HI-TEK Hi-Teknology (Rawkus) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Light and funky hip hop from Reflection Eternal producer Hi Tek. You might remeber the Taleb Kweli /Hi Tek record from a while back. Well, the sound is similar, but this time around he's got a bunch of guests on board: Common, Taleb Kweli, Mos Def, Jonell, Buckshot, Slum Village and more.

HI-TEK The Sun God (Rawkus) 12" 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Featuring guests Common, Vinia Mojica, Talib Kweli and DCQ. Four versions of "The Sun God" and three of "Get Back Pt. 2".

HICKS, BILL Dangerous (Ryko) cd 16.98
Not a new release, but perhaps new to you! This disc is undoubtably already a fixture in the cd collections of anyone calling him/herself a Bill Hicks fan, but for anyone needing an introduction... buy this now! This performance contains some of his most astute and hilarious material (and some of his best voices too!). This was the first of a slew of posthumously released cds documenting Hicks' fierce, scathing stand-up performances (some were reissued, some had never before been unleashed on the unsuspecting cd-buying public). Others include Rant In E Minor, Arizona Bay, and Relentless. Aw heck, get 'em all 'cause although there is repeated material amongst the releases, he injects each performance with its own distinct fire and plants unique nuggets of wisdom and wit throughout. That said, as we've mentioned somewhat profusely in the past, the Bill Hicks Live: Satirist, Social Critic, Stand Up Comedian dvd is definitely a fantastic place to begin your Hicks indoctrination, but we're sure you'll be seeking more in a jiffy.
MPEG Stream: "Flying Saucer Tour"
MPEG Stream: "The Vision"

HICKS, BILL Live - Satirist, Social Critic, Stand-Up Comedian (RykoDisc) dvd 16.98
We've been sitting on this one for a couple weeks 'cause we wanted to be sure it got everyone's full attention. On the surface this may appear to be just another comedy dvd, but it's considerably more than that. It's a potent posthumous release and historical document of, for lack of better words, 'highlights' of the mighty Bill Hicks' career as a stand-up comedian.
Arguably, the bulk of the current crop of incisively insightful comedians are reduced to mere fluff when held up to the unforgiving fire of Hicks (who passed away in 1994 at the age of 32)... and make no bones about it, they fuckin' know it! Many (David Cross, Patton Oswalt, Dave Attell to name a few) bow their heads in deep reverence to the memory of this seriously groundbreaking individual, and others would do well to do the same. Much of their material comes directly from the provocative seeds this man sowed. Much of his material comes across as fresh and as relevant as it did over a decade ago. When you hear him speak of President Bush, it's startling to realize he's speaking of Bush 41 not Bush 43. He blazed his own trail in much the same unrestrained and unrelenting tradition as Richard Pryor, Lenny Bruce or George Carlin. He was the archetype of a comedian's comedian. Not always funny nor entertaining per se, and not always giving the audience what they wanted... that wasn't the point. He had things to say. He raised and skewered topics -- often scathing and remarkably direct -- that other people (comedian or otherwise) would cower away from. Don't be mistaken though, when Hicks deemed it time to be 'funny', he laid to waste all in his presence. The title says it all. It's impossible and completely inaccurate to simply peg this man as a comedian. It can truly be said that he was one of the best in each category.
With the increased prominence of indie comedians -- particularly stand-up and sketch on television (Mr. Show, Insomniac, etc) -- over the past half decade, the time is more than ripe for this dvd which contains three of his 1991 performances (in Chicago, Montreal and London which for years have only been circulating in grainy vhs copies) plus a documentary. His diehard following has certainly grown over the years (heck, he was by no means unknown back in the day - he made numerous prominent tv appearances on shows such as David Letterman), but now with this dvd and the aforementioned individuals' giving props to him in their interviews, Hicks will hopefully receive the attention and respect long overdue.
This dvd includes one of Hicks' most moving and insightful segments -- his imagined editorial comment for a news broadcast: "Today a young man on acid realized that all matter is merely energy condensed to a slow vibration, that we are all one consciousness experiencing itself subjectively, there is no such thing as death, life is only a dream, and we are the imagination of ourselves... Here's Tom with the weather."
Fucking brilliant. Seriously. Not to be missed!

HICKS, BILL Sane Man (Rykodisc) dvd 16.98
Fans of the late Bill Hicks will surely welcome this new dvd which features the first complete Hicks stand-up performance ever filmed -- the year was 1989, the place Austin, TX. In fact, you'll probably be well acquainted with most if not all of his material on Sane Man, but that said, there's still a bunch of bonus stuff that will surely pique the interest of even his most diehard fans (unseen footage, outtakes, etc). Keep in mind that, the sound and picture quality are far from pristine, but if you've seen the homespun VHS copies that have been circulating for years, you know that Hicks' fury and message burn right through the murk. If you've yet to familiarize yourself with this man's fierce, vitriolic wit and incredibly prescient and topical subject matter, you might wish to start your education with the Live - Satirist, Social Critic, Stand-Up Comedian dvd which we were raging about last year (please see our review, please see the dvd!), and then proceed to this. Nonetheless, truly amazing and empassioned.

HIDALGO, JUAN Tamaran (Gocce Di Sperma Per Dodici Pianoforti) (Get Back) lp 15.98
This composition for 12 prepared pianos sounds pretty much just like what you would expect, being heavy on the muted percussive thwap of objects stuffed in between all of the strings. Originally released on Cramps back in the '70s from this Spanish avant-garde composer.

HIDALGO, JUAN Una Voz (un etcetera) (Alga Marghen) lp 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"Una Voz", written by Spanish conceptual artist Juan Hidalgo, read by Javier Martinez Cuadrado and recorded by Walter Marchetti (who also added some extra sounds by opening the windows during the reading during an evening in Madrid on September 1967). As Juan Hidalgo wrote for the liner notes: "I spent about 10 years reading, hearing and meditating, outside, around and inside Zen Buddhism. Una Voz, this repetitive vocal music, couldn't have been conceived without these circumstances. This 'metaphysic' work developed in the years I was living in Italy; first in Milan and then in Rome. Walter Marchetti and John Cage supported all this with their knowledge and friendship. The final result is a reflection on life, non-life, pain and pleasure". The text read by Cuadardo is entirely in Spanish and this vinyl-only edition also includes a booklet with the complete Spanish text and an English translation. Edition of 323 copies.

HIDDEN Alexisstar Morphalite (Baphomet) cd 11.98
We love our metal here at aQ. A LOT. But there a two distinct strains that tend to drive us wild. There is of course the ultra precise, super heavy, complex and punishing perfectly crafted metal. Be it black, or thrash, stoner or doom. But then there's its bastard offspring, its deformed sibling, the one kept locked in the cellar, the damaged, demented, completely bizarre, totally unhinged and utterly and beautifully impossibly fucked metal. Total outsider metal. It may be doom or sludge or black metal, but composed and played and recorded with total disregard for anything but the personal vison, no matter how skewed or off kilter. In the past we have worshipped before the likes of Benighted Leams, Urfaust, Striborg, Wold, Rehtaf Ruo, Spektr, Necrofrost, Furze and all of a similarly demented nature. And now we have Hidden. A sort of doom / thrash hybrid, pre-occupied with some impossibly ridiculous science (fiction), the record is called Aleisstar Morphalite, some of the song titles: "Hydrodynamic Physics", "Interplanetary Space Physics And Climatology", "Planets Of Metal", "The Search For Where Life May Have Existed", you get the drift. And their sound is equally as scientifically and musically obtuse. Buzzing downtuned thrash metal, lighting fast riffs buried WAY down in the mix, the gutteral inhuman vocals way UP in the mix, spitting out impossibly complicated lyrics, you can catch a word here and there, 'radiation' gets mentioned a lot, as does the 'universe', 'carbon dioxide' does too, each line containing just a few too many words to fit in the designated space, so it comes out all gargled and jumbled together, a bit like old Slayer actually at least in terms of cadence, the sound though is like nothing you've ever heard, a sort of deathmetalized alien shriek. Then there's the songs, the riffs and the song structures are super convoluted, lots of stops and starts, pauses where there will be no sound but a weird wheezing synthesizer, or some random droning rumble, creepy synths and almost Cradle Of Filth keyboards surface all over the record, sometimes in a thick sheet draped over everything, there are some weird trashcan sounding electronic cymbals that hover in weird spaces when the music sort of hiccups and skips a beat, sometimes just a haunting background, occasionally a black thrash attack will slowly peter out and turn into a strangley gorgeous melancholic doom dirge, but still peppered with haunting piano and all sorts of random sound effects and sonic weirdness, and of course the vocals slithering and shrieking out some strange alien scientific propaganda over the top. But weird and bizzare and damaged and demented are not enough (well, almost), there has to be songs, you know actually songs, riffs and hooks and parts that stick in your head. And well, as impossible as it may seem, this record is full of 'em. Completely and impossibly catchy parts. The first song in fact, "Interferometer", has to be the catchiest damaged-alien-doom-black-thrash-sci-fi song EVER! Even the weird double kick / warbly space synth battle part way through gets stuck in our heads. Holy crap! This record is so completely nuts, but so completely heavy and kick ass. These guys should totally have a crazy metal science show on PBS, where kids learn about gravity and time travel and wormholes, but each lecture is delivered as a sludgy buzzing convoluted blast of demented space metal! In our dreams!
MPEG Stream: "Interferometer"
MPEG Stream: "Hydrodynamic Physics"

HIDDEN Spectral Magnitude (Red Stream) cd 11.98

HIDDEN CAMERAS Mississauga Goddam (Rough Trade) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Oh Canada! More and more wonderful music just keeps flowin' outta you, doesn't it? The Hidden Cameras have caused quite a stir just as much for their on-the-table queer politics as their pop eccentricities. This is the band's second full length and it's a pretty good place to get yourself acquainted. Mississauga Goddam is filled with some of the most uplifting songs around. We might even say that they rival the Polyphonic Spree for feel-good-ness! Super infectious, they make you wanna clap and sing along (that is, if you're not a total stick-in-the-mud!). Characterized by emotive, slightly quirky vocals (around these parts, the lead singer's delivery has been compared to a young Michael Stipe of R.E.M., Fleetwood Mac's Lindsay Buckingham and John Denver), strings flourishes, jangly guitars, glistening harp sweeps, bombastic percussion fills and of course some tambourine too, the band can do the unabashed bright and jubilant as well as the spartan slow and wistful with equal ease. Highlights of the former are the first, fifth, sixth and eighth songs (aka "Doot Doot Plot", "I Believe In The Good Of Life" "In The Union Of Wine" and "Bboy" respectively), whereas they totally shine in the latter department on the second, ninth and final songs ("Build The Bone", "We Oh We" and the title track). They're three pretty, lilting numbers that sound a lot like an indie pop "Rocky Mountain High". So, that makes for six songs from a total of eleven that we'd categorize as being immediately engaging. A pretty good starting point, don't ya think? And it seems that this charming album will only grow on ya more and more with each listen. As has already happened up in Canada, we suspect that these Hidden Cameras can't/won't stay hidden for long here in the States -- fortunately for grand indie folk pop fans everywhere, becoming a not-so-well-kept secret. Yay!
MPEG Stream: "Doot Doot Plot"
MPEG Stream: "Build The Bone"

HIDDEN CAMERAS Origin: Orphans (Arts & Crafts) cd 14.98
Listed the vinyl last time, now the cds are back in, yay. We've been so excited for this one, because when it comes to smart, infectious records that you listen to over and over and memorize every lyric and melody, it doesn't get much better or more rewarding then the Hidden Cameras. Origin: Orphans finds the band with a new level of confidence and definitely displays shows the range they've developed from their trademark peppy and catchy anthem like zingers to more subdued and brooding mopers that unfold with a richness that gives the record a weight and gravitas that we've really been appreciating, borne of song writing and arrangements that are the most fully realized of their career. We're always reminded of John Cale's brilliant album Paris 1919 when we listen to the Hidden Cameras as they tap into the same kind of swirling and infectious melody, which manage to be both sophisticated and so damn pleasing. We also hear nice hints of Arthur Russell, Paul Simon (in a good way!), Magnetic Fields, and Robert Wyatt when he was a young buck back in the day. With all the success Grizzly Bear has received this year, we hope Hidden Cameras get some of that same recognition because they've crafted another of the best pop albums of the year!
MPEG Stream: "In The NA"
MPEG Stream: "Do I Belong?"
MPEG Stream: "The Little Bit"

HIDDEN CAMERAS Origin: Orphans (Arts & Crafts) lp 16.98
We've been so excited for this one, because when it comes to smart, infectious records that you listen to over and over and memorize every lyric and melody, it doesn't get much better or more rewarding then the Hidden Cameras. Origin: Orphans finds the band with a new level of confidence and definitely displays shows the range they've developed from their trademark peppy and catchy anthem like zingers to more subdued and brooding mopers that unfold with a richness that gives the record a weight and gravitas that we've really been appreciating, borne of song writing and arrangements that are the most fully realized of their career. We're always reminded of John Cale's brilliant album Paris 1919 when we listen to the Hidden Cameras as they tap into the same kind of swirling and infectious melody, which manage to be both sophisticated and so damn pleasing. We also hear nice hints of Arthur Russell, Paul Simon (in a good way!), Magnetic Fields, and Robert Wyatt when he was a young buck back in the day. With all the success Grizzly Bear has received this year, we hope Hidden Cameras get some of that same recognition because they've crafted another of the best pop albums of the year!
And if course, this IS on cd too, but unfortunately our supplier was out of 'em this week, argh. Hopefully we'll have more back on Tuesday, and will list the cd next time around...
MPEG Stream: "In The NA"
MPEG Stream: "Do I Belong?"
MPEG Stream: "The Little Bit"

HIDDEN CAMERAS The Arms Of His "Ill" - 4-Track Demos (Absolutely Kosher) cd 8.98
While they haven't quite exploded like their neighbors Arcade Fire, there is still no doubt that Hidden Cameras are one of the more fresh sounding indie-pop bands of the last several years. Their debut The Smell of Fear was an ambitious and totally successful offering of grand pop songs, layered production and smart arrangements. Their follow up Mississauga Goddam showed them to have staying power as the catchiness along with their smart and queer/sex-positive lyrics found them in top form again giving hints to what a less repressed Michael Stipe might have sounding like in his early R.E.M. days. This new e.p. which was previously only available as a 10" shows the stripped down side of the Hidden Cameras, 4 track demos from the last album which for some weird reason is sadly already out of print. Because the Hidden Cameras do use so much oomph and pizzazz in their production it is quite a different listen to hear these songs in a much more raw bare bones style. But what shows most is that they write really good songs which can flourish in all sorts of arrangements and recording qualities. While we were already itching for a new album from these guys this will have to hold us over in the meantime.
MPEG Stream: "Fear Is On"
MPEG Stream: "In The Union Of Wine"

HIDDEN CAMERAS, THE Awoo (Arts & Crafts) cd 15.98
Are you ready to bounce your head up and down and sway side to side and jump up and down and all around in your bedroom when you are all alone and the new Hidden Cameras is blasting from your stereo. Cause that's what we've been doing pretty much nonstop since Awoo has come out. The third full length from the glorious pop band from Toronto does not disappoint one bit. With an impeccable ability to write hooks that will stay in your head for days and weeks and months to come. This is pop music at its smartest and most delightful level of catchy bliss. While some recent reviews of this record have harped over the fact that the lyrics aren't as dirty or sexual as past releases we think those minds are missing the point. This was never a novelty band about a simple joke or dirty one-liner. Their queer politics are for sure still strong in their heart and more then almost anyone else they have an amazing ability to sing songs that both talk to the body and the heart. Taking some of the best parts of R.E.M and Belle & Sebastian, Hidden Cameras have carved a spot for themselves as one of the pop bands who most definitely matter!
MPEG Stream: "Awoo"
MPEG Stream: "Hump For Bending"

HIDDEN HAND, THE Divine Propaganda (Meteor City) cd 15.98
The much-loved Wino, grizzled underground doom-metal guitarist and vocalist extraordinaire, who first gained fame with the legendary bands The Obsessed and Saint Vitus and more recently fronted the popular Spirit Caravan (R.I.P.), is back, riding high in the saddle again in not one but two new bands.
OK, Place of Skulls isn't actually new (more on them in a sec) but The Hidden Hand is. Basically they're the continuation of Spirit Caravan by other means it seems. Wino recruited a new rhythm section -- one without overt substance abuse problems -- that really allows him to fire up his trademark heavy stoner rock into punkier, more aggro realms than before. They really kick ass with some complex instrumental stuff goin' on. Definitely further out on a limb musically than the Caravan. Lyrically, Wino indulges in a lot of ridiculous conspiracy-theory -- he's really gone off the deep end with post 9/11 paranoia. But his heart's in the right place, politically revolted with the Bush/Cheney/Ashcroft coup. It's redneck radical rock for X-files fans. Heavy riffs, heavy concepts, there's even a reading list.
Meanwhile, Wino also joined up with Place of Skulls, the band of ex-Pentagram guitarist Victor Griffin (whoo-hoo! supergroup!). Their first album Nailed came out last year on Southern Lord and we gave it a bit of mixed review, criticizing the vocals particularily. But they had potential, and now with Wino in the band they're much much better. It's a funny thing, actually, 'cause they already sounded a lot like Spirit Caravan or The Obsessed, but I guess they needed the talents of the man himself to really shine. His vocals help a lot. Victor still sings, too, but he's somehow better now thanks to Wino's example I guess! Dunno if they're still a Christian band, I'm not sure how Jesus fits into Wino's conspiracy theories... but he's certainly a 'spiritual' dude, so it works. Anyway, both Place Of Skulls and The Hidden Hand worthy successors to Wino's previous projects, with Place Of Skulls more straight-up doom metal for doom heads and The Hidden Hand harking back in ways to The Obsessed's DC punk roots, Bad Brains jazz fusion lurking in the grooves, though neither band would exist if not for Black Sabbath of course. And the Place Of Skulls album cover wouldn't exist if it weren't for Steppenwolf's "7"...
MPEG Stream: "Bellicose Rhetoric"
MPEG Stream: "Tranquility Base"

HIDDEN HAND, THE Mother Teacher Destroyer (Southern Lord) cd 14.98
Mother Teacher Destroyer is the second album of spiritually and politically radical heavy rock music to be revealed by The Hidden Hand, a trio lead by veteran guitarist/vocalist Scott "Wino" Weinrich (The Obsessed, Saint Vitus, Spirit Caravan, Place Of Skulls, Probot). Wino's past tends to define him, but with The Hidden Hand there's been a bit of a fresh start. He's no longer treading water, in the moat of the doom castle. The Hidden Hand harks back to Wino's harDCore roots, the band's energetic, complex nature shaking off any residual doom/stoner stupor. Not that this isn't still psychedelic and doomy too (some of it sounds like early The Obsessed meets Pink Floyd), it's just got an aggro edge to it. Wino and crew are angry about the state of our nation, that's for sure -- "The Deprogramming Of Tom Delay" is an actual song title here! And while some of his ideas might be a little far out, his instincts are right-on.
MPEG Stream: "The Crossing"
MPEG Stream: "The Deprogramming Of Tom Delay"

HIDDEN HAND, THE The Resurrection Of Whiskey Foote (Southern Lord) 2cd 15.98
Here's the moody, massive return of Scott "Wino" Weinrich's state-of-the-art progressive stoner rock power trio, their third full-length. Wino's gnarled croon and distinctive, fat guitar tone is at this point a national treasure (of the Doomed Nation that is), and The Resurrection Of Whiskey Foote gives all of us fans another chance to bask in his dark glory. Bassist Bruce Falkinberg performs his share of vocal duties as well, belting out the lead on several songs with a sort of ragged Blackie Lawless rasp, sounding better than previous albums when we wondered why the heck Wino wasn't singing all the songs.
The Hidden Hand is sort of like an advanced version of Wino's previous outfit Spirit Caravan: more adventurous, more complex, more melodic. The songs here range from plodding psych to raging grunge, calling to mind Sabbath (of course), the Southern rock of Skynyrd, and (thus) Pepper-era Corrosion Of Conformity. The 46 year old Wino is definitely keeping one foot in the '70s here, as always... and the other in the 1700s, as apparently this album ("thinking man's" stoner rock for sure) has a semi-conceptual historical fiction storyline having to do with the made-up title character in post Revolutionary War America. It's all very cryptic of course, but we think perhaps reference is being made to the anti-tax Whiskey Rebellion of the 1790s, that was squashed by President Washington. That would fit in with what we know to be Wino's suspicions about our Federal government today. Hmm, well while we take Wino's conspiratorial notions with a grain of salt, we are fully accepting of his powerful guitar riffs! And we never before thought that taking AP American History in high school would help us review a stoner rock record...
MPEG Stream: "Dark Horizons"
MPEG Stream: "Lightning Hill"

HIDDEN HAND, THE / WOOLY MAMMOTH split (Meteor City) cd 14.98
Ok, Wino/stoner rock fans. Time to decide how big a fan you really are. This split features two quite excellent new tracks from Wino's current outfit, The Hidden Hand. Like their debut album from last year, they have injected a greater dose of conspiracy theory and musical chops into the music of Wino's previous outfits Spirit Caravan and The Obsessed, resulting in what we might term "advanced stoner rock". Heavy in so many ways. Then there's also two tracks from newcomers Wooly Mammoth, another stoner rock outfit who play music that's kinda groovy and grungy and almost as heavy as The Hidden Hand. In addition, there's a bonus Meteor City label sampler disc, with unreleased/upcoming tracks from the likes of Atomic Bitchwax, Black Nasa, The Obsessed, Weedeater, Yob and others. So, here's the decision part. Are you into Wino enuff to pay $15 for two songs? And/or are you into stoner rock enough to pay $15 for the sampler and the two Wooly Mammoth tracks, along with the two Hidden Hand cuts? Time for some careful cost/benefit ratiocination. If it helps, remember that the sampler has an old Yob demo track on it from '99.
MPEG Stream: THE HIDDEN HAND "Welcome To Sunshine"
MPEG Stream: WOOLY MAMMOTH "Master Cut + Charisma"

HIDEOUS GNOSIS: BLACK METAL THEORY SYMPOSIUM 1 book 20.00
This one almost doesn't require a review, pretty much every truely obsessive black metal fan is gonna want this, whether they actually read it or not. And having only dabbled, it's hard to say how many folks, metalheads in particular, are actually gonna want to delve into this, a collection (often in expanded and revised form) of essays and documents that were presented late last year at "Hideous Gnosis", a symposium on black metal theory (yes, a symposium on black metal theory), which took place in Brooklyn in December of 2009. That said, we also can't imagine a metalhead who wouldn't feel like they had to have copy of this on their bookshelf, if they have any intellectual pretensions whatsoever (which this sure does), or sense of humor (which perhaps this does as well).
The real question regarding Hideous Gnosis is whether black metal does indeed have some sort of lofty academic underpinnings, or is this academic study of the genre simply another example of hipsters trying to legitimize something that appears to be, at its core, raw and underground and visceral and personal and pretty much diametrically opposed to any idea of scholarly study or academic examination? Which thankfully is discussed quite a bit in this book, in the form of several essays, but via the inclusion of comments from the symposium's website, both positive and negative, plenty of them mean, some of them funny, and a few measured and thought out. But it's good to know that the very fact that there exists an academic black metal symposium is in itself worthy of debate, keeps Hideous Gnosis somewhat grounded.
There are definitely some interesting essays here, one in particular that focuses on black metal's reliance on climate, as in grim and frosty and cold, etc. The most interesting to us, are also the ones that are easiest to read, the ones NOT mired down in academic grad school doublespeak, there are plenty of examples of essays that seem interesting, but require digging though a malfunctioning thesaurus to get to the root of what's really being said. There is an excerpt of Brandon Stosuy's in progress oral history of American black metal (featuring our very own Andee) which was also printed in a different form in a past issue of The Believer, which is definitely cool, there's Hunter Hunt Hendrix of Liturgy's confusional analysis and dissection of "Transcendental Black Metal", and so it goes, the collection slipping back and forth, striking a pretty good balance, between people who love black metal who just want to dig deeper, and explore a music they love and discuss it with other like minded metalheads, and the flipside, dry, academic treatises on various elements and aspects of black metal, a bit too removed from the actual sound, and the fucked up ferocious intensity that is what makes the music truly appealing for us. But again, that doesn't mean those pieces aren't a blast to read, some might win you over, others actually do offer up some keen insights, and some seem to exist simply as fodder for merciless mockery. But really, in some weird way that does essentially reflect the genre as a whole, there are dabblers, there are folks who take it WAY too seriously, people who love it and live it, others who are merely fascinated or curious or even repulsed. It ultimately doesn't matter, like the spate of recent black metal docs, online blogs, if you're into black metal, for whatever reason, you're probably gonna want to read this, even if it pisses you off. ESPECIALLY if it pisses you off. An essential, and maybe controversial to your metal music library.
Here's a list of the included essays, which should be enough to pique your curiosity, and to convince you (if you weren't already convinced), that there's much to discuss, debate and argue about here:
Steven Shakespeare, "The Light that Illuminates Itself, the Dark that Soils Itself: Blackened Notes from Schelling's Underground."
Erik Butler, "The Counter-Reformation in Stone and Metal: Spiritual Substances."
Scott Wilson, "BAsileus philosoPHOrum METaloricum."
Hunter Hunt-Hendrix, "Transcendental Black Metal."
Nicola Masciandaro, "Anti-Cosmosis: Black Mahapralaya."
Joseph Russo, "Perpetue Putesco ­ Perpetually I Putrefy."
Benjamin Noys, "'Remain True to the Earth!': Remarks on the Politics of Black Metal."
Evan Calder Williams, "The Headless Horsemen of the Apocalypse."
Brandon Stosuy, "Meaningful Leaning Mess."
Aspasia Stephanou, "Playing Wolves and Red Riding Hoods in Black Metal."
Anthony Sciscione, "'Goatsteps Behind My Steps . . .': Black Metal and Ritual Renewal."
Eugene Thacker, "Three Questions on Demonology."
Niall Scott, "Black Confessions and Absu-lution."

HIEROGLYPHICS Full Circle (Hieroglyphics Imperium) cd 16.98

HIEROGLYPHICS Third Eye Vision (Hiero Imperium) cd 14.98
East Bay's Del tha Funkee Homosapien and crew return with some alternative hiphop.

HIEROPHANT The Tome (Solitude Productions) cd 14.98

HIGASHI, HIROSHI Solo (Eclipse / Galactic Zoo Disk) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another limited-edition, probably-already-gone, get-it-quick-we-can't-get-more slab of desirable and oh so psychedelic vinyl from the fine folks/freaks at Eclipse and Galactic Zoo Disk, who have here captured the guitar and synth wielding dancin' king of Acid Mothers Temple and Tsurabami fame in his full droned-out glory...A colorful sunburst of solo electronic lullabies for flying pigs and other Floydian frienz.

HIGGINS, GARY Red Hash (Drag City) cd 14.98
Earlier this year when we reviewed School Of The Flower, the latest from modern day acid folk hero Ben Chasny's Six Organs Of Admittance, we mentioned that Ben had become obsessed with the music of one Gary Higgins, an obscure '70s hippie singer/songwriter whose lone LP from 1973, Red Hash, had developed something of a cult following over the decades, not that all that many people had even ever heard OF it, let alone actually heard it. But those who had all spoke highly of its mystic beauty, mysterious aura, and so forth. Ben covered a Higgins song on School Of The Flower, and asked that if anyone knew of his whereabouts to let Drag City know. Apparently that paid off, 'cause now Drag City *has* managed to track down Mr. Higgins and properly reissue Red Hash on cd to enlighten all of us to its wonders. And we bet Ben is excited to now be labelmates with one of his heroes! (They've even performed together in recent months!)
Kicking off with the song that Six Organs' covered, "Thicker Than A Smokey", Red Hash immediately lives up to its reputation as a hidden treasure of psychedelic folk music, oft slow and sad and melancholically melodic. There's a lost and lonely vibe to a lot of this, with Gary's gentle singing and acoustic guitar backed by friends playing piano, cello, mandolin, flute and more. Together they weave eleven tracks of entrancing dope smoking folk music, drifting, sometimes dreary, but always oh so lovely. The freakiness is mainly in the lyrics, which can be quite interestingly cryptic and weird, often regarding the worried wandering and woes of a young man, while the music remains alluringly melodic and inwardly calm. Though, with a deeper voice and more urgent tone, the Beefheartian "Down On The Farm" stands out as more menacing (and humorous) than the rest.
This remastered Drag City reish is really nicely done, with a full-colour booklet of photos and lyrics. Two (lesser) bonus tracks are also included, "Last Great Sperm Whale" from 1975 and "Don't Ya Know" from sometime in the early '80s. But the album alone is a gem and shines just a bright now as it did briefly back in '73. By the way, one reason for its obscurity is that shortly after the LP's original release, Higgins was sent away to prison to do a two-year stretch on a pot bust... so it must be really nice for him to gain some belated recognition nowadays.
MPEG Stream: "Windy Child"
MPEG Stream: "I Can't Sleep Avt Night"

HIGGINS, GARY Red Hash (Drag City) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!!!
Back in 2005, when we reviewed School Of The Flower, the latest from modern day acid folk hero Ben Chasny's Six Organs Of Admittance, we mentioned that Ben had become obsessed with the music of one Gary Higgins, an obscure '70s hippie singer/songwriter whose lone LP from 1973, Red Hash, had developed something of a cult following over the decades, not that all that many people had even ever heard OF it, let alone actually heard it. But those who had all spoke highly of its mystic beauty, mysterious aura, and so forth. Ben covered a Higgins song on School Of The Flower, and asked that if anyone knew of his whereabouts to let Drag City know. Apparently that paid off, 'cause now Drag City *has* managed to track down Mr. Higgins and properly reissue Red Hash on cd to enlighten all of us to its wonders. And we bet Ben is excited to now be labelmates with one of his heroes! (They've even performed together in recent months!)
Kicking off with the song that Six Organs' covered, "Thicker Than A Smokey", Red Hash immediately lives up to its reputation as a hidden treasure of psychedelic folk music, oft slow and sad and melancholically melodic. There's a lost and lonely vibe to a lot of this, with Gary's gentle singing and acoustic guitar backed by friends playing piano, cello, mandolin, flute and more. Together they weave eleven tracks of entrancing dope smoking folk music, drifting, sometimes dreary, but always oh so lovely. The freakiness is mainly in the lyrics, which can be quite interestingly cryptic and weird, often regarding the worried wandering and woes of a young man, while the music remains alluringly melodic and inwardly calm. Though, with a deeper voice and more urgent tone, the Beefheartian "Down On The Farm" stands out as more menacing (and humorous) than the rest. Two (lesser) bonus tracks are also included, "Last Great Sperm Whale" from 1975 and "Don't Ya Know" from sometime in the early '80s. But the album alone is a gem and shines just a bright now as it did briefly back in '73. By the way, one reason for its obscurity is that shortly after the LP's original release, Higgins was sent away to prison to do a two-year stretch on a pot bust... so it must be really nice for him to gain some belated recognition nowadays.
MPEG Stream: "Windy Child"
MPEG Stream: "I Can't Sleep At Night"

HIGGINS, GARY Seconds (Drag City) cd 14.98
The return of Mr. Higgins after what, 40 years almost? He was cool when we saw him live at the Swedish American Hall a year or so ago, his voice definitely older, gruffer, but otherwise sounding like the Higgins of old.

HIGGS, DANIEL Armageddon Lullabye / Recitation (Endless Series) 10" lathe cut 33.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Amazing, and ultra limited, made to order, hand carved lathe cut from our favorite modern day musical shaman Dan Higgs, he of Lungfish and assorted amazing solo recordings. Two tracks, each exclusive to this disc, an ultra thick black lathe cut, with printed / hand written labels, and housed in a thick, old school green paper sleeve stamped with the label info and the tracks hand written on the sleeve. So gorgeous.
And the music is appropriately gorgeous as well. The A side is a long droney chunk of twisted Eastern raga tinged neo-Appalachia as only Higgs can do it. Tangled melodies, gnarled arrangements, droney and buzzy, haunting and minor key, the track always shifting from dreamy finger picked bliss to pulsing blown out raga to spaced out psychedelia, all on an acoustic guitar. So good.
The flipside is a "Recitation" by Mr. Higgs, and is a total mind blower. Obviously recorded on a handheld microcassette recorder, complete with the 'thunk' of the stop and record buttons, as well as lots of sibilance and background hiss. But the voice is immediately recognizable, and the words... confusingly brilliant, surreal, so evocative and vivid, sometimes beautiful and tender, sometimes horrific, and other times completely baffling, somehow as dreamy and easy to listen to as the guitar on the other side. But to understand it all, that's another story. Too much for mere mortals we're afraid, but so goddamn fascinating.
These are custom made to order, and are thus SUPER EXPENSIVE and SUPER LIMITED. We got a handful, we probably can get more when we run out, but it might take a while, so if you miss this first batch, be prepared to be patient...

HIGGS, DANIEL Magic Alphabet (Northern Liberties) cd 11.98
Back in stock, at long last. Lower price!
Daniel Higgs is the singer for the band Lungfish and is an absolute modern day shaman. (And solo artist, whose Ancestral Songs album was a recent AQ Record Of The Week.) His presence in person and on stage is absolutely mesmerizing. In another time he would have ruled the world, or been burned at the stake, or had his own cult. But instead, he has carved out a wholly unique musical niche. In Lungfish, his stream of consciousness vocals, add a distinctly spiritual quality to Lungfish's droning repetitive caveman krautrock jams. On this here solo record, Higgs weaves a buzzing melodic otherworld, all from the sounds of a single Jews Harp. Those of you not familiar with the instrument, it's a small loop of steel with a thin strip of metal in the middle. The player plucks the strip of steel making it vibrate, and uses the shape of their mouth and position of their lips to change the tone and timbre. Same sort of method for the the 'talk box'. The results here are divine, droning, alien buzzing rhythms, slowly shifting and stuttering, with strange overtones drifting and colliding, before slipping into vibrating harmony. Imagine a sitar run through a metal digeridoo, held up against your mouth so you could sort of 'vocalise' the notes. Weird and so wonderful.
MPEG Stream: "Holy Compartments"
MPEG Stream: "Listen, Dear One"
MPEG Stream: "Beyond Within"

HIGGS, DANIEL Plays The Mirror Of The Apocalypse And Other Songs (Open Mouth) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Way back when, years and years ago, before Mr. Daniel Higgs was a well established solo artist, and revered modern mystical musical troubadour, when he was still mostly known as the vocalist of Lungfish and offshoot the Pupils, we listed a super limited cassette containing some of the most amazing raga-drone guitar playing we had heard, and we knew then, that there was more to Higgs than just playing rock music. Every bit of that tape oozed with some cosmic light, as if he was using the guitar to travel between alternate universes and other worlds, the tales of those travels rendered in gorgeously warm and mysterious drone and buzz, strum and shimmer.
Higgs is one of the very few contemporary artists who we would absolutely consider a sort of modern day shaman. A musical alchemist, an artistic cypher, an abstract philosopher, a strangely charismatic, yet disarmingly humble master of any artistic endeavor he puts his mind to. For those new to the work of Daniel Higgs, he's a legendary (but now retired) tattoo artist, an incredible painter, whose paintings are at once hallucinatory and gorgeous (one painting adorns the cover of Leviathan's Tentacles Of Whorror record) and of course an incredible musician, whose sonic experiments range from the mesmeric riffrock of his band Lungfish, to an entire record of solo Jew's harp. But in addition to being an incredible lyricist, an amazing vocalist, and a master of the Jew's harp, Higgs is also a seriously mean guitar (and banjo) player, with a style and sound as familiar as it is totally alien. A gorgeous buzzing steel string drift through the cosmos. Lengthy droning ragas, that drift hypnotically from deconstructed Appalachia to John Cale like slow-shifting skree (joined on those tracks by violin), to moody melancholy crawls, to thick serpentine swirls of snake charmer melody and reverberating steel string shimmer. Raw and lo-fi for sure, but so darkly emotional, and dreamily hypnotic. This cd reissue reminded us of how smitten we were by the original tape release. It sounds just as powerful and intense as it did the first time we heard it. And even now, it continues to unfold more and more on each listen, gradually and subtly revealing mythical musical secrets and lost universal truths, and just like with the cassette, we're thinking seriously about grabbing a cd player, taking a ton of peyote, blasting this disc and laying in the thick grass, sprawled naked on a hilltop in the middle of nowhere, beneath a sparkling moonlit sky. In other words, WAY RECOMMENDED!
MPEG Stream: "Untitled 1"
MPEG Stream: "Untitled 2"
MPEG Stream: "Untitled 3"

HIGGS, DANIEL Plays The Mirror Of The Apocalypse And Other Songs (Open Mouth) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Daniel Higgs, of Lungfish and the Pupils, is one of the very few contemporary artists who we would absolutely consider a sort of modern day shaman. A musical alchemist, an artistic cypher, an abstract philosopher, a strangely charismatic, yet disarmingly humble master of any artistic endeavor he puts his mind to. A legendary (but now retired) tattoo artist, an incredible painter, whose paintings are at once hallucinatory and gorgeous (one painting adorns the cover of Leviathan's Tentacles Of Whorror record) and of course an incredible musician, whose sonic experiments range from the mesmeric riffrock of his band Lungfish, to an entire record of solo Jew's harp. But in addition to being an incredible lyricist, an amazing vocalist, and a master of the Jew's harp, Higgs is also a seriously mean guitar player, with a style and sound as familiar as it is totally alien. A gorgeous buzzing steel string drift through the cosmos. Lengthy droning ragas, that drift hypnotically from deconstructed Appalachia to John Cale like slow-shifting skree (joined on those tracks by violin), to moody melancholy crawls, to thick serpentine swirls of snake charmer melody and reverberating steel string shimmer. Raw and lo-fi for sure, but so darkly emotional, and dreamily hypnotic. We've been listening to this non stop since we got it and it continues to unfold more and more on each listen, we're thinking seriously about grabbing a boombox, taking a ton of peyote, blasting this tape and laying in the thick grass, sprawled naked on a hilltop in the middle of nowhere, beneath a sparkling moonlit sky. In other words, WAY RECOMMENDED!
SUPER LIMITED of course. In spiffy, ultra cryptic packaging.

HIGGS, DANIEL Say God (Thrill Jockey) 2cd 16.98
Modern day shaman Daniel Higgs returns with a two disc collection of songs and poems recorded (mostly) in LA last year with production wizard David Andrew Sitek of TV On The Radio. Higgs has been blowing minds here in the Bay Area since his temporary relocation to Oakland, and we were even fortunate enough to have him grace us with a wonderful in store performance not too long ago. The material on Say God perfectly captures what a Daniel Higgs performance is, with minimal but highly effective musical accompaniment to go along with Higgs' unique brand of poetry delivered in his amazing, rich voice, an instrument unto itself. Some people may be confused by the direction Higgs has followed in recent years, after all, this might initially seem to be the farthest thing from Lungfish's dense psychedelic songcraft. But throughout his musical journey, Higgs has maintained a completely singular creative approach, and his solo work reflects this as much as anything he's ever done. The interesting thing is how his albums blur the lines between what Daniel Higgs is: musician, artist, poet, singer, soundmaker, Interdimensional Song-Seamstress, etc. The end results are pretty much unlike anything else, and it's not surprising how many people are moved by this stuff, especially after seeing the man perform.
Disc 1 opens with current best song title of all time, "Hoofprints On The Ceiling Of Your Mind," which actually was recorded at a live performance in Germany, with Higgs announcing, "Holy Bible time" to what we can imagine was a stunned crowd. His vocals are accompanied by simple drone and a slight shaker rhythm. His voice carries the melody to new heights as he assures listeners that he intends to appeal to their (and our) standards of songcraft. Not surprisingly, he succeeds. "Song For Azariah" features a mournful folky Appalachian melody played on a banjo that also hints at some eastern influences. The lucky few who were able to snap up Higgs' super limited Hymnprovisations banjo freakout lp can certainly attest his ability on the instrument, and this only reaffirms that. "Say God" features some awesome trademark melodies from Higgs Lungfish/Pupils cohort and underrated guitar hero Asa Osborne, who some of you might also know from his Zomes project. Listening to this, you will wonder when and where this stuff is coming from. It possesses a strange timeless appeal, even though it may not be for everyone. Either way, it's something totally unique, and Osborne's guitar sweeps majestically beneath Higgs' vocals with some amazing results before ending with "A Message From The Beautiful", another piece with just harmonium and voice.
The second disc begins with "Root & Bough", with Higgs sounding a bit like a manlier Devendra Banhart (or maybe it should be Banhart we are comparing to Higgs?) as he recites a lengthy poem with a simple shruti box accompaniment. One of the best things about Higgs as a performer is his spontaneity, and these recordings represent the actual moment, with Higgs even coughing here and there to clear his throat. The power of his voice defines the song, and while definitely droney at times, unlike super blown out electric guitar drones, things here are much more intimate as Higgs weaves out his own mythology which will certainly keep you wondering for a while. At around the 6 minute mark, things take a dramatic shift as a heavy synth drone sweeps in, sounding like what you might expect from Expo '70 or Emeralds. Little whispy melodies begin to flutter about for a few minutes before returning to the drone that characterized the song earlier. About 12 minutes in (uh, did we mention that these are some long songs?), Higgs begins repeating the word "Sing" in a rhythmic pace. Make no mistake, this takes some patience to listen to, but the results are well worth the wait. It's not like you would expect little 3 minute pop songs with this guy, and you have to pay attention to even begin to understand what's going on in his world. However, the next song, "Jewel Of The East" is actually quite brief, a nice folky number performed on what might be a pump organ, it sounds like something you might find on the Wicker Man soundtrack. The song is repetitive and performed with the same loop like attention of Lungfish and Pupils. "Tumble Down" features Higgs' voice with no instrumentation save the sounds of crickets chirping outside. His natural vibrato is in good form as he goes from singing to speaking, all the while keeping things nice and tuneful. "Christ Among Us" finds Higgs breaking out his banjo again, always a joy to listen to. He also tells us, "This song possesses portal power", and one can tell he means it, as this is some transcendental stuff for sure.
We may be going out on a limb here, but some of us feel this is Higgs' strongest solo endeavor as of yet and a great place to start for the uninitiated. Say God is weird, mystical, and beyond comprehension (in a good way of course), but Higgs is the kind of artist with rabidly devoted fans who will no doubt agree with this album's absolute majesty.
MPEG Stream: "Hoofprints On The Ceiling Of Your Mind"
RealAudio clip: "Say God"
MPEG Stream: "Root & Bough"
MPEG Stream: "Jewel Of The East"

HIGGS, DANIEL Say God (Thrill Jockey) 2lp 17.98
Modern day shaman Daniel Higgs returns with a two disc collection of songs and poems recorded (mostly) in LA last year with production wizard David Andrew Sitek of TV On The Radio. Higgs has been blowing minds here in the Bay Area since his temporary relocation to Oakland, and we were even fortunate enough to have him grace us with a wonderful in store performance not too long ago. The material on Say God perfectly captures what a Daniel Higgs performance is, with minimal but highly effective musical accompaniment to go along with Higgs' unique brand of poetry delivered in his amazing, rich voice, an instrument unto itself. Some people may be confused by the direction Higgs has followed in recent years, after all, this might initially seem to be the farthest thing from Lungfish's dense psychedelic songcraft. But throughout his musical journey, Higgs has maintained a completely singular creative approach, and his solo work reflects this as much as anything he's ever done. The interesting thing is how his albums blur the lines between what Daniel Higgs is: musician, artist, poet, singer, soundmaker, Interdimensional Song-Seamstress, etc. The end results are pretty much unlike anything else, and it's not surprising how many people are moved by this stuff, especially after seeing the man perform.
Disc 1 opens with current best song title of all time, "Hoofprints On The Ceiling Of Your Mind," which actually was recorded at a live performance in Germany, with Higgs announcing, "Holy Bible time" to what we can imagine was a stunned crowd. His vocals are accompanied by simple drone and a slight shaker rhythm. His voice carries the melody to new heights as he assures listeners that he intends to appeal to their (and our) standards of songcraft. Not surprisingly, he succeeds. "Song For Azariah" features a mournful folky Appalachian melody played on a banjo that also hints at some eastern influences. The lucky few who were able to snap up Higgs' super limited Hymnprovisations banjo freakout lp can certainly attest his ability on the instrument, and this only reaffirms that. "Say God" features some awesome trademark melodies from Higgs Lungfish/Pupils cohort and underrated guitar hero Asa Osborne, who some of you might also know from his Zomes project. Listening to this, you will wonder when and where this stuff is coming from. It possesses a strange timeless appeal, even though it may not be for everyone. Either way, it's something totally unique, and Osborne's guitar sweeps majestically beneath Higgs' vocals with some amazing results before ending with "A Message From The Beautiful", another piece with just harmonium and voice.
The second disc begins with "Root & Bough", with Higgs sounding a bit like a manlier Devendra Banhart (or maybe it should be Banhart we are comparing to Higgs?) as he recites a lengthy poem with a simple shruti box accompaniment. One of the best things about Higgs as a performer is his spontaneity, and these recordings represent the actual moment, with Higgs even coughing here and there to clear his throat. The power of his voice defines the song, and while definitely droney at times, unlike super blown out electric guitar drones, things here are much more intimate as Higgs weaves out his own mythology which will certainly keep you wondering for a while. At around the 6 minute mark, things take a dramatic shift as a heavy synth drone sweeps in, sounding like what you might expect from Expo '70 or Emeralds. Little whispy melodies begin to flutter about for a few minutes before returning to the drone that characterized the song earlier. About 12 minutes in (uh, did we mention that these are some long songs?), Higgs begins repeating the word "Sing" in a rhythmic pace. Make no mistake, this takes some patience to listen to, but the results are well worth the wait. It's not like you would expect little 3 minute pop songs with this guy, and you have to pay attention to even begin to understand what's going on in his world. However, the next song, "Jewel Of The East" is actually quite brief, a nice folky number performed on what might be a pump organ, it sounds like something you might find on the Wicker Man soundtrack. The song is repetitive and performed with the same loop like attention of Lungfish and Pupils. "Tumble Down" features Higgs' voice with no instrumentation save the sounds of crickets chirping outside. His natural vibrato is in good form as he goes from singing to speaking, all the while keeping things nice and tuneful. "Christ Among Us" finds Higgs breaking out his banjo again, always a joy to listen to. He also tells us, "This song possesses portal power", and one can tell he means it, as this is some transcendental stuff for sure.
We may be going out on a limb here, but some of us feel this is Higgs' strongest solo endeavor as of yet and a great place to start for the uninitiated. Say God is weird, mystical, and beyond comprehension (in a good way of course), but Higgs is the kind of artist with rabidly devoted fans who will no doubt agree with this album's absolute majesty.
MPEG Stream: "Hoofprints On The Ceiling Of Your Mind"
RealAudio clip: "Say God"
MPEG Stream: "Root & Bough"
MPEG Stream: "Jewel Of The East"

HIGGS, DANIEL "BELTESHAZZAR" Metempsychotic Memories (Holy Mountain) cd 14.98
We'd be happy if Daniel Higgs would put out a new album every month. Every week, even. His songs can be long (up to 14 minutes on this disc's "Love Abides") but eventually they do end and we always want more more more. Because they are totally entrancing, his raw "Appalachian raga" folk picking style wending and winding while he chants his mystic lyrics repetitively, warbling with the outsider intensity of a Charles Manson... a dramatic delivery that eccentrically enhances the weird wisdom of his words, worth absorbing for their imagery even when their import is not immediately understandable. Well though he's not THAT prolific we're happy to have this new disc on Holy Mountain already, following Atomic Yggdrasil Tarot on Thrill Jockey earlier this year.
Metempsychotic Melodies (whatever that means, it seems like a good title for this!!) starts off with a stark and skillful instrumental, "Universal Salutation", which we're told was "recorded aboard the Starship Weep-For-Lucifer". Again, we believe it, that somehow makes sense. That leads into the aforementioned "Love Abides", an extended mantra for voice and banjo (in fact, banjo is the main instrument throughout), wherein Higgs sings lines like "Love is the secret seam between waking and dream / love is a breath that bears a boundless scream" and offers up further thoughts from his personal gnosis of love, notions guaranteed to never be repeated in any other "love song" ever!! Such as: "Love, like a basilisk hatched in the nest of a dove / love's got a bible it hides in the folds of a cloud" and "Love is your name when your name has fallen away / love tends the last dawning of the last day"...
As if allowing an interlude to let all that sink in, the third track "Leontocephaline Rhapsody" is a loping, psychedelic instrumental, a gentle jam densely droning and alive with electricity. Then comes the fourth and final song, "All Cherished Things", another display of Higgs' druggy, fascinating poetry. "There's a pearl in your head / the head between your double-head / it's flashing blue and red - hear it sing". He goes on to touch upon some favored themes, Christ, Krishna, coitus, his own dead body, love... Lyrics like "The skull at the foot of the cross is my own" could be creepy, or pretentious, as could be Higgs' unique vocal stylings, but no, not as far as we're concerned. Ok, maybe it is a bit creepy. He's on a wavelength that works (for him -- maybe no one else could pull this off). If Higgs had a cult, we'd seriously consider joining it...truly a treasure of the US indie rock scene, and one of the realest deals in the "acid folk" underground. We'll be spinning this highly recommended album with ceremonial regularity as it takes its honored place in our collection of his music, and of course our anticipation of his next set of shamanic sermons remains high.
MPEG Stream: "All Cherished Things"
MPEG Stream: "Universal Salutation"
MPEG Stream: "Love Abides"

HIGGS, DANIEL "BELTESHAZZAR" Metempsychotic Memories (Holy Mountain) lp 14.98
We'd be happy if Daniel Higgs would put out a new album every month. Every week, even. His songs can be long (up to 14 minutes on this disc's "Love Abides") but eventually they do end and we always want more more more. Because they are totally entrancing, his raw "Appalachian raga" folk picking style wending and winding while he chants his mystic lyrics repetitively, warbling with the outsider intensity of a Charles Manson... a dramatic delivery that eccentrically enhances the weird wisdom of his words, worth absorbing for their imagery even when their import is not immediately understandable. Well though he's not THAT prolific we're happy to have this new disc on Holy Mountain already, following Atomic Yggdrasil Tarot on Thrill Jockey earlier this year.
Metempsychotic Melodies (whatever that means, it seems like a good title for this!!) starts off with a stark and skillful instrumental, "Universal Salutation", which we're told was "recorded aboard the Starship Weep-For-Lucifer". Again, we believe it, that somehow makes sense. That leads into the aforementioned "Love Abides", an extended mantra for voice and banjo (in fact, banjo is the main instrument throughout), wherein Higgs sings lines like "Love is the secret seam between waking and dream / love is a breath that bears a boundless scream" and offers up further thoughts from his personal gnosis of love, notions guaranteed to never be repeated in any other "love song" ever!! Such as: "Love, like a basilisk hatched in the nest of a dove / love's got a bible it hides in the folds of a cloud" and "Love is your name when your name has fallen away / love tends the last dawning of the last day"...
As if allowing an interlude to let all that sink in, the third track "Leontocephaline Rhapsody" is a loping, psychedelic instrumental, a gentle jam densely droning and alive with electricity. Then comes the fourth and final song, "All Cherished Things", another display of Higgs' druggy, fascinating poetry. "There's a pearl in your head / the head between your double-head / it's flashing blue and red - hear it sing". He goes on to touch upon some favored themes, Christ, Krishna, coitus, his own dead body, love... Lyrics like "The skull at the foot of the cross is my own" could be creepy, or pretentious, as could be Higgs' unique vocal stylings, but no, not as far as we're concerned. Ok, maybe it is a bit creepy. He's on a wavelength that works (for him -- maybe no one else could pull this off). If Higgs had a cult, we'd seriously consider joining it...truly a treasure of the US indie rock scene, and one of the realest deals in the "acid folk" underground. We'll be spinning this highly recommended album with ceremonial regularity as it takes its honored place in our collection of his music, and of course our anticipation of his next set of shamanic sermons remains high.
MPEG Stream: "All Cherished Things"
MPEG Stream: "Universal Salutation"
MPEG Stream: "Love Abides"

HIGGS, DANIEL (A.I.U.) Ancestral Songs (Holy Mountain) cd 15.98
Daniel Higgs is a very strange man. Or maybe we should say, Daniel (Arcus Incus Ululat) Higgs, Interdimensional Song-Seamstress, is a very strange man. His artwork is amazing and bizarre, Spock ears and eye-balled Christmas trees, emaciated figures riding strange hellish beasts, an amazing personal mythology represented as a menagerie of impossible and impossibly beautiful figures and beasts. His music seems to somehow embody the same mystery, a world that Higgs inhabits simultaneously to his presence in our own. That must be the only thing that can truly explain the man and his music. That he walks around, one foot in our world, of people places and things, the other in some kaleidoscopic world where sounds are tasted and sights are smelled, a synesthetic wonderland, that when translated and brought over to our plain of existence, appears distorted, twisted, haunting and hard to fathom. But at the same time imbued with some otherworldly warmth and a beauty that while alien, represents a higher state, maybe unreachable here. That is Higgs' gift. He is a traveler and a troubadour. He allows us to see visions, to hear musical mysteries. Through paintings, drawings, tattoos and especially music. From the moment we first heard his 'rock' band Lungfish we were smitten. Actually, the very first time we heard Lungfish was in a record store in another town, years ago. Our first thought was "What the hell is this?" But after several more songs, we were compelled to sheepishly approach the counter and ask the clerk what was playing. We bought it, and loved it. And maybe that's the magic of Higgs' music. It's esoteric and not always approachable. It takes some trust, a leap of faith, some sonic daring. But that faith is always repaid many times over. Outside of Lungfish, Higgs also plays in the Pupils along with his Lungfish bandmate Asa, a more intimate stripped down version of his rock band. The same cyclical riffs and chant like vocals, but all acoustic, and sparsely arranged. There is also his amazing sort-of Appalachian solo guitar work, and his very very strange solo Jew's harp recordings.
This disc is Higgs' first proper solo release and manages to tie up all his disparate sonic threads into one big gorgeous Gordian knot.
Several tracks sound like they could have come straight off the Pupils record. Simple, haunting acoustic guitar riffs, repeated and repeated until they becomes totally hypnotic, mantra like, with Higgs' gorgeous vocals over the top, a mix of old timey sea shanty and folk standard. The rest drift dreamily from sound to sound, like a sonic journey through the soul of the man. Gorgeous tangles of banjo or some banjo-like instrument drift amidst field recordings of birds (knowing Higgs it may have been actually recorded right there in the woods, although he has been known to travel with a portable recorder to capture whatever strikes his fancy) a steel string buzz, that wanders from near traditional sounding Appalachian twang to some sort of jaunty Celtic melody to brief melodic flurries, impossibly buzzy and blurry. Thick swaths of buzzing guitar swirl and squirm, doomy, melancholy melodies spread out over a machine like whir, sounding like a guitar being played like a bagpipe. While over the top drifts tiny tangles of steel string picking all drenched in strange FX and allowed to twist and distort, sounding almost the way a Jew's harp does when you change the shape of your mouth. And as if pre-ordained (which it most likely was), out comes the Jew's harp, but it sounds like no Jew's harp you've ever heard. Super brittle and distorted, like some sort of metallic marimba, or a Konono outtake broadcast via shortwave and played through a crappy transistor radio. A gorgeous buzzy abstract hoedown. Finally, the record winds up (most definitely not down) with a thick swirl of super lo-fi psych guitar freakout, the chords and notes bent and twisted, pitches slipping back and forth, overtones subtly shifting, notes colliding and exploding into little bursts of jagged buzz before settling back into a droning hypnotic thrum. Like some alien jig, if aliens had a practice space full of strangely tuned guitars and really loud amps with blown speakers. And again, it sounds like somehow Higgs figured out a way to hold the guitar up to his mouth and play it like a Jew's harp, the sounds changing shape as much as tone, a warm and fuzzed out smear of distorted buzz that washes over you, as does this whole sonic scripture, like a shower of rich wet soil and sparkling uncut diamonds.
MPEG Stream: "Living In The Kingdom Of Death"
MPEG Stream: "Thy Chosen Bride"

HIGGS, DANIEL (A.I.U.) Ancestral Songs (Holy Mountain) lp 15.98
Daniel Higgs is a very strange man. Or maybe we should say, Daniel (Arcus Incus Ululat) Higgs, Interdimensional Song-Seamstress, is a very strange man. His artwork is amazing and bizarre, Spock ears and eye-balled Christmas trees, emaciated figures riding strange hellish beasts, an amazing personal mythology represented as a menagerie of impossible and impossibly beautiful figures and beasts. His music seems to somehow embody the same mystery, a world that Higgs inhabits simultaneously to his presence in our own. That must be the only thing that can truly explain the man and his music. That he walks around, one foot in our world, of people places and things, the other in some kaleidoscopic world where sounds are tasted and sights are smelled, a synesthetic wonderland, that when translated and brought over to our plain of existence, appears distorted, twisted, haunting and hard to fathom. But at the same time imbued with some otherworldly warmth and a beauty that while alien, represents a higher state, maybe unreachable here. That is Higgs' gift. He is a traveler and a troubadour. He allows us to see visions, to hear musical mysteries. Through paintings, drawings, tattoos and especially music. From the moment we first heard his 'rock' band Lungfish we were smitten. Actually, the very first time we heard Lungfish was in a record store in another town, years ago. Our first thought was "What the hell is this?" But after several more songs, we were compelled to sheepishly approach the counter and ask the clerk what was playing. We bought it, and loved it. And maybe that's the magic of Higgs' music. It's esoteric and not always approachable. It takes some trust, a leap of faith, some sonic daring. But that faith is always repaid many times over. Outside of Lungfish, Higgs also plays in the Pupils along with his Lungfish bandmate Asa, a more intimate stripped down version of his rock band. The same cyclical riffs and chant like vocals, but all acoustic, and sparsely arranged. There is also his amazing sort-of Appalachian solo guitar work, and his very very strange solo Jew's harp recordings.
This disc is Higgs' first proper solo release and manages to tie up all his disparate sonic threads into one big gorgeous Gordian knot.
Several tracks sound like they could have come straight off the Pupils record. Simple, haunting acoustic guitar riffs, repeated and repeated until they becomes totally hypnotic, mantra like, with Higgs' gorgeous vocals over the top, a mix of old timey sea shanty and folk standard. The rest drift dreamily from sound to sound, like a sonic journey through the soul of the man. Gorgeous tangles of banjo or some banjo-like instrument drift amidst field recordings of birds (knowing Higgs it may have been actually recorded right there in the woods, although he has been known to travel with a portable recorder to capture whatever strikes his fancy) a steel string buzz, that wanders from near traditional sounding Appalachian twang to some sort of jaunty Celtic melody to brief melodic flurries, impossibly buzzy and blurry. Thick swaths of buzzing guitar swirl and squirm, doomy, melancholy melodies spread out over a machine like whir, sounding like a guitar being played like a bagpipe. While over the top drifts tiny tangles of steel string picking all drenched in strange FX and allowed to twist and distort, sounding almost the way a Jew's harp does when you change the shape of your mouth. And as if pre-ordained (which it most likely was), out comes the Jew's harp, but it sounds like no Jew's harp you've ever heard. Super brittle and distorted, like some sort of metallic marimba, or a Konono outtake broadcast via shortwave and played through a crappy transistor radio. A gorgeous buzzy abstract hoedown. Finally, the record winds up (most definitely not down) with a thick swirl of super lo-fi psych guitar freakout, the chords and notes bent and twisted, pitches slipping back and forth, overtones subtly shifting, notes colliding and exploding into little bursts of jagged buzz before settling back into a droning hypnotic thrum. Like some alien jig, if aliens had a practice space full of strangely tuned guitars and really loud amps with blown speakers. And again, it sounds like somehow Higgs figured out a way to hold the guitar up to his mouth and play it like a Jew's harp, the sounds changing shape as much as tone, a warm and fuzzed out smear of distorted buzz that washes over you, as does this whole sonic scripture, like a shower of rich wet soil and sparkling uncut diamonds.
MPEG Stream: "Living In The Kingdom Of Death"
MPEG Stream: "Thy Chosen Bride"

HIGGS, DANIEL A.I.U. Atomic Yggdrasil Tarot (Thrill Jockey) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The return of our favorite modern day shamen, Mr. Daniel Arcus Incus Ululat Higgs, maybe better known to some of you as Dan Higgs, the vocalist for the mighty Lungfish, or perhaps Higgs, the world renowned tattoo artist (now retired). A man who wears many hats: vocalist, painter, tattoo artist, poet, guitarist, master of the Jew's Harp, and who knows what else. We made Higgs' last full length Ancestral Songs record of the week last year, and since this one is just as good, if not better, we figured it deserved the same honor. 
Truly one of the few modern day troubadours, Higgs is a mysterious traveling man, he'll occasionally show up at the store, looking as dapper and disheveled as ever, with tales of various explorations or experiences. The last time he stopped by, he had a little hand held tape recorder, and he had just returned from India, where he spent the whole time recording street musicians and crowds and animals and anything else that struck his fancy. 
His music has the same quality, a sort of restless rootlessness, that is at once warm and familiar, but strangely alien and indescribable. On Atomic Yggdrasil Tarot, Higgs manages to weave all of his disparate sonic interests together into one seamless whole. Buzzing raga guitars, strange lo-fi field recordings, Jew's harp, all in varying states of fidelity, but the recording, the sound quality, the location and the background noise are as much a part of the music as the music itself. 
Atomic Yggdrasil Tarot begins with a burst of static, like a strong wind on a microphone, before Higgs' guitar begins to buzz like some snake charming ritual, an Eastern tinged Appalachia, a rustic raga, the string buzzing, lots of distortion and shifting overtones creating all sorts of glorious tonal color. Ragged and ramshackle but completely mesmerizing. The second track is a dizzying seasick assemblage of wheezing harmonium and pounded chimes, atonal melodies and streaks of feedback, eventually fading out and leaving just Higgs' guitar to buzz and shimmer, a sprawling sun balked stretch of gorgeously pastoral Appalachia. "Spectral Hues" is a stuttering collage of manipulated tones, using just the record and stop buttons on a tape player, a primitive swirl of tones, transformed into a haunting melody, each note separated by the weird swoop and bbbzzzzt of the button being depressed. The title track is Higgs in full on electric guitar mode, or at least what sounds like an electric guitar, wailing and howling chaotically, unfurling some sort of old time jig, before again fading into a 'nother steel string workout, this one distinctly Indian sounding, a dense tangled raga, the notes overlapping and the strings' buzz smearing the sounds into thick swaths of sonic blur. "Creation Moan" is another tripped out psychguitar freakout. A buzzing overdriven squall of tangled upper register skree and low end rumble, what sounds like some traditional folk song transformed into snarling, squirming, grinding crumbling distorted buzz. And finally the nine minute final track, a swirling ambient  drift, running water, some finger picked guitar, that suddenly winks out, leaving a wavering buzzscape, above which Higgs' Jew's Harp weaves haunting alien melodies, sometimes buzzing and reverberating, other times, speaking in tongues as Higgs sings into it. So haunting and unlike anything we've ever heard. Yet at the same time so strangely soothing, meditative and dreamlike.
It's always such a joy to step into Higgs' world, like traveling through the looking glass, or falling down the rabbit hole, and on the other side, in the mysterious world Higgs calls home, a world which we can only visit, and even in visiting, only see what hovers on the surface, we wander wide eyed and open eared, trying to take in everything we can before the record ends and we are pulled back into home, where we wait patiently for our next visit...
MPEG Stream: "Luminous Carcass Ornament"
MPEG Stream: "Cocoon On The Cross"
MPEG Stream: "Spectral Hues"

HIGGS, DANIEL A.I.U. Atomic Yggdrasil Tarot (Thrill Jockey) book + cd 15.98
The return of our favorite modern day shamen, Mr. Daniel Arcus Incus Ululat Higgs, maybe better known to some of you as Dan Higgs, the vocalist for the mighty Lungfish, or perhaps Higgs, the world renowned tattoo artist (now retired). A man who wears many hats: vocalist, painter, tattoo artist, poet, guitarist, master of the Jew's Harp, and who knows what else. We made Higgs' last full length Ancestral Songs record of the week last year, and since this one is just as good, if not better, we figured it deserved the same honor. 
Truly one of the few modern day troubadours, Higgs is a mysterious traveling man, he'll occasionally show up at the store, looking as dapper and disheveled as ever, with tales of various explorations or experiences. The last time he stopped by, he had a little hand held tape recorder, and he had just returned from India, where he spent the whole time recording street musicians and crowds and animals and anything else that struck his fancy. 
His music has the same quality, a sort of restless rootlessness, that is at once warm and familiar, but strangely alien and indescribable. On Atomic Yggdrasil Tarot, Higgs manages to weave all of his disparate sonic interests together into one seamless whole. Buzzing raga guitars, strange lo-fi field recordings, Jew's harp, all in varying states of fidelity, but the recording, the sound quality, the location and the background noise are as much a part of the music as the music itself. 
Atomic Yggdrasil Tarot begins with a burst of static, like a strong wind on a microphone, before Higgs' guitar begins to buzz like some snake charming ritual, an Eastern tinged Appalachia, a rustic raga, the string buzzing, lots of distortion and shifting overtones creating all sorts of glorious tonal color. Ragged and ramshackle but completely mesmerizing. The second track is a dizzying seasick assemblage of wheezing harmonium and pounded chimes, atonal melodies and streaks of feedback, eventually fading out and leaving just Higgs' guitar to buzz and shimmer, a sprawling sun balked stretch of gorgeously pastoral Appalachia. "Spectral Hues" is a stuttering collage of manipulated tones, using just the record and stop buttons on a tape player, a primitive swirl of tones, transformed into a haunting melody, each note separated by the weird swoop and bbbzzzzt of the button being depressed. The title track is Higgs in full on electric guitar mode, or at least what sounds like an electric guitar, wailing and howling chaotically, unfurling some sort of old time jig, before again fading into a 'nother steel string workout, this one distinctly Indian sounding, a dense tangled raga, the notes overlapping and the strings' buzz smearing the sounds into thick swaths of sonic blur. "Creation Moan" is another tripped out psychguitar freakout. A buzzing overdriven squall of tangled upper register skree and low end rumble, what sounds like some traditional folk song transformed into snarling, squirming, grinding crumbling distorted buzz. And finally the nine minute final track, a swirling ambient  drift, running water, some finger picked guitar, that suddenly winks out, leaving a wavering buzzscape, above which Higgs' Jew's Harp weaves haunting alien melodies, sometimes buzzing and reverberating, other times, speaking in tongues as Higgs sings into it. So haunting and unlike anything we've ever heard. Yet at the same time so strangely soothing, meditative and dreamlike.
It's always such a joy to step into Higgs' world, like traveling through the looking glass, or falling down the rabbit hole, and on the other side, in the mysterious world Higgs calls home, a world which we can only visit, and even in visiting, only see what hovers on the surface, we wander wide eyed and open eared, trying to take in everything we can before the record ends and we are pulled back into home, where we wait patiently for our next visit...
As if that weren't enough, the cd version comes with a full color hardcover book of Higgs' paintings and 'poetry', a series of cryptic acrostics to be more accurate. The Atomic Yggdrasil Tarot series of paintings are all, like most of Higgs' work, strange and wondrous, here the focus is on enigmatic amorphous shapes, vividly colored, with all manner of textures and designs, stripes, polka dots, some of the shapes look like whales or fish, others like mushrooms, eyeballs, amoebas, shapeless heads, each filled with symbols, colors and patterns. The accompanying acrostics are cryptic and it's difficult to determine if they are related to the paintings they are beside, MUSIC, BIRDS, MIND, EDEN, PEACE, EMBRYO, BELOVED, COITUS... all offering up mysterious pearls of wisdom like "Always braid your silver serpents" or "Existence manifests between ravenous yellow orbs". 
The perfect visual accompaniment to Higgs' raw and primitive musical rituals...
MPEG Stream: "Luminous Carcass Ornament"
MPEG Stream: "Cocoon On The Cross"
MPEG Stream: "Spectral Hues"

HIGGS, DANIEL A.I.U. Hymnprovisations For Banjo By The (A.I.U.) With Piano & Raindrops (Ideal Recordings) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

HIGH CONFESSIONS, THE Turning Lead Into Gold With The High Confessions (Relapse) cd 14.98
Some 'supergroups' seem more likely than others, often made up of guys who already played together, or who had shared histories, maybe toured together, but then there's this one, called The High Confessions, which barring some secret connections (which probably do exist), seems pretty dang mysterious and unlikely, but then the unlikely ones are always the best ones.
One part Steve Shelley of Sonic Youth, one part Chris Connelly of Ministry and Revolting Cocks, one part Sanford Parker (Minsk, Nachtmystium and Twilight) and one final part, Jeremy Lemos of White/Light, who has also recorded Smog and Stereolab among others. Wow. A pretty motley crew for sure, but it definitely works. And like all good collaborations, it never obviously points to a single member. There's definitely an industrial vibe, especially on the opener "Mistaken For Cops", with its Teutonic pound, and sung/spoken vox, but then there's spidery swirls of psychedelic guitar, thick washed out production, deep low end pulses, there's even a little bit of a proggy vibe as well. The 17 minute "Along Came The Dogs" begins with a rumbling stretch of black drones, and martial drums, sampled voices and collaged vocals, thick warbly low end synth buzz, a skeletal motorik pulse, which gradually transforms into a sort of industrial / krautrock hybrid, all swooping muddied electronics, a little bit Can or Faust, more sung/spoken vocals, this time tangled and overlapping, a strange sort of round almost, the jam wreathed in swirling clouds of buzz, and peppered with thick stabs of reverbed bass synth crunch, growing more and more stripped down and skeletal before finally grinding to a halt. Only to have "The Listener" creep in, a brooding moody drift, all minimal percussive pulse, driven by lush piano chords, and woozy dramatic vocals, shot through with bits of feedback, the vibe still pretty krauty, and proggy, spaced out and psychedelic.
"Dead Tenements" begins with a thick corrosive churn of synthdrone, which is soon joined by some smoldering guitar growl, some muted feedback, and an I-am-Iron-Man kick drum throb, before the vocals come in, a snarled croon, a gorgeously bleak sonic death march, that about halfway through explodes into something much more fierce, dense tribal drumming, the various strands of drones growing more incendiary, the vocals more intense, before dropping out completely and leaving the drums to drive an awesomely hypnotic heavy krautdrone coda, trancelike and divine. Finally, "Chlorine And Crystal" finishes things off, another brooding dirge, the bassline thick and distorted, wreathed in fuzz, the guitars crystalline and lysergic, a pop song slowed way down and transformed into a sort of depressive Wipers style ballad, albeit with a bit more crunch, a lumbering chunk of hypnorock dirgery, that seems to crumble as the track progresses, eventually leaving a strangely distorted rhythm, pounding it's way through a cloud of glistening harmonics, held aloft by some low slung bass fuzz, and a slowly fading industrial kraut groove.
MPEG Stream: "Mistaken For Cops"
MPEG Stream: "Along Came The Dogs"

HIGH DEPENDENCY UNIT Tunguska cd 7.98

HIGH DEPENDENCY UNIT / DIE! DIE! DIE! split (Shoot The Freak) 7" 4.98

HIGH LLAMAS Beet, Maize, & Corn (Drag City) cd 14.98
Whoa! We always knew the High Llamas could craft soothing, dulcet sounds in fine fashion, but on Beet, Maize & Corn their pleasantly mellow stylings have mutated into Lawrence Welk-esque choral arrangements. Really! You can almost see the gents and ladies swaying in time to these candlelit orchestral numbers. The glorious horns and strings seem genuinely from another era. Quite remarkable and very very different from all that has come before in the High Llamas body of work. Not sure yet if it's our cup of Earl Grey... perhaps you might wish to take a sip for yourself.
MPEG Stream: "The Click And The Fizz"
MPEG Stream: "Holly Hills"

HIGH LLAMAS Buzzle Bee (Drag City) cd 14.98
The newest High Llamas album brings a bushel of musical pleasantries. Delving into a little different, more electronic territory from where they've ventured in the past, but sounding very very familiar at the same time. Perhaps, very much along the lines of Laetitia Sadier's (of Stereolab) lulling lalala's, or slow tinges of tiki cocktail-drenched exotica? Chiming vibes, reverb-y vibrato-y guitar and a scattering of blippy bleeps. Turn that bubble machine on, and float away.

HIGH LLAMAS Can Cladders (Drag City) cd 14.98
Ladies and gentlemen, may we decant a new High Llamas album for your listening enjoyment? Ah yes, you can almost hear the tinkling of silverware on fine bone china as the dinner plates are cleared away at the supper club, and the elegant guests settle in for their after dinner mints, waltzing and musical performance. The follow-up to 2003's Beet, Maize & Corn, Can Cladders features more immaculately groomed, glorious orchestral pop from the golden quill of Sean O'Hagan that tiptoes delicately along the outskirts of Lawrence Welk's well manicured topiaried hedges (well, we don't know for sure that Mr. Welk had hedges let alone topiaried ones, but we can dream can't we?). We've always thought the High Llamas' presence on the Drag City label to be somewhat incongruous alongside the likes of Neil Michael Hagerty, Weird War, Brother JT, Neil Hamburger, U.S. Maple, and the Fucking Champs. But hey, don't we all need something a little soft'n'pretty every so often?! This is downright easy listening that's possibly just as palatable to the grannies as it is to the kids. Don't forget your doilies!
MPEG Stream: "Sailing Bells"
MPEG Stream: "Bacaroo"

HIGH LLAMAS Can Cladders (Drag City) lp 14.98
Ladies and gentlemen, may we decant a new High Llamas album for your listening enjoyment? Ah yes, you can almost hear the tinkling of silverware on fine bone china as the dinner plates are cleared away at the supper club, and the elegant guests settle in for their after dinner mints, waltzing and musical performance. The follow-up to 2003's Beet, Maize & Corn, Can Cladders features more immaculately groomed, glorious orchestral pop from the golden quill of Sean O'Hagan that tiptoes delicately along the outskirts of Lawrence Welk's well manicured topiaried hedges (well, we don't know for sure that Mr. Welk had hedges let alone topiaried ones, but we can dream can't we?). We've always thought the High Llamas' presence on the Drag City label to be somewhat incongruous alongside the likes of Neil Michael Hagerty, Weird War, Brother JT, Neil Hamburger, U.S. Maple, and the Fucking Champs. But hey, don't we all need something a little soft'n'pretty every so often?! This is downright easy listening that's possibly just as palatable to the grannies as it is to the kids. Don't forget your doilies!
MPEG Stream: "Sailing Bells"
MPEG Stream: "Bacaroo"

HIGH LLAMAS Cold and Bouncy (V2) cd 12.98
The band's new album Cold and Bouncy is even more full of blips and bleeps than the recent Hawaii. It's their most fully realized record and coincidentally the most Stereolabesque (but still delicate where Stereolab never are), bringing them closer to the final step in their eventual progression towards actually becoming Stereolab.

HIGH LLAMAS Lollo Rosso (V2) cd 10.98
Excellent collection of remixes by Mouse on Mars, Cornelius, Kid Loco, Jim O'Rourke, Stock, Hausen and Walkman, Schneider TM (of Kreidler) and one they remixed themselves. This is really really good, simple, pleasant electronica that will please beginners and advanced folk alike.

HIGH LLAMAS Retrospective, Rarities, and Instrumentals (V2) 2cd 17.98
The title is pretty self-explanatory... this is a super comprehensive double whammy of High Llamas splendor - ranging from the absolutely blissful Beach Boys-y harmonious tunes to that which teeters precariously on the border to your parents' finely executed, yet docile dinner music. The first disc compiles select tracks from their glistening pop albums Santa Barbara ('92), Gideon Gaye ('95), Hawaii ('96), Cold & Bouncy ('98), and Snowbug ('99). The second disc which contains the rare tracks is a particular delight for fans. Really, who doesn't like to discover some unheard gems of their favorite band? Many of the sweepingly beautiful instrumentals seem plucked straight out of the score of some '60s jetsetter flick. Heck, you might wanna make this your perfect soundtrack to a long evening spent sipping Shirley Temples and gently swaying with your sweetie.
MPEG Stream: "It Might As Well Be Dumbo"
MPEG Stream: "Beachy Bunch"

HIGH LLAMAS Santa Barbara (V2) cd 12.98
Santa Barbara, billed as the High Llama's "lost" 1992 album, is closest to their debut Gideon Gaye in its overt Steely Dan worship. It's great.