamdrift, thick swaths of softly churning out of focus buzz, blissed out dronedoom loops, layered and left to gradually melt into one another, creating gauzy swirls of softly colored sound. So totally lovely.
LIMITED TO 500 COPIES.
MPEG Stream: "Scarred Hands We Drift"
MPEG Stream: "Roland Park Noose"
MPEG Stream: "Tired Of Remembering"

GRASSLUNG / PULSE EMITTER s/t (Phaserprone) cd-r 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This is a split cd-r of pure analogue synth sweeping and Kosmische dirges from Grasslung and Pulse Emitter. Portland's Daryl Groetsch has been pumping out the micro-edition releases with anybody willing to release his gnarled take on '70s electronic expansiveness; whereas Grasslung, the solo project of Jonas Asher who also hails from the incredible UW Owl and operates the Phaserprone label, has been much more particular in releasing his sounds. On first investigation into this work, it seemed to be a collaborative project with uniformly blackened surfaces of smoldering saw-tooth noise generation and undulating surfaces that spoke of dead-eyed electronics and sci-fi bleakness. As plausible as this seems, the first track of rippling electronics, half-consumed melodies, and amorphously twisting drones is that of Pulse Emitter; and the second two pieces of chilling, horror tonefloat mired in sickening gloom, hail from Grasslung with equal aplomb. Think Expo '70, Omit, Emeralds, and even Kevin Drumm's Imperial Distortion, and you won't be far from the mark on this great piece of modular synth sprawl. Packaged in very impressive letterpress / die-cut packaging, and limited to something like 200 copies.
MPEG Stream: PULSE EMITTER "1."
MPEG Stream: GRASSLUNG "2."
MPEG Stream: GRASSLUNG "3."

GRASSLUNG / PULSE EMITTER s/t (Phaserprone) cd-r 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This is a split cd-r of pure analogue synth sweeping and Kosmische dirges from Grasslung and Pulse Emitter. Portland's Daryl Groetsch has been pumping out the micro-edition releases with anybody willing to release his gnarled take on '70s electronic expansiveness; whereas Grasslung, the solo project of Jonas Asher who also hails from the incredible UW Owl and operates the Phaserprone label, has been much more particular in releasing his sounds. On first investigation into this work, it seemed to be a collaborative project with uniformly blackened surfaces of smoldering saw-tooth noise generation and undulating surfaces that spoke of dead-eyed electronics and sci-fi bleakness. As plausible as this seems, the first track of rippling electronics, half-consumed melodies, and amorphously twisting drones is that of Pulse Emitter; and the second two pieces of chilling, horror tonefloat mired in sickening gloom, hail from Grasslung with equal aplomb. Think Expo '70, Omit, Emeralds, and even Kevin Drumm's Imperial Distortion, and you won't be far from the mark on this great piece of modular synth sprawl. Packaged in very impressive letterpress / die-cut packaging, and limited to something like 200 copies.
MPEG Stream: PULSE EMITTER "1."
MPEG Stream: GRASSLUNG "2."
MPEG Stream: GRASSLUNG "3."

GRAVE IN THE SKY Cutlery Hits China: English For The Hearing Impaired (Heart & Crossbone) cd 11.98
First it was the metallic noise rock crunch of Barbara, then it was the freaked out psych-noise of Lietterschpich, and now there's Grave In The Sky, who are proving difficult to describe. But holy shit, has Israel underground rock has been seriously kicking our asses!!! Hard to believe how bad ass and fucked up and utterly amazing this stuff is.
Grave In The Sky are on the same label as Barbara and Lietterschpich and sort of fall sonically right between the two. They are a bass/drums/vocals trio, the various members also occasionally responsible for stuff like Indian vocals, noises, effects, and Indian vocals again, hmmm.... The sound is dirgey industrial pound, doomic dirge and blown out noise rock stomp, all tangled up in as seriously chaotic and mangled musical car wreck.
Let's start at the beginning though. The record is called Cutlery Hits China: English For The Hearing Impaired. Okay. The songs are all named after movies: "Donnie Darko", "The Descent", "Straw Dogs", "The Devil's Rejects" and "Scum". All chiseled into a faux tomb stone on the back of the cd with the legend "Here Lie..." Weird already.
Then the first track kicks in and we're in super distorted ultra violent crust sludge heaven where we will happily stay until the end of the record, at which point we will push play again and let this bloody brutality rain down on us all over again. Each track is a lurching sludgey doom trudge, like the Brainbombs at 16rpm, the vocals dripping with FX, hellish and harsh, distorted and twisted into bizarre shapes, sometimes so affected they turn into long drawn out helldub sonic echoes, the riffs are roiling black grooves, the drums, in the red caveman pounding and pummeling. This is some sort of primitive serial killer garage rock stomp but filtered through all sorts of Whitehouse NOISENOISENOISE, with every knob and every effect turned up to 11. The songs may begin as crusty doom dirges, but once the effects kick in every single note, every shouted lyric, every drum pound is echoed into jagged fragments and sent spinning in every direction resulting in the songs turning into ultra damaged noise dub experimental chaos. And it sounds so amazing. Layer after layer of undulating sound, corrosive and harsh, speaker shredding buzz, vocals swirling and turned inside out, the drums distorted into blinding bursts, but buried within all of this blurry smeared musical mayhem, are strange creepy melodies, plodding industrial rhythms, huge low end swells and tons of textural grit and grime.
Another one of those rare records where utterly abject, ear shredding noise, and an avalanche of effects and some of the harshest and hateful sounds we have ever heard, are all somehow transformed into a record we actually want to listen to. And not just once. Over and over and over and again and again. We were pretty sure it would be tough to beat Barbara and Lietterschpich, in terms of bizarre brutality, but then it never occurred to us to just mash them both together. Fucking awesome.
MPEG Stream: "Donnie Darko"
MPEG Stream: "The Descent"

GRAVE TEMPLE (THE GRAVETEMPLE TRIO) The Holy Down (Southern Lord) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Grave Temple is another kick ass Southern Lord allstar matchup. Personnel-wise, it's basically a 3 parts of the of the ever expanding and sprawling SUNNO)))) whole, and it sounds like it. A power trio made up of Attila Csihar (Mayhem, Aborym, Tormentor, occasional SUNNO)))) contributor), Stephen O'Malley (SUNNO))), Khanate, Burning Witch, Ginnungagap, KTL, Lotus Eaters) and experimental guitarist Oren Ambarchi, who also has been spending much of his free time lately in SUNNO)))).
The Holy Down is a single hour long track woven together by Ambarchi from various live performances recorded live in Israel in 2006, and spends its first 10 minutes wandering aimlessly through a haunted junkyard of clangs, and clatter, creaks and chimes, the occasional chest rattling sonic boom, but for the most part, super abstract and spacious. But c'mon, it doesn't take long before things get heavy and creepy, with the guitars billowing into black waves, and Csihar's strange chanted vocals drifting like smoke in a temple. About halfway through, they veer into serious SUNNO)))) territory, with the guitars becoming thick walls of crumbling distortion and squealing peals of feedback. The band drones on before the drums kick in (that's Ambarchi on the drums!) and suddenly the track is transformed into a chaotic metallic tribal space jam that gets more and more frenzied, some almost blast beats surface but splinter into free jazz freakouts, the vocals become a death rattle, everything still wrapped in thick clouds of black buzz, until the song fades out in a blackened swirl of ultra creepy processed ghostlike voices...
LIMITED TO 3000 COPIES! Each one numbered, the ones we got are getting close to 3000 so like most SUNNO))) and SUNNO))) related projects, these probably won't be around for long...
MPEG Stream: "The Holy Down (excerpt 1)"
MPEG Stream: "The Holy Down (excerpt 2)"

GRAVES AND ORCHESTRA PITS s/t (Utech) cd 14.98
Surprising Utech release here, not (quite) so droney as they often are, but rather more rhythmic, and in fact downright prog-rocky. Graves And Orchestra Pits are a transcontinental two-piece, one guy (based in Stuttgart, Germany) on guitars, synths, and much else besides; the other guy (from Tokyo, Japan) on drums and electronics... Not sure how they got together, but they make a fine team, stirring up a lot of noise in a quirky, confusional, chamber-prog context. The beats are big and effected, going whap whap whap, amidst all sorts of interesting textures, some of this quite lovely really. Droned out blissful bits coexist with electronic glitch, gentle strings wrap 'round crashing cymbals, snatches of electronica intersect improv skitter... each track adding something new to the sonic stew. A compelling listen, these eight unique, instrumental mini-epics of full of fractured melody, odd noises, and disturbing drumming...
The duo format, and Japanese drummer, and overall kinetic energy, makes us think of the Ruins, but this, with its "Orchestra Pits" moniker, has an additional, avant-garde classical music gone wrong atmosphere to it, field recordings and found sounds juxtaposed with piano and glockenspiel... Plus, guests contribute violin, viola, vibes, flute, sax, etc. on a few of the tracks. So it's not exactly a stripped down sound, this is dense and chaotic and complex, though calm and sparse some of the time too, to catch you unawares.
Packaged in the usual slim, slightly oversized Utech style sleeve, and limited to just 300 copies!!
MPEG Stream: "Spill The Unicorn Blood"
MPEG Stream: "Moles"
RealAudio clip: "I Can See The Ape In You"

GRAVEYARDS Cinders (Sergent Massacre) lp 24.00
Another killer warehouse find, dug up a little handful of these, probably the last copies we'll ever see...
Yet more tripped out psychedelic noisescaping from this Wolf Eyes offshoot, featuring John Olson and crew, who offer up a gorgeously creepy, harrowing abject free jazz dronescape, that pairs skronk with rumble, shimmer with crunch, the result a haunting sprawl of cinematic dronemusick that sounds like the score for some lost Euro thriller. Moaning clouds of metallic thrum, plenty of clang and thump, creaks and scrapes, but muted and minimal, sinewave tones drift way off in the distance, squalls of gnarled electronics, weird fragmented melodies, sorrowful, bursts of percussive freakout, bits of skronk, tangled rubbery basslines, tinkling chimes, fluttery woodwinds, whirring wheezing buzz, deep resonant gongs, all woven and blurred into a surprisingly subdued jazzdronescape, cinematic and hushed, the sound of flickering firelight, of cloud choked skies and dim dank abandoned buildings. A sound that manages to be super spare and abstract, but really tight, improvised for sure, but these sounds mesh perfectly into something that sounds almost composed, a brooding sonic desolate gloom, a sort of doom jazz, or some sort of post industrial free jazz dronemusic, whatever it is we're digging it big time.
Beautiful cover art to boot!

GRAVEYARDS s/t (Qbico) lp 25.00

GRAVITAR 10 Years Of Tears (Special Edition Box) Version 1 (Enterruption) box 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Just in time for Enterruption's big San Francisco 3 day music festival 'Sight Sounds Liberties' featuring Gravitar's first West Coast performance in 6 years, cones the ultimate Gravitar document. Split into two different versions, each with different material (a little bit fustrating since all the REAL Gravitar fans will have to buy both!) But the price is right at 23.00 for a cool hand screened cardboard box, a cd, 12"s, cd-r's flyers, posters and more! Version 1 (limited to 50) is Gravitar with a focus on side projects. The contents: The 'Freedom Is Another Word For Never Getting Paid' cd which we described on a past list: "Instrumental ferocity from this Michigan-based trio of feedbacking guitar, wild drums, and heavily processed brass that sound like a full on army of horns dumped underwater, struggling chaotically and desperately to get to the surface. Intense.", the Gravitar/Universal Indians split 12", the Persona 'Omnithrope' 12" (Eric's other band), a three-way cd-r featuring a disc from each Gravitar member's other band: Gaffle (Mike), Magnetic Lucifer (Geoff), Persona (Eric), Gravitar 'History Of (revised)' cd-r, an awesome document of Gravitar's past, the mysterious Gravity and Tar cd-r, plus posters and flyers and more!!!

GRAVITAR 10 Years Of Tears (Special Edition Box) Version 2 (Enterruption) box 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Just in time for Enterruption's big San Francisco 3 day music festival 'Sight Sounds Liberties' featuring Gravitar's first West Coast performance in 6 years, cones the ultimate Gravitar document. Split into two different versions, each with different material (a little bit fustrating since all the REAL Gravitar fans will have to buy both!) But the price is right at 23.00 for a cool hand screened cardboard box, a cd, 12"s, cd-r's flyers, posters and more! Version 2 (limited to 25) focuses more on Gravitar past and present. The contents: The 'Freedom Is Another Word For Never Getting Paid' cd which we described on a past list: "Instrumental ferocity from this Michigan-based trio of feedbacking guitar, wild drums, and heavily processed brass that sound like a full on army of horns dumped underwater, struggling chaotically and desperately to get to the surface. Intense.", the Gravitar/Universal Indians split 12", a triple cd-r featurin a disc from each Gravitar member's other band: Gaffle (Mike), Magnetic Lucifer (Geoff), Persona (Eric), Gravitar 'History Of (revised)' cd-r, an awesome document of Gravitar's past, a searing live cd-r 'Live 1999-2000', a blisteringly intense rehearsal cd-r from 1997 plus flyers posters and more!!!

GRAVITAR Freedom's Just Another Word For Never Getting Paid (Enterruption) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Instrumental ferocity from this Michigan-based trio of feedbacking guitar, wild drums, and heavily processed brass that sound like a full on army of horns dumped underwater, struggling chaotically and desperately to get to the surface. Intense. Amusingly yet unsmilingly, the album and all the songs sport the same title: "Freedom's Just Another Word for Never Getting Paid".
RealAudio clip: "Freedom's Just Another Word for Never Getting Paid"

GRAVITY ADJUSTERS EXPANSION BAND One (Paradigm Discs) cd 16.98
It's pretty amazing, that the Gravity Adjusters Expansion Band have been making music since 1967, and we hadn't even heard of them until about a week ago. Part of the reason might be that their first lp, released in 1973, was an ultra limited pressing on a tiny label. And that the second, in 1981, was equally hard to come by. Which is a shame as this is some seriously Aquarius type stuff.
But better late than never, and boy are we digging this stuff like crazy. The whole concept and sound of GAEB was based around sculptor / musician Richard Waters and his hand made instruments, essentially sound making sculptures, many of which incorporated water filled resonators used to bend and tweak and twist the sounds. So cool.
Just check out the list of instruments: diatonic sound generator, bazooki, pipe drums, Aeolian space horn, synthesizer, waterphones, mytar, saws, bass violin, horizontal and upright phoniums, birdcalls, microtonal revolving sound generator, sgourd (?), superball mallets, water gong drums, log drums, springs, keyboards, assorted gourds, Princess oil can and more. Phew. From the list you can pretty much deduce that the sound of One is mainly percussive, but calling this a percussion record would be way too reductive. Instead, this is a sprawling exploration of ambient sound, very reminiscent of GAEB's sonic compatriots Taj Mahal Travellers and AMM. The Gravity Adjusters Expansion Band take percussive sounds and spread them way out, letting the overtones and reverberations shimmer and merge, so while these are still distinctly rhythmic arrangements, with plenty of tolling and chiming and ringing peppered with random bits of clatter and clang, the various sounds and their after affects create soft billows of background burble, muted melodic murmurs and all manner of sweetly sonorous and slow shifting soundscapes, each track a lush sonic explorartion of bowed metals and vibrating strings, of objects both struck and stroked, a potential cacophony smoothed into lengthy dreamlike shimmers. So completely mesmerizing.
You can of course hear traces of modern outfits like Avarus, No Neck, Sunburned Hand and the like, bands who obviously owe quite a debt to groups like The Taj Mahal Travellers and GAEB, but the sounds on One manage to sound completely unique, perhaps because of the time period, or maybe the music making process, or even the instruments themselves, hand made and impossible to duplicate, most likely all of those things. Whatever the reasons, One is fantastic, a simply gorgeous, an intimate collection of improvised ambient beauty.
Includes 15 minutes of unreleased bonus material, as well as a booklet with liner notes, original sleeve notes and lots of photos!
So recommended.
MPEG Stream: "One"
MPEG Stream: "Eastern Lunarterranium"
MPEG Stream: "Autumnal Equinox Harvest Dance"

GRAY, DARIN St. Louis Shuffle (Family Vineyard) cd 14.98
Darin Gray presents his debut recording after years and years of working the Chicago noise-rock circuit (Dazzling Killmen, Brise Glace, You Fantastic, and Yona Kit, etc.). "St. Louis Shuffle" is a continuation away from those outfits of mutant hardcore muscularity towards improv noise splutter. Here, the central noise making means is through plugging and unplugging (guitars from amps, microphones from 4-tracks, etc.), resulting in an assortment of cracks, hums, scrapes, clicks, and pops disrupting a discordant din of gritty feedback. Unlike the electronica glitch aesthetic of Raster, Mego, Fennesz, etc. which purifies sounds, Gray's use of the glitch is a celebration of ugliness through dislocation.
RealAudio clip: "Get Rid Of This St. Louis!"
RealAudio clip: "Eugene B. Redmond"

GRAY, DARIN & LOREN MAZZACANE CONNORS This Past Spring (Family Vineyard) cd 14.98
The second collaborative effort from this guitar/bass duo. Loren Mazzacane Connors is of course known as a unique guitar improviser with a hauntingly beautiful style of "Venusian blues". Darin Gray you may know as the bassist from Chicago avant-noise-rock outfits Dazzlingkillmen, Brise-Glace, and You Fantastic! Together they explore lonely realms, both noisy and serene.
RealAudio clip: "Part 1"
RealAudio clip: "Part 5"

GREAT FALLS Fontanelle (Paradigms) cd 11.98

GREAT FENCES OF AUSTRALIA (Dynamo House) cd + barbed wire 33.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We're discovering this a bit late in the game, it was originally released way back in 2002, but a customer only just turned us on to this, and we immediately knew this was definite AQ material. So we got every copy they had left, which ended up being about 30. It's already out of print, so odds are these might be the only copies we ever see.
Two violinists, Jon Rose and Hollis Taylor wandered the Australian outback, bows in hand, and proceeded to play various fences, of which there are thousands, running for miles and miles in all directions. And as it says in the liner notes, a fence with out barbs will carry sound for kilometers!! It's very reminiscent of Ellen Fullman's long stringed instrument or Alastair Galbraith and Matt De Gennaro's Long Wires In Dark Museums or even Alan Lamb's singing telephone wires, taut wires stretched out for feet, yards, miles even, each plucked and bowed, struck or rubbed, and each creating its own unique sound.
And the sounds!! It's nearly impossible to believe that some of these sounds are in fact just old rusty fences along the road somewhere in Australia. Some of the sounds are so musical, some so completely alien, all completely remarkable.
Each track is named for the fence being played, sometimes its location, or the condition of the fence ("Missing Fence Posts Fence"), the duo even play the infamous "Rabbit-proof fence" which alternately emits a high pitched creak or a low metallic rumble. The sounds of the other fences run the gamut, massive clanging, strange garbled alien sounding buzz, every variation of metallic shimmer, from glistening to grinding to throbbing, some fences when struck sound like laser blasts, others like muted bells, one fence in particular emits harmonic overtones that almost sound like Tuvan throat singing, some massive clanging a la Einsturzende Neubauten, and on and on and on. You might think too, that a compilation of various fences buzzing and clanging wouldn't make for a very consistent listen, but the opposite is true, each track perfectly links to the one before it, some fences surface briefly, while others drone on and on, part of it might be the surrounding ambience, birds, trucks driving past, foot steps, the crunch of gravel underfoot, the creak of old windmills, it all makes the disc seem like one long wide eyed and mysterious wander along highways and dirt roads, beneath a blazing sun or a glowing moon, all to the haunting siren song of the various fences, singing to you as you stroll...
Packaged in a deluxe oversized box with photos and some notes on the outside, and a little window so you can see an actual length of barbed wire fence mounted inside, and be sure to lift out the tray, beneath it there are extensive liner notes, loads more photos and a map of where each fence played on the disc is located! So cool.
MPEG Stream: "First Grid At The Dog Fence"
MPEG Stream: "Perimeter Femce Of Communications Site"
MPEG Stream: "Hits And Rumble, No 3"
MPEG Stream: "Electric Fence"
MPEG Stream: "No.2 Rabbit Proof Fence"
MPEG Stream: "Trumpet Fence"

GREAT INVISIBLES, THE You Left Me Haunted (Broken Sparrow) cd-r+dvd-r 12.98
From the same label that brought us two amazing records from Hotel Alexis (aka Sidney Lindner who also played in Golden Hotel): Goliath, I'm On Your Side and The Shining Example Is Lying On The Floor, comes another captivating slab of dark moody twang.
The Great Invisibles was recorded as part of The Record Production Month, styled after the National Novel Writing Month, the challenge being to write and record a full album in 30 days. The Great Invisibles was the entry from folk / free jazz guitarist and professor of Surrealism in literature , Michael Deragon, and is a gorgeously dark and dreamy chunk of dark ambience and lilting abstract Appalachia.
Recorded on a 4 track, but surprisingly lush, these tracks are mini epics, rife with moaning minor key melancholia, strange distant rumbles and whirs, muted effects drifting in grey sonic skies, guitars that buzz and shimmer, ring out dreamily and unfurl mournful laments, the various tnagles of steel string strum, are strung within murky drifting cinematic smeas of sound, distant drifting harmonics, often over soft wheezing whirs and swirling seas of soft tape hiss. A few songs have vocals and are dark gems, sounding a bit like Califone or Red Red Meat or even Hotel Alexis, sultry and slithery, brutally beautiful back porch ballads, lovely and utterly heartbreaking.
Deragon would perform live in galleries, accompanying short films by local film makers, and this set includes a bonus dvd featuring a short film used as the visuals for the Great Invisibles first performance, from filmmaker Michael Winters, a part-time truant officer. Truly striking, mostly black and white or sepia tone (a brief bit in color), scratchy film stock, old images of factories and children, flowers, old buildings, strange shadows, dolls and leaves, strange graphics of clocks, passing landscapes, haunting masks, the whole thing quite beautiful and mysterious, and really the prefect visual accompaniment to Deragon mournful twangscapes.
The packaging is amazing as well, every single one unique, handmade by Deragon, a collaged fold over sleeve, so dense and covered with clipping and bits of paper it's almost 3-D, old newspaper clippins, drawings, blueprints, various bits of writing in pencil and pen, hand numbered, with a stapled and typed insert, the two discs affixed to the two inside panels of the gatefold. So nice.
LIMITED TO 300 COPIES!! When we run out we won't be able to get more.
MPEG Stream: "At Once"
MPEG Stream: "Creeper"
MPEG Stream: "Just Before Waking"
MPEG Stream: "Laughter & Grace"

GREATER THAN ONE Kill The Pedagogue (Brainwashed) cd 9.98
When this arrived in the shop, there was a collective cry,"Whoa, Greater Than One? What ever happened to them?" Well, it turns out that the once prolific industrial dance duo ceased to be after Lee Newman died of cancer in 1995. While the pairing of Lee Newman and Michael Wells had a handful of fantastic if agitated Greater Than One albums that graced the Wax Trax! catalogue throughout the late '80s and early '90s, they were also a leading proponent of the bleep techno sound that marked the early incarnation of Warp Records in recording as Tricky Disco. Needless to say, Kill The Pedagogue predates all of that stuff, having been originally released back in 1985 as a self-released cassette. Greater Than One had much more in common with the rhythm and noise collages of Throbbing Gristle and TG's many disciples (esp. Hunting Lodge, Portion Control, and Hula) through distorted tape loops, media samples disfigured through warbling varispeed tricks, and post-Cabaret Voltaire drum machines pushed toward exhaustion with their tumbling patterns of tribal rhythms. Given that the original cassette was a mere 28 minutes long, those fine folks at Brainwashed filled out the disc with MP3s including all of the material from another self-released cassette from back in the day called Lay Your Penis Down plus a bunch of photos and the like.
MPEG Stream: "Kill The Pedagogue 1"
MPEG Stream: "Lay Your Penis Down 1"

GREEN BLOSSOMS Whiskey Leaves (Digitalis) cd 12.98
As summer comes to an end, we're left with those lingering nights that offer up so much room for wandering reflection, and early mornings where all you want to do is gaze out the window and watch birds and butterflies fly free in the sky. This new outing from Green Blossoms is proving to be the absolute perfect soundtrack for those days of hazy daydreams, letting your memory and imagination flow so easily. The Green Blossoms' sound and aesthetic explores similar pastoral bliss as equally delicate and rewarding music makers like Tenniscoats, Eddie Marcon, Miko, Ethan Rose, Nagisa Ni Te, crafting a sound that has us imagining Mum, if they ditched the electronics and found a path to organic pastoral bliss.
Many wonderful sparse yet finely textured instrumentals here as well as a few stunningly beautiful tracks with Aiko Koga's vocals, that even those of us who don't understand Japanese can still totally understand, emotional and passionate, evoking the simple themes and understanding of nature and the life around us. The music of Green Blossoms is such a great reminder that sometimes the most powerful moments are conjured by the most delicate and quiet of creators. Beyond lovely! And rife with a richness that keeps us turning to this album for early afternoon naps in the park, the kind we wish we could have every single day of forever...
MPEG Stream: "White Noon"
MPEG Stream: "Red Cup"
MPEG Stream: "Slight Sun"

GREEN BLOSSOMS, THE Stones And Ecstasy (Pseudo Arcana) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Managed to get a few more of these dreamy gems back in stock...
The Green Blossoms are the duo of Anthony Guerra and Aiko Koga, and the two create gorgeously sun dappled little universes of droning ambient twang pop perfection. With just ukulele, guitar, harmonica, pitch pipes and vocals, these two stroll through some fantastical world of constant summery bliss, sometimes it's night, but even then, their world is brilliantly lit by sparkling stars, a full moon, and warm crackling campfires. Guitars and ukes play delicate little melodies, each melody then looped into an hypnotic swirl of blissed out mesmer, then each one is wreathed in some sort of diffused fuzz, a deep glowing halo of sound, be it tinkling chimes, warm processed vocal harmonies, or dense dreamy drones.
This is some absolutely gorgeous, late afternoon, early early morning, hammock swaying in the breeze, back porch sunset, late night crackling fire, staring at the stars, floating in the middle of the sea looking up at the clear blue sky, cool mountain stream, sleeping in the tree shade, closing your eyes and drifting off, sweet, soft, warm and wonderful blissful dreaminess!
MPEG Stream: "White Cup (Tiny Reeds)"
MPEG Stream: "Green Blossoms"
MPEG Stream: "Autumn Song"

GREEN LAUGHTER s/t (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.
Frogs!!! Can AQ-customers resist frog recordings? We think not. Certainly we can't. This cute lil' 3" cd is the first in a series dubbed the "Jewelled Antler Library" from our fave SF cd-r label of the same name. The idea being to release stuff that stands alone in twenty-minute doses and doesn't need to be padded out to full-cd length. There'll be entries from Jewelled Antler regulars like Thuja, likeminded folks such as Dead Raven Choir and Antony Milton, and also odd, one-off quirky projects like this one, for instance. Green Laughter is primarily frog field recordings made and edited by Loren Chasse (Thuja, Id Battery, Of, Blithe Sons, etc.). It's twenty minutes of the call of the wild (featuring frogs, cicadas, and perhaps birds), starting off as a fairly straight documentary and then blending into a computer-processed drone-wash constructed by Chasse from his original recordings. It's like wandering in a dense creature-inhabited forest back East somewhere in the summertime, your ears overwhelmed by the natural sounds, you getting dizzy and almost passing out, the ribbitting and chirping and buzzing and tweeting taking over your mind. But it eventually dissolves back into a blissful background ambience. Real nice. And many of the sounds on here that sound insect-like or electronic Loren assures us are in fact frogs. It's nature's electronic music, the sound of a laptop computer overwhelmed by heat and long grasses and the green laughter. Just the thing for when I (Allan) get homesick for Pennsylvania.
MPEG Stream: "Green Laughter"

GREEN MINE Ultra Rainbow (Dokuro) 3" cd-r 4.98
Some of you may not be familiar with a short lived instrument called the Omnichord. But those of you that are, remember just how strange and magical it was. A kidney shaped Casio-keyboard style instrument, with lots of buttons representing chords (much like an accordion) and most thrilling of all, a strip of touch sensitive metal, that allowed the player to sort of strum, drawing out the chords like an electronic harp. For more details and a photo check it out:
http://en.wikipedia.org/wiki/Omnichord
What's the point of this long lost instrument history lesson? Well, this here disc uses nothing but the good ol' Omnichord as it's sole sound source and the results are amazing. The warm electronic buzz, and strange chordal shimmer of the Omnichord is layered and run through all sorts of effects, making its already thick buzzing sound even more dense and crunchy. Huge swaths of distorted crumbling electronic whir, underpinning gorgeous glistening high end melodies, super distorted swirls of sound rife with all manner of glitch and gritty texture, bursts of high end skree smeared into fuzzy indistinct electronic soundscapes. all washing into each other, a constant sonic tide of hum and whir and deliriously blissed out electronic buzz. These textures wouldn't sound at all out of place on an M83 record or in a Tim Hecker track. That same sort of blown out, soft focus, dreamy ambient warmth... So nice.
LIMITED TO 74 COPIES. Each hand numbered, pressed on green cd-r's, and packaged in cool mini plastic cases with full color insert and a posted on photo of Green Mine rocking the Omnichord.
RealAudio clip: "Nadia 1972"
MPEG Stream: "Ultra Rainbow"