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IMPORTANT (Please read to avoid confusion):
Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


album cover G*PARK Reuters (Tochnit Aleph) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
BACK IN PRINT!!! G*Park is the work of Marc Zeier who has been quietly generating some of the most evocative musique concrete / electro-acoustic whatnot / broken drones / softened noisejunk since the mid '80s. These recordings had mostly been on cassette back in the day, with a couple of discs appearing over the past decade thanks to Blossoming Noise and the defunkt Zabriskie Point label. He's also an auxiliary member of the aktionist Schimpfluch collective, although his work shares little of their scatological hyper-violence of smeared fish guts, vomit, and bloodletting. Yet, the G*Park recordings mirror the sinister vibe of Schimpfluch through his delicately disfigured field recordings and tape-cut manipulation. Zeier presents a masterful collage of disjointed repetitions from handcranked mechanisms that rupture with bellowing drones and aqueous gurglings. Elsewhere, air raid sirens explode through the laser-whipsnap recoil of cellphone tension wires being struck, and the reverberation of prepared piano abuse slams against densely packed drones into thunderous punctures. These pieces are clinical studies of decay amplified from a microscopic order; and considering that Zeier's occupation is a plankton fisherman (seriously!), perhaps these are the birth pangs and death throes of those tiny creatures. A very highly recommended piece of sound art!

album cover G*PARK Sub (23five Incorporated) 2cd 16.98
Back in 2010, G*Park performed in San Francisco for 23five's Activating The Medium festival, presenting the early sketches of his eviscerated musique concrete and disembodied field recordings, surging from vacuum-sucked voids through ice-cave drones into tumultously compacted rumblings whose frequencies were on the verge of tearing The Lab at the seams. It was an exhausting emptiness that G*Park constructed through all of his sounds, grimly alluding to a science-fictional apocalypse of an endless winter and relentless viral agents. For the next two years, G*Park (aka Marc Zeier) finessed the details of that work, tightening up the tension and further hollowing out the noises, resulting in Sub - easily the best release from his impeccable catalogue, and one of the finer outings from the Schimpfluch-Gruppe. Along with the likes of Sudden Infant, Rudolf Eb.Er, Raionbashi, and Dave Phillips, G*Park hails from the Swiss collective Schimpfluch, which extends the ideas and concepts of the Viennese Aktionists (i.e. Nitsch, Brus, Schwarzkogler, Muehl, etc.) of aestheticized violence and abject transgression through the histories of punk, performance-art, industrial/noise, and DIY cassette culture. There is horror, dread, fear, and scorn in all of the work of Schimpfluch; and it manifests in many different ways. In Sudden Infant, you will find the Dada-prankster; in Phillips, you have the psycho-sexualized demon; in Eb.Er, you've got a scatological shaman, but in G*Park, you have the haunted existentialist. Easily the most introspective and mysterious of the lot, G*Park doesn't have the numerous world tours that the other members of Schimpfluch do, but his work is revered by those in the noise and sound-art communities as being a hidden gem of grizzled collage-based compositions. His work exists somewhere between the technical constructions of Luc Ferrari and the more vacant strategies of industrial culture (i.e. Thomas Koner, John Duncan, etc.); Sub is spacious album girded by darkly radiant drones and shadowy thrummings that ebb and flow as a strange subcutaneous current akin to blood streaming though veins or a toxic algae bloom fed by the strength of the sun; but that spaciousness is not one of calm pools of ambient bliss. No, this is a very tense album as he pricks, shatters, ruptures, and bleeds out those drones with agitated harsh snaps and slaps of acoustic debris - the suffocating last breath of oxygen extracted from a scuba regulator, the murderous caw of a crow, a whipcrack burst of unknown energy, a brutalist thud of a fist striking a ribcage, static errata from EMF detectors that may or may not be dialed into paranormal activities, or just the drippings of an ice cave whose entry way has just collapsed leaving you with no escape. An unsettlingly brilliant album.
MPEG Stream: "White"
MPEG Stream: "Ice"
MPEG Stream: "Swine"
MPEG Stream: "Glow"
MPEG Stream: "Purge"

album cover G-FRENZY Eel Creek (Pseudo Arcana) 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.
The Pseudoarcana website describes G-Frenzy as "White trash hip hop and drunken country." Don't let that turn you off though, this is actually quite a cool weird record. Weird lo-fi rhythmic pop, with lots of samples (mostly 'borrowed' from other Pseudoarcana releases!). Think Sebadoh, slowed waaaaay down, buried in a hole for a month, then dug back up and slapped on the tape machine, dirt and worms and all. Mumbly, wavery, distorted vocals step hesitantly through a series of sonic backdrops, from gentle piano riffs smothered in ambient noise, to loping fuzzy rhythms and warm gauzy atmospheres. Cool.
MPEG Stream: "From The Stars"
MPEG Stream: "Black Goat Of The Wood"

album cover G.A.T.E.S, THE Total Death (DIWPhalanx) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Black cover, gothic font, song titles like "Long Live Evil", "Filth" and "Demon Crusade". Some scary metal, what? Yep, brought to us by the DIW Phalanx label, home to Boris, Green Machine and Church of Misery. And indeed it's members of Japanese doom merchants Church of Misery in The G.A.T.E.S, allowing their love of '80s thrash and, especially, Motorhead full reign on this slayin' side project. 'Tis ass-kicking thrash n' roll, full of pounding, prowling intensity. And weirdly/awesomely enough, the heavy stoner-rock guitar of CoM still somehow bursts out in this assault. Y'know how Boris has morphed the Venom logo into their own for T-shirts and picture discs? Well this sounds like what the imaginary Boris version of Venom might sound like... Heavy as heck, classically-riffed, and rockin' at speed -- complete with a Lemmylike gargle for vocals. Gives Japan's other '80s metal worshipping throwbacks Metalucifer/Sabbat a run for their money.
This import cd combines all the tracks from two rare The G.A.T.E.S releases (the High Society Satanic Rock 12", that we're told was limited to 300 copies and the Demonliction 1 demo cassette, limited to 77) plus a bonus track -- the disc's raging closing cover of Motorhead's "Overkill", appropriately enough. If High On Fire's latest Blessed Black Wings gets (rightly) tagged as doom metal meets thrash meets Motorhead, this slots right in there too, and is a purer, more basic, in yr face distillation of said influences. Play loud, headbangers!
MPEG Stream: "G.A.T.E.S"
MPEG Stream: "Sacrifice"

album cover G.E.S. (GESELLSCHAFT ZUR EMANZIPATION DES SAMPLES) Circulations (Faitiche) cd 19.98
The second release from Jan Jelinek's Faitiche imprint. The first being the too-good-to-be-true, past Record Of The Week, Ursula Bogner collection, a supposed archival compilation of various recordings made by a 40 something housewife who dabbled in electronic music in her spare time. We like to believe it was all real, and not some meticulously assembled hoax, but hell, even if it was in fact Jelinek, it was so well done, it almost makes it better. Almost.
For release number two, Jelinek has convened an imaginary body called the Gesellschaft Zur Emanzipation Des Samples, or Society For The Emancipation Of Samples, more an idea than an acting body (although it seems like Jelinek imagines it eventually being real, or maybe he's just messing with us again), the Society would exist to address the idea of environmental recording, when that recording contains copyrighted sounds. For example, a field recording of a state fair, where one of the rides just so happens to be blasting ZZ Top. Is ZZ Top then entitled to royalties from your recording of the fair? So Circulations is a sonic experiment of sorts, setting up similar situations, where various bits of recordings and samples are broadcast, projected or played in public spaces, which are then recorded, capturing not only those sampled sounds, but also the ambience, voices, footsteps, the sample becoming simply another found sound in a world of sounds waiting to be found. All very interesting for sure, thankfully the actual recordings are pretty fantastic as well. Not sure how much light they shed on the problem/issue, but from a purely listening standpoint they are super cool. Much of the sampled sound seems to be from exotica records, but they are broadcast in various locations which affect the sounds differently, sometimes it's a looped cartoon sounding oboe, wrapped in hiss, with a conversation taking place in the background, other times, there are the sound of footsteps, hidden behind what sounds like a blur of birdcalls and strange malfunctioning computers. Crackling lullaby like melodies wrap around machine like rhythms, the room sound adding all sorts of natural reverb, moody minimal dub loops wreathed in buzz and static drifting through what sounds like a big empty hallway, glitchy electronics and dramatic strings being broadcast amidst the clinks and clanks of a kitchen or restaurant or supermarket, minimal classical music underpins wandering couples, swooping backwards calliope music ringing out in what sounds like a mall or department store, regardless of place, or technique, the sounds and songs here are gorgeous, playful sometimes, haunting other times, the various sounds as important to the pieces and the overall sound as the samples, both elements blurred into one truly fantastic listening experience.
Beautifully packaged in a mini digibook, with extensive liner notes, in multiple languages, a few illustrations and even some footnotes.
MPEG Stream: "Orinoco, Bullerbu (Crossfade)"
MPEG Stream: "Oberhausen"
MPEG Stream: "Laokoon Lagoon"
MPEG Stream: "Samplecredits (Manipulated)"

album cover G.E.S. (GESELLSCHAFT ZUR EMANZIPATION DES SAMPLES) More Circulations (Faitiche) 7" 13.98
The return of this mysterious high concept project from electronic produced and soundscaper Jan Jelinek, which we initially took to be some sort of elaborate hoax (a la Ursula Bogner), a foundation called Gesellschaft Zur Emanzipation Des Samples, or Society For The Emancipation Of Samples, a recording project, and ostensibly and organization, based on the idea that samples, such as music played on a ride at a carnival, should be exempt from royalties, and by extension, we assume it would make sample based artists less worried about lawsuits. That idea is further fleshed out here, with extensive notes on the sleeve, about the idea for this body, as an entity dedicated to helping out artists when their sample based work incites a lawsuit and that artist incurs financial damages. So once again, Jelinek assembles a handful of tracks, all sampled in public spaces, some processed and layered and transformed, others nearly straight recordings, all of them quite lovely, whether it's woozy mysterious melodies, rhythmic minimal beeping, kitschy exotica, ice skating rink organs, all laced with backwards swoops and whirling effects and various degrees of processing, and all replete with the ambient sounds around them, footsteps, voices, cars driving by, various machines, and best of all the hiss and crackle of the public playback devices.

GAAHLSKAGG Erotic Funeral (No Colours Records) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Very fucked up black metal nastiness from members of Gorgoroth (so if you thought *they* were fucked up, wait 'til you hear this evil noise).

album cover GABBY LA LA Be Careful What You Wish For (Prawnsong) cd 9.98

MPEG Stream: "Be Careful What You Wish For 'Cause It Might Come True"
MPEG Stream: "In Dreams"
MPEG Stream: "Little Fortune Cookie"

album cover GABBY LA LA I Know You Know I Know (self-released) cd 9.98
Gabby La La is known in the Bay Area and beyond for her very imaginative and playful musical mind. She has played alongside folks like Les Claypool, who actually released her previous solo outing. I Know You Know I Know finds Gabby making all her beats and electronics with a Nintendo DS Lite as well as playing sitar, Theremin, ukulele and singing in her childlike voice. In fact the record sounds like it could be an awesome soundtrack for some new super cool psychedelic cartoon for kids...
MPEG Stream: "Alarm Clock"
MPEG Stream: "I Know You Know"
MPEG Stream: "Rainbows"

GABRIEL, PETER Scratch My Back (Real World Prod.) cd 16.98

album cover GADGET The Funeral March (Relapse) cd 12.98

MPEG Stream: "Choked"
MPEG Stream: "Feed On Lies"
MPEG Stream: "Requiem"

album cover GAINSBOURG, CHARLOTTE 5:55 (Because / Vice) cd 15.98
5:55 is one of those chance musical meetings that end up sounding just oh so perfect. With music written and performed by Air, Jarvis Cocker penning the lyrics, Nigel Godrich (Radiohead) twisting the knobs and helping create a gorgeously warm and spacey atmosphere, Charlotte Gainsbourg brings all these elements together with her effortlessly beautiful voice, as dreamy as it is breezy. Having spent much of her life struggling to get out from the long shadow cast by her legendary father (Serge) and mother (Jane Birkin) her recent streak of great acting (The Science Of Sleep, Happily Ever After, Nuovomondo, etc.) and this, her most assured and rewarding recording to date, have helped her come into her own. While she sings primarily in English, there is a sole French track that is a soft melty treat that recalls the musical elegance and seduction of her parents' generation. An extra treat for Air fans of course as this plays out like a great Air record, which just so happens to feature Charlotte on vocals throughout. Finally available domestically at a much lower price then the sky high import and with some pretty great bonus tracks to boot. Very nice!
MPEG Stream: "5:55"
MPEG Stream: "The Songs That We Sing"

GAINSBOURG, CHARLOTTE Hey Joe (Because Music) 7" 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover GAINSBOURG, CHARLOTTE IRM (Because / Elektra) cd 14.98
The daughter of Serge Gainsbourg and Jane Birkin, recording an album written and produced by Beck. The sum of those parts makes for some pretty irresistible and seductive sounds. Of course it's not fair to identify Charlotte Gainsbourg just by her famous parents, as she has established herself as a multitalented force over the years, as a model, a singer and an actress. Her performances in films such as Michel Gondry's The Science Of Sleep, Todd Hayne's I'm Not There, and most recently the latest disturbing offering from Lars Von Trier, Antichrist, has definitely demonstrated the range and intensity that Gainsbourg is capable of bringing as an actress. We won't go too much into it, but if you haven't seen Antichrist, its one of the most intense and disturbing performances we've ever seen on the big screen. We mention all these acting roles because Gainsbourg's role in music in so many ways is as a vessel. Transporting someone else's vision and production and making it her own.
On her last album 5:55, she teamed up with Air who wrote and produced, the end result dreamy and blissed out sensuality. It somehow makes perfect sense that now Beck has taken the reins, as he no doubt been strongly influenced by Charlotte's lineage, as much of his music, stylistic breadth, and fashion choices over the years are undeniably heavily influenced by the legacy of Serge Gainsbourg.
While Beck's trademark sound can be heard quite prominently throughout the record, especially on the tracks on which his vocals dominate, it's the more languid and moody tracks that shine, where Gainsbourg really takes center stage and makes the record her own. There is something both dark and soothing about her aura and vocal delivery. With full and lush arrangements as a bed for her entrancing voice, Gainsbourg once again proves she is an enigmatic chanteuse who has carved out an identity that is all her own.
MPEG Stream: "IRM"
MPEG Stream: "Le Chat Du CafŽ Des Artistes"
MPEG Stream: "Heaven Can Wait"
MPEG Stream: "Voyage"

album cover GAINSBOURG, CHARLOTTE IRM (Because / Elektra) 2lp 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!
The daughter of Serge Gainsbourg and Jane Birkin, recording an album written and produced by Beck. The sum of those parts makes for some pretty irresistible and seductive sounds. Of course it's not fair to identify Charlotte Gainsbourg just by her famous parents, as she has established herself as a multitalented force over the years, as a model, a singer and an actress. Her performances in films such as Michel Gondry's The Science Of Sleep, Todd Hayne's I'm Not There, and most recently the latest disturbing offering from Lars Von Trier, Antichrist, has definitely demonstrated the range and intensity that Gainsbourg is capable of bringing as an actress. We won't go too much into it, but if you haven't seen Antichrist, its one of the most intense and disturbing performances we've ever seen on the big screen. We mention all these acting roles because Gainsbourg's role in music in so many ways is as a vessel. Transporting someone else's vision and production and making it her own.
On her last album 5:55, she teamed up with Air who wrote and produced, the end result dreamy and blissed out sensuality. It somehow makes perfect sense that now Beck has taken the reins, as he no doubt been strongly influenced by Charlotte's lineage, as much of his music, stylistic breadth, and fashion choices over the years are undeniably heavily influenced by the legacy of Serge Gainsbourg.
While Beck's trademark sound can be heard quite prominently throughout the record, especially on the tracks on which his vocals dominate, it's the more languid and moody tracks that shine, where Gainsbourg really takes center stage and makes the record her own. There is something both dark and soothing about her aura and vocal delivery. With full and lush arrangements as a bed for her entrancing voice, Gainsbourg once again proves she is an enigmatic chanteuse who has carved out an identity that is all her own.
MPEG Stream: "IRM"
MPEG Stream: "Le Chat Du CafŽ Des Artistes"
MPEG Stream: "Heaven Can Wait"
MPEG Stream: "Voyage"

album cover GAINSBOURG, CHARLOTTE Stage Whisper (Elektra) cd 17.98
Charlotte Gainsbourg has repeatedly demonstrated her facility as a unique and striking artist on her own, and not just as the daughter of Serge Gainsbourg and Jane Birkin. Her work as an actress has intensified over the years, with her starring in the last two films by Lars Von Trier, including one of the most harrowing performances we've seen on the big screen in Antichrist. She collaborated with Air on her debut 5:55 and then with Beck on IRM. Both albums showcased her sensual and languid voice, over very well orchestrated music composed by folks well aware of her musical legacy.
Stage Whisper offers eight brand new songs, a handful of them find her teamed up with Beck again, and she's sounding as great as ever, with songs that make you just want to sway and get lost in their breezy sound. We're reminded of Taken By Trees, Beth Gibbons, and there are definitely moments that hints at her upbringing that echo Francoise Hardy and her mother.
The second half of the disc consists of 10 live tracks from her first ever tour, which took place in 2010. A few of us saw her concert in San Francisco on that tour, and after finding out that this was her first time ever playing live and hitting the road we were amazed by how tight and punchy her live sound was. Most of the live tracks come from her two proper albums, as well as her cover of Bob Dylan's "Just Like A Woman", and a standout duet with Charlie Fink of Noah & The Whale on the song "Got To Let Go".
Fans of her first two albums are going to want this for the new tracks, and for those who have been curious but haven't dived into her musical world yet, this would be an awesome introduction.
MPEG Stream: "White Telephone"
MPEG Stream: "Got To Let Go (Featuring Charlie Fink of Noah & The Whale)"
MPEG Stream: "IRM (Live)"

GAINSBOURG, SERGE 1 2 3 (Doxy) 2lp + cd 41.00

GAINSBOURG, SERGE Aux Armes et Caetera (Mercury) 2cd 34.00

album cover GAINSBOURG, SERGE Aux Armes Et Caetera (4 Men With Beards) lp 16.98
In a career of odd outings, this one is perhaps the oddest, but it works soooo well! This is Serge Gainsbourg's REGGAE DUB record from 1979. But this isn't just a bunch of French cats doing their own take on Jamaican reggae, this one is home-grown in Kingston using some of the finest session players: Sly and Robbie, Rita Marley, Ansell Collins, Judy Mowatt, Marcia Griffiths, and Leroy Wallace doing a full on Compass Point / Lee Perry-style dub and dread burner. There's a story that most of the musicians who signed up for this session first cast a suspicious eye on the white man they were to be working for, but once they figured out this was the man behind "Je T'aime Moi Non Plus", a global make-out hit, the ice was broken and the players were fully on board. And what prevents this from straying into full on camp territory is Gainsbourg's allowance of his tunes to be transformed by the musicians while his vocals stay in the laissez-faire mode of being sort of chanted rather than being sung. Of all the later day Gainsbourg releases out there, this one is really worth your time!

album cover GAINSBOURG, SERGE Bonnie and Clyde (4 Men With Beards) lp 17.98
We're so psyched that all these amazing Serge Gainsbourg records have been getting the reissue treatment lately, since for the last several years any time you tried to find Gainsbourg on vinyl, that section in the record store would always be empty, or somehow worse, filled with outlandishly expensive imports.
Originally released in 1968, Bonnie And Clyde was labeled as a collaboration between Gainsbourg and his sultry fling of that moment, the illustrious Brigitte Bardot. While she isn't on all of the record, the tracks she does appear on do soar with such sultry and seductive pop perfection. And the tracks where Gainsbourg goes at it alone manage to be equally as suave and swirly, tapping into his masterful ability to bring so much texture and depth in demonstrating the ultimate possibilities of pop music. You can hear so many more contemporary bands in these songs, the influence is irrefutable. Everyone from Air, Stereolab, Beck, Sebastian Tellier, Stereo Total, Magnetic Fields, Jens Lekman, Rufus Wainwright, April March and about a million more have followed in one way or another the blueprints that Gainsbourg created. Bonnie and Clyde perfectly displays Gainsbourg's flair for cabaret inspired lush and colorful pop. Yet another document of the man's musical genius!

GAINSBOURG, SERGE Comic Strip (Mercury) cd 15.98
This is the delightful pop themed volume of the fine retrospective compilation series of legendary French vocalist Monsieur Gainsbourg's extensive catalog. Recommended!

GAINSBOURG, SERGE Confidentiele (Philips) cd 22.00
Originally issued in 1964, Confidentiel takes on a new sound for Gainsbourg, stripping down the musical backing to simply electric guitar and upright bass (Eleck Bacsik and Michel Gaudry, respectively). Wonderful and relaxed jazz sounds here.

GAINSBOURG, SERGE Confidentiele (Philips) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally issued in 1964, Confidentiel takes on a new sound for Gainsbourg, stripping down the musical backing to simply electric guitar and upright bass (Eleck Bacsik and Michel Gaudry, respectively). Wonderful and relaxed jazz sounds here.

GAINSBOURG, SERGE du Chant a la Une! (Philips) cd 16.98
The first Gainsbourg album, originally issued in Sept. of 1958. Vocal jazz-pop, many tracks here were featured on the Du Jazz Dans le Ravin compilation (the bulk of said comp were actually culled largely from his first and fourth albums as well as the Confidentiele LP, some of which spilled over onto the Couleur Cafe compilation, which in turn was mostly taken from his second album and the Percussions LP!) Orchestrated by Alain Goraguer, also known for his brilliant score of La Planete Sauvage (Fantastic Planet)!

GAINSBOURG, SERGE Du Jazz Dans Le Ravin (Mercury) cd 15.98
Another great volume in the retrospective compilation series celebrating the work of legendary French crooner Serge Gainsbourg. This time it's jazzy Very recommended!

album cover GAINSBOURG, SERGE Du Jazz Dans Le Ravin (Doxy) lp 24.00
Now available on vinyl.
Another great volume in the retrospective compilation series celebrating the work of legendary French crooner Serge Gainsbourg. This time it's jazzy Very recommended!

GAINSBOURG, SERGE Gainsbourg Percussions (Philips) cd 16.98
The sixth Gainsbourg album, originally released by Philips in 1964. A return to Alain Goraguerās orchestration and the wonderful sounds produced on his second LP. Extremely lively and playful, this record definitely lives up to its title, as drums and percussion are the driving force behind the music here. Taking the Mambo influence of No2 and bringing forth other worldly influences from African and Latin cultures, Gainsbourg Percussions is a beautiful record, rich in sounds!

album cover GAINSBOURG, SERGE Gainsbourg Percussions (4 Men With Beards) lp 16.98
One of the cooler and quite difficult to find early Gainsbourg recordings gets a nice reissue from 4 Men With Beards. Released in 1964, Gainsbourg Percussions marks the end of the singer's smokey jazz cabaret period and sees him expand into his first foray with French pop exoticism. Employing African and Latin rhythms over jet-setting pop numbers like "Couleur Cafe" and "New York-USA", these tracks have a giddy go-go feel with only a hint of haughty colonialism. While not as aurally engaging and innovative as his later sixties period with Brigitte Bardot and Jane Birken, Gainsbourg Percussions is an essential release of his early period and because of its relative obscurity, a welcome reissue.

album cover GAINSBOURG, SERGE Histoire De Melody Nelson (Light In The Attic) cd 14.98
Well it's about time!!!!!! After years of wallowing in the hazy convoluted mists of legend, hearsay, and hipster influence, only to be obtained through ultra expensive imports, rare bootlegs, or ripped vinyl blogs, this long unavailable but hugely influential work by Serge Gainsbourg finally sees its first domestic reissue almost forty years after its scandalous release.
You won't need a translator to understand the sublime perversity at the heart of this concept record, arguably Gainsbourg's most accomplished full studio album. Released in 1971, Histoire De Melody Nelson is a seven song suite about an underage English nymphet (the titular Melody Nelson) and the wealthy lecherous older Frenchman who, after nearly running over her in his Rolls Royce, takes her in, falls in love and eventually deflowers her. And of course, like most love stories, there is a tragic climax. While the story is largely lifted from Kubrick's cinematic version of Lolita, the concept was undertaken in actuality as a symphonic love letter to Jane Birken, the British actress and singer (she sings the part of Melody). Though, not underage when they began their affair, she was twenty years younger than Serge, and their relationship became controversial with the release of their 1969 duet "Je t'aime....mon non plus" (originally recorded with Brigitte Bardot) with its sounds of a simulated female orgasm.
But Melody Nelson is not only Gainsbourg's finest moment, its musical reputation would be nothing without the orchestral arrangements and progressive grooves of Jean-Claude Vannier (see our review of L'Enfant Assassin Des Mouches, to get some highly praised background). The underlying score is less obviously song-oriented and more atmospheric than previous Gainsbourg outings, yet deceptively simple. The opening and closing tracks each at nearly eight minutes mirror each other with a sinewy descending bass groove and classic drum breaks (sampled heavily by De La Soul, David Holmes and Dan The Automator), which set the stage for acid-y guitar fills, swooning strings and Serge's own seductive speak-singing. The closing track ("Cargo Culte") ups the transcendent quality of the climax by adding a mass choir and full orchestra to the swirling tower of sound. In between these two tracks are shorter but artfully arranged pieces of folk-groove, French chanson, acid rock, and cinematic sonic bliss that move the story forward. It's one of those records that slowly grabs you, lures you into its spell, and eventually hooks you, so you'll want to keep listening to it over and over.
Though it was a flop on its initial release - Gainsbourg was largely a singles artist before this point, and the leap from that to concept album, especially one of this perverse nature, was perhaps too wide for French audiences - Histoire De Melody Nelson has gained a significant cult following over the years, perhaps reaching its greatest influence in the nineties with bands like Portishead (Dummy), Pulp (This is Hardcore), Massive Attack (Protection), Radiohead (The Bends), Air (Moon Safari), Blonde Redhead (Melody of Certain Damaged Lemons) and Beck (Sea Change), nearly lifting the basic sonic template of this album wholesale.
This awesome, nicely packaged reissue comes with a beautiful booklet of drawings, essays and interviews, outlining not only the full extent of the making of this amazing work, but charting its larger cultural impact as well.
Reissue of the year!
MPEG Stream: "Melody"
MPEG Stream: "Ballade De Melody Nelson"
MPEG Stream: "En Melody"

album cover GAINSBOURG, SERGE Histoire De Melody Nelson (Light In The Attic) lp 23.00
Well it's about time!!!!!! After years of wallowing in the hazy convoluted mists of legend, hearsay, and hipster influence, only to be obtained through ultra expensive imports, rare bootlegs, or ripped vinyl blogs, this long unavailable but hugely influential work by Serge Gainsbourg finally sees its first domestic reissue almost forty years after its scandalous release.
You won't need a translator to understand the sublime perversity at the heart of this concept record, arguably Gainsbourg's most accomplished full studio album. Released in 1971, Histoire De Melody Nelson is a seven song suite about an underage English nymphet (the titular Melody Nelson) and the wealthy lecherous older Frenchman who, after nearly running over her in his Rolls Royce, takes her in, falls in love and eventually deflowers her. And of course, like most love stories, there is a tragic climax. While the story is largely lifted from Kubrick's cinematic version of Lolita, the concept was undertaken in actuality as a symphonic love letter to Jane Birken, the British actress and singer (she sings the part of Melody). Though, not underage when they began their affair, she was twenty years younger than Serge, and their relationship became controversial with the release of their 1969 duet "Je t'aime....mon non plus" (originally recorded with Brigitte Bardot) with its sounds of a simulated female orgasm.
But Melody Nelson is not only Gainsbourg's finest moment, its musical reputation would be nothing without the orchestral arrangements and progressive grooves of Jean-Claude Vannier (see our review of L'Enfant Assassin Des Mouches, to get some highly praised background). The underlying score is less obviously song-oriented and more atmospheric than previous Gainsbourg outings, yet deceptively simple. The opening and closing tracks each at nearly eight minutes mirror each other with a sinewy descending bass groove and classic drum breaks (sampled heavily by De La Soul, David Holmes and Dan The Automator), which set the stage for acid-y guitar fills, swooning strings and Serge's own seductive speak-singing. The closing track ("Cargo Culte") ups the transcendent quality of the climax by adding a mass choir and full orchestra to the swirling tower of sound. In between these two tracks are shorter but artfully arranged pieces of folk-groove, French chanson, acid rock, and cinematic sonic bliss that move the story forward. It's one of those records that slowly grabs you, lures you into its spell, and eventually hooks you, so you'll want to keep listening to it over and over.
Though it was a flop on its initial release - Gainsbourg was largely a singles artist before this point, and the leap from that to concept album, especially one of this perverse nature, was perhaps too wide for French audiences - Histoire De Melody Nelson has gained a significant cult following over the years, perhaps reaching its greatest influence in the nineties with bands like Portishead (Dummy), Pulp (This is Hardcore), Massive Attack (Protection), Radiohead (The Bends), Air (Moon Safari), Blonde Redhead (Melody of Certain Damaged Lemons) and Beck (Sea Change), nearly lifting the basic sonic template of this album wholesale. Reissue of the year!
MPEG Stream: "Melody"
MPEG Stream: "Ballade De Melody Nelson"
MPEG Stream: "En Melody"

GAINSBOURG, SERGE Initials B.B. (Philips) cd 16.98
This is a collection of non-LP singles released between 1965-1968. Featuring many of the tracks which make up the Comic Strip collection released here in the States. Classics include: "Bonnie and Clyde" & "Comic Strip" (both with Brigitte Bardot), "Ford Mustang", "Qui est Inā Qui est Outā", "Bloody Jack" and "Docteur Jekyll et Monsieur Hyde", among others. Not necessary for those who already own the Comic Strip collection, but definitely essential Gainsbourg!

album cover GAINSBOURG, SERGE Initials B.B. (4 Men With Beards) lp 17.98
Now reissued on (180 gram) vinyl! This is a collection of non-LP singles released between 1965-1968 by the legendary and oh so cool French singer/songwriter. Classics include: "Bonnie and Clyde" and "Comic Strip" (both with Brigitte Bardot), "Ford Mustang", "Qui est Inā Qui est Outā", "Bloody Jack" and "Docteur Jekyll et Monsieur Hyde", amongst others.
Maybe not necessary for those who already own the cd compilation Comic Strip, which features many of the same tracks, but definitely essential Gainsbourg, and nice to have on wax!
MPEG Stream: "Bonnie and Clyde"
MPEG Stream: "Ford Mustang"

GAINSBOURG, SERGE L'etonnant (Philips) cd 16.98
Third album, again orchestrated by Goraguer. Originally issued in April of 1961. Strangely enough, barely any of these tracks made it onto any of the American comps, save for "Les Amours Perdues", which made an appearance onto Couleur Cafe. Another Gainsbourg classic, "La Chanson de Prevert" appears here alongside many other whimsically beautiful songs perfect for Spring.

album cover GAINSBOURG, SERGE L'Homme A Tete De Chou (4 Men With Beards) lp 16.98
More long unavailable Gainsbourg gems are available once again, which always makes us happy around here! In 1976, Serge Gainsbourg returned to the concept album format, he had begun with the exceptional Histoire De Melody Nelson. While that story was perverse without being explicit, L'Homme A Tete De Chou (The Man With a Cabbage Head) is downright x-rated and violently surreal, not that you could necessarily understand that if you don't know French. This is another love story gone wrong about an obsessive trist with a black shampoo girl who is beaten to death, but her attacker ends up in the psych ward convinced his head has turned into a cabbage!?! The music is less focused than on Melody Nelson, venturing into a wide range of genres including cafe rock, jazzy prog, disco and most notably reggae and funk (which he would explore more fully a couple of years later on his record Aux Armes Et Cetera - reviewed elsewhere on this list)! It's also not as immediately engaging as Melody Nelson, but it's still one of the weirder French pop concept records this side of J.P Massiera!

album cover GAINSBOURG, SERGE Les Annees Psychedeliques 1966-1971 (Le Smoke Disques) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If you have any way to listen to vinyl, you should definitely buy this, like right now! Very few items in our store require such minimal convincing that they are absolutely essential, as we've seen this flying off of our shelves as soon as we got them. What more could you want to know: Serge Gainsbourg! Psychedelic Years! Double vinyl! Totally Affordable!
Ok, Ok, some of you need some further convincing. Probably some of you have some Serge in your collections and want to know what exactly is on here, and it's good to know because it's not really that obvious. The title says "Psychedelic Years", but this isn't a greatest hits collection, and probably only a couple of songs will be familiar to casual Gainsbourg fans ("Bonnie and Clyde" and "En Melody" from Melody Nelson). The bulk of the tracks are from French films and TV soundtracks between 1966-1971 and are arranged by either Jean-Claude Vannier (Histoire de Melody Nelson) or Michel Columbier (Initials B.B.), two of Gainsbourg's greatest collaborators. Each providing smoky and stony grooves, some with sexy femme backing vocals, for such films as Cannabis, Anna, Le Pacha, Vidocq, Manon 70, Ce Sacre Grand-Pere, La Horse, Mister Feedom and Si J'etasi Un Espion. Three tracks even contain bonus beats for you record heads. There is not one bad cut on here. So don't miss out as we're not sure how long this will be available. Did we say that THIS IS ABSOLUTELY ESSENTIAL!!!!!!!!!!!!!!!!!!!!!!

GAINSBOURG, SERGE Mauvaises Nouvelles des Etoiles (Mercury) 2cd 34.00

GAINSBOURG, SERGE No. 2 (Philips) cd 16.98
The second, untitled Gainsbourg album, originally issued in June of 1959. Brilliantly orchestrated by Alain Goraguer, with playful Mambo flair which dominated the style found on the Couleur Cafe compilation! Features a hilarious take on the American Western musical (think Oklahoma), "Jeunes Femmes et Vieux Messieurs"! Wonderful and lively.

GAINSBOURG, SERGE No. 4 (Philips) cd 16.98
The fourth Gainsbourg album, originally issued by Philips in May, 1962. Orchestrated once again by Alain Goraguer. No4 is a bit slicker in production and slightly darker in tone than Gainsbourg's previous efforts -- just a taste of what's to come. Many tracks here were featured on the Jazz and Couleur Cafe collections.

GAL Relisten (Intransitive) cd 14.98
Bernhard Gal is an Austrian sound artist involved in the process of extrapolating and dissecting the sound of everyday life to offer new insight into those noises which we take for granted everyday. Unfortunately, Gal stumbles horribly with the pretentious introduction to this album with a clumsy vocal cut-up recalling bad New Media art from the '80s. Things pick up nicely with increasingly tense collages of beehives, rushing cars, and the clatter of train tracks. While Gal has pushed these sounds into something that is quite engaging to listen to, he is a bit too obvious and heavy handed in getting his point about the ubiquity of mass transit across. You get the feeling that he's come up with a well constructed thesis and forced all of his sounds to fit within his arguments, rather than actually listening to the sounds to see what they have to say.
RealAudio clip: "57A"

album cover GAL*IN_DOG s_nd (self-released) cd 11.98
Guillermo Galindo dons a diverse array of musical hats -- experimental, electro-acoustic, electronic, sound art installations and opera! He even wore a modified helmet during his performance at last year's SF Electronic Music Fest! This is the first we've heard from Gal*In_Dog, his atmospheric soundscape chapeau. The six slowly shifting vaporous tracks stretch out over the course of 69 minutes. Occasionally the sound fades to often barely-there drones, sometimes more tactile prickles and swarms of hiss, once in a while giving way to the surprise of nature bird songs. A quite nice record of electronic experimentalism, dark and mysterious, dense but still quite lovely.
MPEG Stream: "Xecatl"
MPEG Stream: "Benux"

GAL, SHARON Birdsongs (The Tapeworm) cassette 9.98

album cover GALA DROP s/t (Gala Drop) cd 17.98
Sometimes you can just look at a record and you know it's gonna be good. And oh it's so nice when that gut feeling turns out to be so right on. Such is the case with this record by the unknown to us until now Gala Drop. Something about its tribal psychedelic cover that caught our eye so we rushed to play it and ever since we've been totally hooked. Deep and hazy electronics and dubbed out percussion creating a sound like Four Tet and Tussle jamming at a seance for King Tubby. So subtly psychedelic and trippy with sounds that melt, linger and pulsate with such sizzling perfection. At times we're even hearing a sound like Heldon doing dub. Wow.
The first half of the record is all instrumental and then the last few tracks have really nice, icy cool vocals that play out more like an extra instrument then an actual voice. We even hear hints of the spaciest sides of Sonic Boom (Spacemen 3, Experimental Audio Research) as well as a possible Magma / Christian Vander influence. This Portuguese trio has found a way to make dubbed out sounds that reveal themselves in such swirling patterns and compelling color. So good!
MPEG Stream: "Ital"
MPEG Stream: "Holy Heads"
MPEG Stream: "Frog Scene"

GALA DROP & BEN CHASNY Broda (Gala Drop) 12" 15.98
Kinda sounds like Santana!

album cover GALACTIC ZOO DOSSIER #6 (Drag City) magazine + 2cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Plastic Crimewave's immense, amazing psychedelic music zine (almost also a comic book 'cause it's all hand lettered and drawn, and does indeed include some underground comix, as well as a feature on "psychedelic superheroes"), the one and only Galactic Zoo Dossier, returns with issue number six!! This time, you'll find interviews with quite an odd/interesting assortment of folks: Vanilla Fudge, Keith Rowe (ex-AMM), John Renbourn, and Pip Proud. Plus features and bits on psychsters old and new and heavy and obscure including Acid Mothers Temple, Debris, Stackwaddy, Rodriguez, Edgar Broughton, Uriah Heep, The Lemon Drops, Exuma, The Outsiders, etc.
And, beyond the 'zine, you get the second set of Crimewave illustrated "Damaged Guitar Gods" trading cards -- including John DuCann (Atomic Rooster), Michael Yonkers, Wally Gonzalez (Juan De La Cruz), Davy Graham, Dorothy & Helen Wiggins (The Shaggs), Erik Brann (Iron Butterfly), Erkin Koray, BoAnders Persson (Trad Gras Och Stenar) and dozens more. Pretty darn cool. Plus, that's not all: there's also a freakin' double cd compilation entitled Ascension Days When We Rise: Ultra-Rare Avant/Psych/Garage 1960's-1990. It features Acid Mothers Temple, The Heads, Six Organs Of Admittance, Miminokoto, The Hototogisu, Oneida, Michael Karoli, and a bunch more, some we've never heard of before but are eager to check out. This 'zine is just such a "turn on" regarding the underground sounds obsessed about within. Something about everything in the magazine being handwritten not only gives it more of an organic, '60s psych vibe but also utterly underscores how much of a labor of love this is, just how incredibly ENTHUSIASTIC Plastic Crimewave and Co. are about this stuff. Right on.

album cover GALACTIC ZOO DOSSIER #7 (Drag City) magazine + 2cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Yay! It's another gigantic, illustrated issue of Galactic Zoo Dossier, all hand-drawn and lettered, always a treat for those into psychedelic rock and weird folk and underground comix and that whole scene, which is like, most AQ customers. The 100+ pages include interviews with the Incredible String Band's Clive Palmer, Ed Askew, Gary Panter, Kevin Coyne, Mammatus, Residual Echoes, etc.
Also features on The Stooges, Chicago funk mob Rasputin's Stash, psychedelic soul, The Nice, hippie horror flicks, Giorgio Moroder, the British acid blues underground, Sonny Bono, Tiny Tim and tons more... and a hall of fame of "Dark Psychedelic Classics" including LPs by Crushed Butler, Arthur Brown's Kingdom Come, and Billy Joel's Attila (yes!).
Plus, several more sheafs of GZD's trademark trading cards, 72 cards in all, this time divided between "Astral Folk Godesses" such as Brigitte Fontaine and Kim Jung Mi and "Damaged Guitar Gods" (Set Three), examples being Vincent McAllister and Martin Pugh...
AND, this comes with not one but TWO bonus cds as the soundtrack to this issue. One of 'em, entitled Teenage Meadows Of Infinity, is stuffed with "rare psychs and stomps" from both bonafide psychedelic heroes and unknown obscurities of the past, among them The Stooges, Blossom Toes, Gollum and Teska Industrua. The other disc, From The Ashes Perfect Attainment Shall Be, consists of "modern freaked sounds" from the likes of Vincent Black Shadow, Acid Mothers Temple, Plastic Crimewave, Ed Askew, Devendra Banhart, Charalambides, and more!
Good grief. Mindblowing.

album cover GALACTIC ZOO DOSSIER #8 Summer '09 (Drag City) magazine + cd 16.98
Boy howdy, it's another enormous, fully freaked out issue of the psychedelic rock / folk magazine edited by artist, musician, and megafan Plastic Crimewave. As always, it's all hand-written, and full of PCW's underground comix style artwork, including random portraits of such bands as Suicide and Kaleidoscope UK. Textwise, this time we get interviews with Ya Ho Wha 13, Vashti Bunyan, Peter Walker, Guru Guru, MV and EE, and "light show pioneer" Bill Ham. Plus features on Hoyt Axton, Eddie Hazel of Funkadelic, Brian Wilson, The George-Edwards Group, The Gods, The Zombies, and much more!! Including a lot of cool stuff about superhero comic book art.
And then there's the bonus compilation "head-melting cd of mega-rarities" also found here, with tracks from, among others: Vashti Bunyan, Simply Saucer, Ruthann Friedmann, Peter Walker, Ya Ho Wha, Samara Lubelski, George-Edwards, La Otracina, Christina Carter, Plastic Crimewave Sound (natch) and freakin' Monster Magnet (an unreleased '86 demo track)!
And of course, this is also bagged with more of GZD's trademark Plastic Crimewave illustrated TRADING CARDS. Several sheets of 'em, again divided between "Damaged Guitar Gods" (set four) and "Astral Folk Godesses" (set two). The DGG's range from Alessandro Alessandroni who played on many of Ennio Morricone's Spaghetti Western soundtracks to Takashi Mizutani of Japan's Les Ralllizes Denudes to Ygarr of Zolar X from outer space. AFG's include the lovely likes of Sibylle Baier, Dorothy Moskowitz of United States Of America, and avant-prog chanteuse Dagmar Krause.
Each issue of GZD is a wonderful opportunity to revel in your musical obsessions (those that intersect with PCW's that is, which we bet they do) as well as probably learn about a few other obscure soon-to-be obsessions. Way cool.

album cover GALACTIC ZOO DOSSIER #9 Summer 2012 (Drag City) magazine + cd 21.98
Yowza! At last, after 3 years, it's here, another huge, totally hand-lettered, profusely comix-illustrated, utterly enthused fanzine for all you psych rock and acid folk freeks!! You can see right away why it takes so long between issues. This ish, editor Plastic Crimewave and a host of like minded contributors bring us the dope on every cool thing they can think of... the Lollipop Shoppe, The Daily Flash, White Witch, The Moody Blues, John Berberian, John DuCann (RIP), Curtis Knight, Status Quo, Kak, and tons more. There's stuff on "Psychedelic Canada", on Texas acid punk (Red Crayola, The Golden Dawn...), country funk, and lotsa prog too (East Of Eden, Egg...).
And along with PCW & the GZD crew's ravings on such subjects, there's also interviews, including chats with Arthur Brown, Rodriguez, Black Widow, Mark Fry, and the Poppy Family, wow. In non-musical (but equally psychedelic) coverage, they examine a lot of freaky '60s comic book artwork too, from Mad Magazine to Marvel...
It all adds up to 112 action-packed pages that will keep you entertained for a long time. Plus, this comes with the usual thick sheaf of way-cool TRADING CARDS (Damaged Guitar Gods set #5, Astral Folk Goddesses set #3!), AND a free cd sampler of "unearthed expansive sounds 1968 - present", many unreleased garage rock obscurities, 23 tracks total, including a live jam from Japan's Mainliner!

album cover GALACTIC ZOO DOSSIER Compendium (Drag City) magazine + cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Chicago-based 'zine Galactic Zoo Dossier proclaims itself "America's Leading Journal Of The Psychedelic Underground". Could be. The 'zine obviously has fans at Drag City, 'cause they've just issued this massive "Compendium" compiling the first four out-of-print issues of GZD along with bonus stuff. It's a full sized, perfect-bound, 144 page tome chock a block with articles, art and interviews. You can read about Silver Apples, Tyrannosaurus Rex, The Electric Prunes, Funkadelic, Quicksilver Messenger Service, Simply Saucer, Ash Ra Temple and much much more... Done by fans with the aim of enlightening others about the music they love, it's really very educational. There's history lessons here about everything from "pedal steel and fuzz guitar" to "early drone-rock" and even "psychedelic jerk-offs". Be aware, ALL the text is hand written, with comic book style art. Kinda looks like a cross between Cometbus and a psychedelic coloring book. Pretty cool, tho for me personally, my advice for future issues would be to get a computer or typewriter or something. The handwriting is totally legible but it still makes me tired reading it just 'cause I can't help thinking of how hard it would be to write all that stuff out!
AND there's a cd with tracks collected off of the magazine's Galactic Zoo cassettes, containing tracks by a crazed collection of psychonauts, among them Fursaxa, Plastic Crimewave, Magnog, Un, and...uh...well we haven't heard of many of these, though I think quite a few are related to the magazine's editor and friends. 25 tracks in all.

album cover GALAS, DIAMANDA Defixiones, Will And Testament (Mute) 2cd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of two double disc sets from Diamanda Galas, Defixiones, Will and Testament is the song cycle that Galas has performed around the world, set to texts from various poets, rembetika singers, and blues musicians. As with her infamous trilogy of release, the Plague Mass, Litanies of Satan, and The Masque of The Red Death which focused upon horror of AIDS, Defixiones takes up another deadly serious topic, genocide. Galas offers her own definition of genocide, as "an attempt to brutally crush and erase a civilization by any means necessary in its entirety. Also, this work concerns those who must live in exile as a means to escape and the desire to document one's existence -- to leave behind proof of life." For these recordings, Galas sings to those forgotten in the Armenian, Assyrian, and Anatolian Greek genocides which occurred between 1914 and 1923. With minimal arrangements of piano and windswept electronic tones, Galas belts out her highly stylized demonic shrieks, operatic falsettos, and tortured blues, always pointing towards the pain and suffering of her subjects.
MPEG Stream: "The Desert (part 2)"
MPEG Stream: "Birds of Death"

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