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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 K Feel - Fire Earth Wind Water (Labrynth) cd-r 14.98

album cover K Final Drums On Earth: Chapter 1 Revelations (Labyrinth) cd 14.98
We're always so pleasantly pleased to receive music from and by our mailorder customers from around the globe! K is from Portugal. In case you couldn't tell from the album's title, this is some intensely ominous music. Rolling swells of dank guitar generated drones dominate the seven tracks. Industrial grindings and IDM-esque rhythmic sequences occasionally emerge from the deep smothering roar. Chill-inducing and apocalyptic.
MPEG Stream: "Everything Will Be Dissolved"
MPEG Stream: "In The Future I See"

album cover K-GROUP / OMIT Storage (Fusetron) lp 14.98
Here's a piece of wax that came out back in 2002, and it's a title that we thought was long discontinued. But, luckily, somehow, a handful of copies still exist, and if you're keen on the stun-drone / brain-zonk electronics currently blasted by the Emeralds axis, you NEED to investigate everything that Omit has ever released. Our words from way back when...
Both K-Group and Omit have been longtime aQuarius favorites from the New Zealand experimental noise scene; but unfortunately, they've been pretty quiet in their respective outputs during the past couple of years. K-Group is the solo project for Paul Toohey, who has also worked in the (defunct?) Surface Of The Earth, both of which centered around low-frequency tectonic drones coaxed from abused amplifiers. Clinton Williams has taken up the Omit moniker for his creepy, tape loop compositions loaded with bleak sci-fi / psychotic imagery. This collaboration between Williams and Toohey is actually their second, if you count a 7" which came out ages ago. In running Williams' battery of analog synths through Toohey's cabinets, they've constructed an eerie album of deep rumblings that are on par with anything that Coleclough, Koner, or Troum have managed to release. As the K-Group / Omit drones ripple with a gritty amplifier buzz often lacking in the driftwork of those aforementioned artists, "Storage" pulses with a subterranean heaviness, pushing this closer towards the Earth / SUNNO))) terrain. A really wonderful album!!!

album cover K-RAD Deli Mood Spot (Someoddpilot) cd 14.98
The opening track for "Deli Mood Spot" is so misleading and uncharacteristic of the rest of the album that I have to question K-Rad's decision for including it on the album. K-Rad is a Chicago trio specializing in an IDM techno centered around low-sampling rate grit and faux-acid squiggliness often heard on Patrick Pulsinger's productions for Cheap Records, yet the album seductively begins with a down-tempo, trip-hop number straight outta Mo' Wax circa 1996, complete with blunted breaks, Steinski inspired samples, and DJ Shadow funk recontextualizations. Both that opening cut and the rest of the album are well-executed but certainly do not work as a paired dyptic of well-established aesthetics.
RealAudio clip: "103BR18"
RealAudio clip: "177JIF"

K-X-P II (Melodic) cd 16.98

K-X-P II (Melodic) lp 22.00

album cover K-X-P s/t (Smalltown Supersound) cd 18.98
Ok, so AQ customers are likely well aware of the "New Wave Of Finnish Heavy Metal" movement popularized by Circle and cohorts, an alleged genre that's usually more krautrock than metal anyway, but is certainly Finnish. Well, drop the heavy metal part and you've got Finnish New Wave, eh? And that's what new Smalltown Supersound act K-X-P are up to. Synth-laden '80s inspired "New Wave" from Finland, played on drums, bass, and keys (no guitar), with plenty of that motorik krautrock groove Circle and Co. are known for as well. One of their two, rotating drummers (they switch off on this recording) is in fact Tomi from Circle and Aavikko so that certainly makes sense.
Consisting largely of instrumental grooves, these eight tracks are heavy on the electronics, and driving hypnotic rhythms, with some vocals here and there, that at times remind us of Adam & The Ants, or what we think we remember Adam Ant sounding like, though the vocals in "Pockets" are weirdly effected in a way that makes 'em sound almost like Mika Ratto from Circle, singing over Gary Numan-like throbbing synth pop. K-X-P doesn't lack variety, "Mehu Moments" actually reminds us of a krauty version of that Charanjit Singh Ten Ragas To A Disco Beat reissue, it's got that "exotic" vibe with synth squiggle freaking out over steady pulsations, and "18 Hours (Of Love)" has a bit of a glammy Gary Glitter shuffle-time Fred Bigot feel to it, with the singer chanting anthemically over rhythmically spaced electronic distortion-detonations. Elsewhere, K-X-P offer up moodier, dubbier excursions. And yeah, with our love of Finland, and Circle, and krautrock, and coldwave, and noise, and disco, and dub, this pushes plenty of buttons. So this disc has been getting a lot of instore play here at AQ, as word passes from one staffer to another...
We'd happily recommend this to you if you enjoy some/most/any/all of the following: Jonas Reinhardt, Aavikko, Neu!, Suicide, Circle, Cold Cave, Salvatore, Bronze, even Rah Bras.
MPEG Stream: "Mehu Moments"
MPEG Stream: "18 Hours (Of Love)"
MPEG Stream: "Aibal Dub"

album cover K-X-P s/t (Smalltown Supersound) lp 18.98
Ok, so AQ customers are likely well aware of the "New Wave Of Finnish Heavy Metal" movement popularized by Circle and cohorts, an alleged genre that's usually more krautrock than metal anyway, but is certainly Finnish. Well, drop the heavy metal part and you've got Finnish New Wave, eh? And that's what new Smalltown Supersound act K-X-P are up to. Synth-laden '80s inspired "New Wave" from Finland, played on drums, bass, and keys (no guitar), with plenty of that motorik krautrock groove Circle and Co. are known for as well. One of their two, rotating drummers (they switch off on this recording) is in fact Tomi from Circle and Aavikko so that certainly makes sense.
Consisting largely of instrumental grooves, these eight tracks are heavy on the electronics, and driving hypnotic rhythms, with some vocals here and there, that at times remind us of Adam & The Ants, or what we think we remember Adam Ant sounding like, though the vocals in "Pockets" are weirdly effected in a way that makes 'em sound almost like Mika Ratto from Circle, singing over Gary Numan-like throbbing synth pop. K-X-P doesn't lack variety, "Mehu Moments" actually reminds us of a krauty version of that Charanjit Singh Ten Ragas To A Disco Beat reissue, it's got that "exotic" vibe with synth squiggle freaking out over steady pulsations, and "18 Hours (Of Love)" has a bit of a glammy Gary Glitter shuffle-time Fred Bigot feel to it, with the singer chanting anthemically over rhythmically spaced electronic distortion-detonations. Elsewhere, K-X-P offer up moodier, dubbier excursions. And yeah, with our love of Finland, and Circle, and krautrock, and coldwave, and noise, and disco, and dub, this pushes plenty of buttons. So this disc has been getting a lot of instore play here at AQ, as word passes from one staffer to another...
We'd happily recommend this to you if you enjoy some/most/any/all of the following: Jonas Reinhardt, Aavikko, Neu!, Suicide, Circle, Cold Cave, Salvatore, Bronze, even Rah Bras.
MPEG Stream: "Mehu Moments"
MPEG Stream: "18 Hours (Of Love)"
MPEG Stream: "Aibal Dub"

album cover K. Goldfish (Tigerstyle) cd 13.98
Taking a step away from the fragile, quiet, slow/sadcore sounds of her last album as well as those of her band Ida, Karla Schickele's performance on this her second solo full length is much less restrained, subdued and delicate. Honest, intimate and bittersweet, she seems to pour her heart into each of these songs. The acoustic instrumentation is once again lovely and barebones - perhaps even more spartan so than on her debut - providing a subtle backing to her voice. Very reminiscent of the early '90s Olympia / DC folky pop scene (Lois, Mecca Normal, Spinanes, etc). Nice!
RealAudio clip: "Ballad"
RealAudio clip: "More Than Wanted"

K. New Problems (Tiger Style) cd 14.98
The first solo album from Karla Schickele of Ida is a lovely, gentle affair. Full of hushed, intimate acoustic recordings embellished with a delicate, almost imperceptible, misty texture. Soft, spartan string and piano instrumentation allow her voice and words to shine through. Very much in the same vein as Low (with whom she recently shared a split cd), or Elliott Smith. Fans of the slower moments of the Spinanes or That Dog (which a customer actually mistook this for) might tingle to k. as well.
RealAudio clip: "Poor Dumb Bird"
RealAudio clip: "Knoxville"

K. / LOW split (Tiger Style) cd ep 9.98
A lovely split release between Low and Karla Schickele of Ida (and formerly of Babe the Blue Ox and Beekeeper). As expected, this is a slow, quiet dreamy gathering of like-minded souls. Tara Jane O'Neil adds drums and organ on the k. tracks. Mr. Warn Defever recorded the Low tracks and remixed one by k.

K. / LOW split (Tiger Style) 7" 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A lovely split release between Low and Karla Schickele of Ida (and formerly of Babe the Blue Ox and Beekeeper). As expected, this is a slow, quiet dreamy gathering of like-minded souls. Tara Jane O'Neil adds drums and organ on the k. tracks. Mr. Warn Defever recorded the Low tracks and remixed one by k.

K.C. ACCIDENTAL Anthems for the Could've Bin Pills (Noise Factory) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
K.C. Accidental is centered around the compositional talents of Kevin Drew and Charles Spearin, the latter is also a member of the out-rock ensemble Do Make Say Think. For the debut album, the duo has employed a wealth of talent (trombones, strings, accordions, organs along with guitar, bass, drums) to augment their lush instrumental orchestrations. "Anthems for the Could've Bin Pills" ranks up there with some of the more successful dramatically inclined atmospheres, on par with Rachel's, Tarentel, Mogwai, and Godspeed You Black Emperor. Really good!

K.O., DJ For Wearing A Phone W/Q- (K Records) cd 12.98
A mix cd along the lines of K7's "DJ Kicks" series by dj K.O. of ICU (now IQU) and with ultra-minimal cover art (plain jewel case.) Contains tracks by: Ryuichi Sakamoto, Plone, Andre Estermann, AEMIC, Michael Fakesch, Illianthal, Red Snapper, Boom Boom Satellites, One True Parker, Hexer, Jon Forte vs. London Electricity, BOB Sound System, Palm Skin Productions, E.V.A., and Aphex Twin.

album cover K11 Another Temple To The Great Beast 666 (Utech) cd 14.98
Aleister Crowley-obsessed, site-specific dronologist Pietro Riparbelli, aka K11, returns with a new disc for the esteemed Utech label. This philosophical Italian sound artist has produced several previous recordings of ritualistic droned-out ambience that we've found highly enjoyable & evocative, using - and very much meaning - words like "haunting", "enigmatic", and "arcane" in our review of 2010's Metaphonic Portrait 1230 A.D., an album made with shortwave radio receivers in a reverberant cathedral. Further, we compared it to the work of of both Nadja and Tim Hecker, big aQ faves both.
Like the other discs of his we've had, this new effort essentially consists of field recordings from a ceremonial sonic space both created, and documented, by K11. It finds Riparbelli once again capturing hauntological signals from the ether, his shortwave radios apparently dialed to "the other side"... via K11's technology, distorted drones rise from the abyss. It's an electronic seance of sorts, taking place in the Temple Of Diana in Cefalu, Sicily, a historic site associated with The Great Beast himself, occultist Aleister Crowley, who performed yogic mediations and other rituals there in the early 1920s. According to Utech, the aim was for K11 to try and "reclaim the echo of Crowley's presence" in the temple via what is called an "instrumental transcommunication action". Well, whatever one might think of Crowley himself, as well as such "magickal" aural endeavors, we all can appreciate a harrowing, beautiful, atmospheric drone recording - and whether or not Crowley's spirit is in fact heard here, it's not hard to IMAGINE it is, amidst all the hiss and hum and blown out drones. It's powerful played loud, but there are quiet moments too, some revealing field recordings of the more mundane world where the temple stands, with bird twitter and the near-silence of empty spaces. K11's radiowave whines, shimmering elusively, even coalesce into something almost melodic at times. Certainly recommended!
As an Utech release, this comes in typically outstanding packaging, a dim translucent sleeve holding the cd and a half dozen square clear acetate sheets bearing excellent pen & ink drawings by Viral Graphics, relating to Crowley and the Temple Of Diana, including a close-up portrait of Crowley, eyes closed, perhaps concentrating in his yogic meditation. The drawings can thus be viewed separately or together, layered in a myriad of combinations, the idea being a visual analog of the "echoes" that K11's audio research documents. Very nicely done. Limited to 300 copies only.
MPEG Stream: "Unio Mystica"
MPEG Stream: "C'hocamah-17"
MPEG Stream: "Geburah"

album cover K11 Metaphonic Portrait 1230 A.D. (Actual Noise) cd 10.98
K11 is sound artist Pietro Riparbelli, whose concepts are based on spaces as much as sounds. On the last K11 record, Riparbelli recorded short wave radios and receivers placed in Aleister Crowley's Thelema Abbey in Cefalu, Sicily, letting the sounds resonate and reverberate, creating gorgeous clouds of echoey drone and deep haunting rumble. For Metaphonic Portrait 1230 A.D., Riparbelli set up inside Assisi Cathedral in Umbria, again employing shortwave radios and receivers, harnessing the natural acoustics of the building, in this case, the cathedral's lower basilica, where the remains of St. Francis are kept. Adding only bits of organ and voice, Riparbelli has created an epic abstract dronescape, haunting and mysterious, the tones layered into huge walls of sound, allowed to ring out, sometimes fading to a distant shimmer, other times exploding in a cacophonous roar.
There's tolling bells, disembodied voices, blurred into ghostlike streaks, crumbling natural distortion that occasionally builds to a heaving chordal crush that could be Nadja or Tim Hecker. In fact, much of the sounds here, field recordings and recontextualized field recordings, organs and voices, begin to sound as old as the cathedral they were recorded in, some ritualistic conjuring, as if some strange sonic entity laid dormant for hundreds of years, only to be awakened, and captured on magnetic tape. Or imagine some strange recording device that doesn't just capture sound, but the sound of all the spirits and spiritual energy that ever existed in a certain space, hence the strange voices, the howling buzz, the keening melodic shards...
Less an exercise in field recordings, and more a gorgeous assemblage of field recorded sound. Not knowing the source of the music, one would still be captivated by these thick droned out buzzscapes, and epic high end ur-drones, the mysterious shimmer, the smeared voices, it definitely has the feel of some damaged turntable installation, like Philip Jeck set up in the dungeon of some castle, but knowing the mysterious source, and unique setting, only makes the music within that much more arcane and enigmatic.
The cd includes a video of the cathedral where the music was recorded as well...
MPEG Stream: "300=Tau"
MPEG Stream: "888"

K11 Voices From Thelema (Aurora Borealis) cd 14.98

KA-SPEL, EDWARD Red Letters (Cacciocavallo) cd 14.98
With the evidence clearly stated in Ka-Spel's solo projects, no one can doubt who wears the pants in the extended family of the Legendary Pink Dots. Edward Ka-Spel expands the downer psychedelic strum frosted with ample doom & gloom found on the "Hallway of the Gods" Pink Dots album into smoldering experimental if baroque arrangemnts maintaining his Syd Barrett vocal mimicry all the while.

album cover KA-SPEL, EDWARD Tanith And The Lion Tree (Cold Spring) cd 15.98
We've dipped our toes in the extensive catalogue of The Legendary Pink Dots and Edward Ka-Spel from time to time; and here we have one of the true gems from both bodies of work in Ka-Spel's 1991 solo outing Tanith And The Lion Tree. The Pink Dots have long been a baroque ensemble of goth portent, psychedelic wooziness, Victorian theatricality and kosmische adventurousness. With Ka-Spel's lilting lisp picking up right where Syd Barrett left off, it's interesting to ponder where Pink Floyd might have gone under Barrett's direction instead. Nonetheless, the Ka-Spel / LPD aesthetic is always an eclectic patchwork of sound collage and oblique songwriting as the backdrop to Ka-Spel's lyrical invocations. The opening track "O From The Great Sea" is driven by a John Carpenter / Halloween set of horror-synth arppegiations and staccato piano lines that counterpoint the languid pleas from Ka-Spel, who leads into the black lullaby found in the title track which features a memorably melodic phrase that spotlights the allegorical imagery found in his enigmatic / mythological poetry. Droning loops, slumping organ chord passages, chemical playschools, and washes of musique concrete expressiveness tumble through much of the album, only to coalesce into a homunculus of a song here and there complete with structured tension, balladeering croon, lyrical obtusion, and mutant tales of love, death, and misery. Long out of print, it's very good to have this one available again!
MPEG Stream: "'O' From The Great Sea"
MPEG Stream: "Tanith And The Lion Tree"
MPEG Stream: "Four Out Of Ten"
MPEG Stream: "Prisoners Of War"

album cover KAADA AND PATTON Romances (Ipecac) cd 15.98

album cover KACIREK, SVEN Scarlet Pitch Dreams (Pingipung / Kompakt) cd 17.98
We went pretty crazy for The Kenya Sessions, a record on which producer/percussionist Sven Kacirek took field recordings from Africa, of local musicians as well as various street sounds, and wove them into his darkly hypnotic percussion driven soundscapes. Lush and rhythmic, and quite melodic, Kacirek laid down gorgeous expanses of xylophone/marimba/kalimba/glockenspiel, the resulting collages sounding not like collages at all, the studio elements and field recordings perfectly fused into a seemingly organic collaboration. And while much studio magic was employed in that instance, exactly the opposite is true here, a record on which not only does Kacirek play all the instruments, but employs virtually no studio tweaking, no sampling, no loops, everything here is meticulously composed, and then played and recorded straight through, the sounds not manipulated, but left whole, which seems impossible listening to this, all manner of strange buzz, thrum, glitch and hiss, lovely and layered, and sounding weirdly like a techno record. Much like the 'live techno' of another recent aQ fave Elektro Guzzi, much of this record sounds like it must be the work of some DJ or studio mad scientist, but instead it is simply an incredible work of modern minimalism, by an amazing percussionist, who seems to have a ridiculous mastery of recording and production.
The vibe throughout is melancholy and brooding, the sound impossibly full and lush, multiple melodies overlapped, creating dreamy harmonies, constantly shifting overtones, moody and mesmerizing, all of these sonic elements anchored by Kacirek's minimal rhythms, intricate and skittery one second, bombastic and free jazzy the next. Like some strange fusion of modern classical, minimal electronica, and brooding electro pop (the vocals on "It Is Not About Love" remind us of the late great Lamb), there's also some Kompakt style Pop Ambience going on, not to mention Necks style drone-jazz, and a little bit of washed out house music propulsion, field recordings also surface throughout, the whole record has the feel of something that might end up on Type, or Miasmah, with its murky mesmer and strange dubbed out 'clicks and cuts', but it's too playful, too much like a real band, and a real recording, not a studio concoction, which imbues the sounds with some ineffable warmth that transforms it into something very very special.
MPEG Stream: "This Album Is Not"
MPEG Stream: "About You And Me"
MPEG Stream: "It Is Not About Love"
MPEG Stream: "Cars & Nightengales"
MPEG Stream: "Embraces Eleven Ideas"

album cover KACIREK, SVEN Scarlet Pitch Dreams (Pingipung / Kompakt) cd 17.98
We went pretty crazy for The Kenya Sessions, a record on which producer/percussionist Sven Kacirek took field recordings from Africa, of local musicians as well as various street sounds, and wove them into his darkly hypnotic percussion driven soundscapes. Lush and rhythmic, and quite melodic, Kacirek laid down gorgeous expanses of xylophone/marimba/kalimba/glockenspiel, the resulting collages sounding not like collages at all, the studio elements and field recordings perfectly fused into a seemingly organic collaboration. And while much studio magic was employed in that instance, exactly the opposite is true here, a record on which not only does Kacirek play all the instruments, but employs virtually no studio tweaking, no sampling, no loops, everything here is meticulously composed, and then played and recorded straight through, the sounds not manipulated, but left whole, which seems impossible listening to this, all manner of strange buzz, thrum, glitch and hiss, lovely and layered, and sounding weirdly like a techno record. Much like the 'live techno' of another recent aQ fave Elektro Guzzi, much of this record sounds like it must be the work of some DJ or studio mad scientist, but instead it is simply an incredible work of modern minimalism, by an amazing percussionist, who seems to have a ridiculous mastery of recording and production.
The vibe throughout is melancholy and brooding, the sound impossibly full and lush, multiple melodies overlapped, creating dreamy harmonies, constantly shifting overtones, moody and mesmerizing, all of these sonic elements anchored by Kacirek's minimal rhythms, intricate and skittery one second, bombastic and free jazzy the next. Like some strange fusion of modern classical, minimal electronica, and brooding electro pop (the vocals on "It Is Not About Love" remind us of the late great Lamb), there's also some Kompakt style Pop Ambience going on, not to mention Necks style drone-jazz, and a little bit of washed out house music propulsion, field recordings also surface throughout, the whole record has the feel of something that might end up on Type, or Miasmah, with its murky mesmer and strange dubbed out 'clicks and cuts', but it's too playful, too much like a real band, and a real recording, not a studio concoction, which imbues the sounds with some ineffable warmth that transforms it into something very very special.
MPEG Stream: "This Album Is Not"
MPEG Stream: "About You And Me"
MPEG Stream: "It Is Not About Love"
MPEG Stream: "Cars & Nightengales"
MPEG Stream: "Embraces Eleven Ideas"

album cover KACIREK, SVEN Scarlet Pitch Dreams (Pingipung / Kompakt) lp 22.00
We went pretty crazy for The Kenya Sessions, a record on which producer/percussionist Sven Kacirek took field recordings from Africa, of local musicians as well as various street sounds, and wove them into his darkly hypnotic percussion driven soundscapes. Lush and rhythmic, and quite melodic, Kacirek laid down gorgeous expanses of xylophone/marimba/kalimba/glockenspiel, the resulting collages sounding not like collages at all, the studio elements and field recordings perfectly fused into a seemingly organic collaboration. And while much studio magic was employed in that instance, exactly the opposite is true here, a record on which not only does Kacirek play all the instruments, but employs virtually no studio tweaking, no sampling, no loops, everything here is meticulously composed, and then played and recorded straight through, the sounds not manipulated, but left whole, which seems impossible listening to this, all manner of strange buzz, thrum, glitch and hiss, lovely and layered, and sounding weirdly like a techno record. Much like the 'live techno' of another recent aQ fave Elektro Guzzi, much of this record sounds like it must be the work of some DJ or studio mad scientist, but instead it is simply an incredible work of modern minimalism, by an amazing percussionist, who seems to have a ridiculous mastery of recording and production.
The vibe throughout is melancholy and brooding, the sound impossibly full and lush, multiple melodies overlapped, creating dreamy harmonies, constantly shifting overtones, moody and mesmerizing, all of these sonic elements anchored by Kacirek's minimal rhythms, intricate and skittery one second, bombastic and free jazzy the next. Like some strange fusion of modern classical, minimal electronica, and brooding electro pop (the vocals on "It Is Not About Love" remind us of the late great Lamb), there's also some Kompakt style Pop Ambience going on, not to mention Necks style drone-jazz, and a little bit of washed out house music propulsion, field recordings also surface throughout, the whole record has the feel of something that might end up on Type, or Miasmah, with its murky mesmer and strange dubbed out 'clicks and cuts', but it's too playful, too much like a real band, and a real recording, not a studio concoction, which imbues the sounds with some ineffable warmth that transforms it into something very very special.
MPEG Stream: "This Album Is Not"
MPEG Stream: "About You And Me"
MPEG Stream: "It Is Not About Love"
MPEG Stream: "Cars & Nightengales"
MPEG Stream: "Embraces Eleven Ideas"

album cover KACIREK, SVEN The Kenya Sessions (Pingipung) cd 16.98
It's always a challenge to meld electronic and organic sounds. When done correctly, it can be sublime, an otherworldly fusion of seemingly diametrically opposed musics, an impossible hybrid that on rare occasions can most definitely transcend its constituent parts. When done incorrectly, it can sound flat and forced. Or can simply not work at all. Most egregiously, the enduring 'electronica flecked folk' that we do on occasion love, but which in most cases is simply pedestrian strum and croon peppered with glitch and buzz and somehow presented as avant.
But this, this is something else entirely, an unlikely fusion of acoustic percussion, electronic studio production, various bits of programming and processing, and most importantly, recordings of actual Kenyan folk music, vocalists, traditional string instruments, all woven seamlessly into Kacirek's subtle sublime productions. It definitely makes more sense once you realize Kacirek is in fact a virtuoso jazz drummer and percussionist, thus the rhythmic focus of The Kenya Sessions, but that background in drumming hardly prepares us for this, a heady, propulsive, effusive, dark and mysterious bout of electronic folk music. And minus the voices, it's practically impossible to discern the Kenyan field recordings from the studio productions, there are moments of skittery Kompakt-like techno shuffle, but just as often, it Kacirek playing Marimba, or playing on a snare with brushes, and wrapping those sounds around the buzz of some African stringed instrument, or taking the various rhythms and weaving them into a lush, pulsing backdrop for some lovely vocalizing, the results are incredible, and range from the dark, buzzing and brooding opening track, "Arsenal Aluny Village", which almost sounds like a super minimal African Portishead, to the twangy shuffle of "Old Man Small Studio", the electronics dialed way back, but the marimba and tuned percussive melodies adding a distinctly Western pop element to the more traditional sounding vocals, or the murky almost Oval-esque shimmer of "Dear Anastasia", the backdrop smokey and sultry, the melodies dark and minor key, but then the vocals again transform the song into something completely original and very much unlike anything you've ever heard.
Imagine your favorite Sublime Frequencies compilation, or one of the Ethiopiques collections, if they were released on Kompakt, or imagine How To Dress Well composing a chill out soundtrack for late night Kenyan clublife, there aren't any 'beats' proper, instead the rhythms pulse and throb, shimmer and shuffle, skitter and stutter, usually super subtle, as textural as they are rhythmic, tangled up with pianos and marimbas, and then the Kenyan recordings, traditional instruments, twang and buzz, and those vocals, soulful and emotional, sometimes call and response, other times moody and crooned, and the sounds while often electronic, borderline 'techno' sounding even, just as often, veer toward something else entirely, more concerned with evoking a mood, creating a gorgeous ambient space, one that often explodes into something rhythmic and propulsive, but just as often slips into something hushed, and minimal, mysterious and lovely.
The record finishes off with the amazing "Takaye Preaching", which does indeed seem to be some preacher preaching, whose almost song like sermonizing, is accompanied by some perfectly matched up rhythmic flurries, skittery muted grooves and shuffling percussion, the rapidfire vocal delivery somehow softened by Kacireks's instrumental accompaniment, the result sounding like some moody jazzy drift wrapped around a hyper hip hop flow, but again, once the two elements are melded, it's hard to imagine that this was constructed in a studio, and not some sort of unlikely jam session, which is pretty much the magic of the whole record. A fantastically unique sonic document, a sort of avant world electronica, or minimal electro Kenyan soul, or maybe downtempo electro worldmusic, whatever you wanna call it, we're loving it, and odds are you will too.
MPEG Stream: "Arsenal Aluny Village"
MPEG Stream: "Old Man Small Studio"
MPEG Stream: "Dear Anastasia"
MPEG Stream: "Kayamba Tuc Tuc"

album cover KACIREK, SVEN The Palmin Sessions (Pingipung) cd 17.98
We completely flipped for Sven Kacirek's The Kenya Sessions, a record where Kacirek, a producer, drummer and percussionist, traveled to Kenya to record local musicians, in their homes and on the street, and then took those recordings and wove in his own. The result was a fantastic electronic / world music hybrid, so seamlessly executed it was often difficult to tell which was which.
The Palmin Sessions are from a few years earlier, but seems to employ the same method, with Kacirek playing real acoustic instruments, vibraphone, kalimba, drums, glockenspiel, as well as brushes, books, paper, film, doors and other unlikely sound making devices. And like The Kenya Sessions, these tracks are incredible, the fusing of real drums, and programmed electronics, all woven into songs lush and organic, sometimes dreamy and laid back, other times intense and super propulsive.
Opener "Heinrich & Helene" is the perfect example, with its warm, soft focus vibraphone melodies, all wreathed in little streaks of electronics, glitches, bloops and bleeps, all very subtle, total bliss out drift off minimal electronica, but then the drums begin to surface, gradually overtaking the hushed shimmer, the playing getting more and more busy, until they erupt in a fantastic squall of wild drummage, still surrounded by electronic blurs and smears, only to blink out, and revert to the opening hushed drift. Awesome.
And the rest of the record is just as good. Some tracks are a bit jazzy, others are almost house-y, still others sound like Kompakt style pop ambience, there are horns, tinkling chimes, occasional vocals, all the tracks based on rhythms, and Kacirek's playing in particular, while the production transforms all the sounds into washed out, dreamlike, ethereal skitterscapes, and warm, woozy, soft focus drifts of electronic shimmer.
MPEG Stream: "Heinrich & Helene"
MPEG Stream: "St. Charles Avenue"
MPEG Stream: "Glas"

album cover KADANE, MATT AND BUBBA Music From The Film Hell House (Pleximusic) cd 10.98
First things first, have you seen the film? It's an unsettling documentary about the planning and production of a "hell house" in Texas, a Halloween haunted house with ulterior sermonizing motives. That said, this soundtrack may certainly be enjoyed without viewing the film... particularly if you're a fan of Bedhead and The New Year. Followers of said groups are undoubtably already aware that the music was composed by band members (and brothers) Matt and Bubba Kadane. Much of the music is indeed of the drowsy drifting meditative variety for which those groups are well-known, Haunting gentle string plucking, melting bass tones, faintly ominous drones fill the air for most of the brief eighteen minutes.
MPEG Stream: "Speaking In Tongues"
MPEG Stream: "Harvest"

album cover KADAVAR Abra Kadavar (Nuclear Blast ) cd 15.98
Oooh yeah! What else to say? Germany's answer to the Swedish legions of retro-proto-metallers like Witchcraft, Graveyard, Horisont, Troubled Horse, Skogen Brinner, etc. have returned with their 2nd full-length of swinging heavy fuzz riffage, wailing vox and wah-psych guitar leads, sounding as 1972-ish as ever. We loved their self-titled debut last year, and the collaborative record they did with French heads Aqua Nebula Oscillator too. This new album, for big label Nuclear Blast (who seem to be loading up lately on these sorts of retro-psych-doom acts, putting out the new Orchid too, as well as the latest by a couple of the above-named Swedish outfits), absolutely does NOT disappoint. From the crushing bluesy stomp of "Black Snake", to the urgent attack of the very Witchcraft-y (and/or Pentagram-y) "Fire", to the trippy grooves of the title track, and everywhere else and in-between, Abra Kadavra is quite the hard rockin' bellbottomed blow-out.
There's a spacey, hippie, Hawkwind vibe to much of this ("Rhythm For Endless Minds" ferinstance full of FX on both guitars and vocals) as well as a garagey side to 'em too (like the exotic swirl of the electric organ laced "Liquid Dream"), Kadavar achieving a satisfying synthesis of such styles overall. Acid Mothers Temple and Earthless fans should give 'em an ear, as well as all you folks already into that whole Swedish crowd mentioned above!
This is the domestic digipack cd version, we also did have expensive import vinyl and hopefully will be getting a slightly cheaper domestic lp pressing soon, but you should know, this cd contains a 7+ minute bonus track not on any vinyl version!
MPEG Stream: "Doomsday Machine"
MPEG Stream: "Dust"
MPEG Stream: "Liquid Dream"

album cover KADAVAR Abra Kadavar (Nuclear Blast ) lp 30.00
Now on not-krazy-expensive domestic vinyl!!!
Oooh yeah! What else to say? Germany's answer to the Swedish legions of retro-proto-metallers like Witchcraft, Graveyard, Horisont, Troubled Horse, Skogen Brinner, etc. have returned with their 2nd full-length of swinging heavy fuzz riffage, wailing vox and wah-psych guitar leads, sounding as 1972-ish as ever. We loved their self-titled debut last year, and the collaborative record they did with French heads Aqua Nebula Oscillator too. This new album, for big label Nuclear Blast (who seem to be loading up lately on these sorts of retro-psych-doom acts, putting out the new Orchid too, as well as the latest by a couple of the above-named Swedish outfits), absolutely does NOT disappoint. From the crushing bluesy stomp of "Black Snake", to the urgent attack of the very Witchcraft-y (and/or Pentagram-y) "Fire", to the trippy grooves of the title track, and everywhere else and in-between, Abra Kadavra is quite the hard rockin' bellbottomed blow-out.
There's a spacey, hippie, Hawkwind vibe to much of this ("Rhythm For Endless Minds" ferinstance full of FX on both guitars and vocals) as well as a garagey side to 'em too (like the exotic swirl of the electric organ laced "Liquid Dream"), Kadavar achieving a satisfying synthesis of such styles overall. Acid Mothers Temple and Earthless fans should give 'em an ear, as well as all you folks already into that whole Swedish crowd mentioned above!
MPEG Stream: "Doomsday Machine"
MPEG Stream: "Dust"
MPEG Stream: "Liquid Dream"

album cover KADAVAR s/t (Tee Pee / This Charming Man) cd 14.98
Just take one look at this record's cover - if you guess these longhaired & bearded hippie boys in their vintage duds are another retro-proto-metal band in the Sabbathy style of Witchcraft, Graveyard, Horisont, and Noctum, you'd be guessing correctly!! Only thing is, time trippers Kadavar aren't from up in Sweden like those bands, they're from Berlin. But damn, just like all those Swedish faves, they are sure good at kicking out the jams with authentic sounding, bellbottomed bombast. The six tracks here are like the March Of The Riffs, unstoppable; from start to finish it's a rollicking ride of fuzzed out retro-riffery frequently adorned with ripping wah wah psych guitar leads, and some even psychier synth (that to be found on the spaced out final track, "Purple Sage", courtesy of guest synth wiz Shazzula, she of Black Mass Rising fame). The tones are fat, the grooves loping, the vibe very much 1972 or so, harking back to the likes of Sir Lord Baltimore and Kadavar's hard (kraut-)rockin' countrymen Night Sun and Tiger B. SmithÉ funnily enough, the drummer here is named "Tiger". The rest of this classic power trio is rounded out by "Mammut" on bass and "Lindemann" (ok that sounds like a real name) on guitar and vocals, which are in a generally more gentle mode than his dun-dun-dundering heavy riffs, suggestive of folky ritual at times.
Kadavar's debut gets a hell yeah recommendation to all fans of any of the doomy '70s sounding stoner rock, particularly the Swedish bands mentioned above and their counterparts over here like Danava, Witch, and SF's own Dzjenghis Khan.
Digipak cd release or colored (translucent vanilla?) vinyl with digital download.
MPEG Stream: "All Our Thoughts"
MPEG Stream: "Black Sun"
MPEG Stream: "Forgotten Past"

album cover KADAVAR s/t (Tee Pee / This Charming Man ) lp 17.98
Just take one look at this record's cover - if you guess these longhaired & bearded hippie boys in their vintage duds are another retro-proto-metal band in the Sabbathy style of Witchcraft, Graveyard, Horisont, and Noctum, you'd be guessing correctly!! Only thing is, time trippers Kadavar aren't from up in Sweden like those bands, they're from Berlin. But damn, just like all those Swedish faves, they are sure good at kicking out the jams with authentic sounding, bellbottomed bombast. The six tracks here are like the March Of The Riffs, unstoppable; from start to finish it's a rollicking ride of fuzzed out retro-riffery frequently adorned with ripping wah wah psych guitar leads, and some even psychier synth (that to be found on the spaced out final track, "Purple Sage", courtesy of guest synth wiz Shazzula, she of Black Mass Rising fame). The tones are fat, the grooves loping, the vibe very much 1972 or so, harking back to the likes of Sir Lord Baltimore and Kadavar's hard (kraut-)rockin' countrymen Night Sun and Tiger B. SmithÉ funnily enough, the drummer here is named "Tiger". The rest of this classic power trio is rounded out by "Mammut" on bass and "Lindemann" (ok that sounds like a real name) on guitar and vocals, which are in a generally more gentle mode than his dun-dun-dundering heavy riffs, suggestive of folky ritual at times.
Kadavar's debut gets a hell yeah recommendation to all fans of any of the doomy '70s sounding stoner rock, particularly the Swedish bands mentioned above and their counterparts over here like Danava, Witch, and SF's own Dzjenghis Khan.
Digipak cd release or colored (translucent vanilla?) vinyl with digital download.
MPEG Stream: "All Our Thoughts"
MPEG Stream: "Black Sun"
MPEG Stream: "Forgotten Past"

album cover KADAVAR & AQUA NEBULA OSCILLATOR White Ring (This Charming Man) 2lp 26.00
Killer split/collaboration between German retro heavy rockers Kadavar and French psychedelic spacerock heavies Aqua Nebula Oscillator, three new tracks from each band, and then two side long epics, where both bands team up and play together. Kadavar kick down a sort of proto metal style heavy blues rock, with bellbottom riffs, fat fuzzed out bass, and a wailing vocalist, total seventies hard rocking riff-o-mania, with some serious psych overtones, and one track that has some killer start/stop dynamics, and one that's a slithery southern stoner jam, all swaggery and snarly, with a second half that cranks the tempo into a frenzied bas heavy freakout. Aqua Nebula Oscillator counter with a sound that's much more noisy and abstract, space rocking and heavy, spaced out and hypnotic, they do indulge in some retro riffing action, the bass driven breakdown on the very seventies titled "Purple Sage", replete with wild tangles of psych guitar shreddery, or the weird percussion and deep dramatic vox on "Jungle Man", which totally sounds like it could be a cover of some old sixties groover, by the Animals maybe? There's even some fake animal sounds, tiger roars and everything! And then finally there's their organ driven blooz ballad, that sounds like a heavy psych version of the Moody Blues, all drowsy and moody and dreamily dramatic, a little Pink Floyd in the mix too.
Those tracks are all well and good, but it's the collaborations that are the real reason to pick this up. The first, epically titled "From The Flying Dutchman", weaves a spaced out sprawl of wild drum splatter, and heavily effected guitar swirl, a dreamy droned out psychscape, that gradually builds to dizzying squall, all flanged and phasered, but still loose and free, never quite locking into a song proper, at least until about 5 minutes in, when the song finally coalesces into a serious guitar heavy chunk of kraut-psych heaviness, the drums (dual drumming), dense and driving, the drums too doused in flanger, the song sprawling out endlessly, constantly morphing from riff heavy crunch, to ethereal psychedelic shimmer, to brooding murky drift, to chiming almost jangly shimmer, and finally, to bass driven dirgey, that finishes things off in a cloud of murky FX and slow decaying chords. Awesome. As is the title track, a similarly structured epic, but one that launches immediately into a drum heavy stretch of fuzz guitar psych, occasionally settling down into something droney and tranced out, but for the most part never letting up, the guitars swirling and howling, grinding and crunching, multiple leads spiraling into wild tangles, the bass throbbing, the drums pounding, total heavy psych bliss out for sure.
Super swank, embossed, heavy stock gatefold jacket, includes a download code as well.
MPEG Stream: AQUA NEBULA OSCILLATOR "Jungle Man"
MPEG Stream: KADAVAR "Flying Mountain"
MPEG Stream: KADAVAR & AQUA NEBULA OSCILLATOR "From The Flying Dutchman"
MPEG Stream: KADAVAR & AQUA NEBULA OSCILLATOR "The White Ring"

KADAVAR / MESSER / TIDAL SLEEP / BLCKWVS split (This Charming Man) 12" 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover KADET Matter Of Mind (Tektonic Shift) cd 11.98
Kadet Kuhne is a San Francisco based media-artist, who often pulls the worlds of experimental video and avant-garde electronics closer together through her seamless audio-visual explorations of digitized fragments and mulched sonic detritus. Matter Of Mind is her first full album in nearly 8 years, although she certainly had plenty of performances, screenings, installations, and collaborations during that time. That said, this album does follow neatly with the previous record Thin Air in its ghostly abstraction of softened glitches, polished surfaces, and rounded tones not to far from the orbits of Jan Jelinek or Oval, with melodic fragments emerging sporadically through the time-stretched filigree and pixelated gaseousness. On "Ruminant," Kadet brings to the foreground the unprocessed sounds of a clarinet (courtesy of Giselle Eastman) amidst the digital smoke and mirror sound design of refracted noir, sounding like an updated version of the Vangelis soundtrack for Blade Runner. Her track "Encoded" responds to a process that Lucky Dragons used on John Coltrane's A Love Supreme to turn it into a visual score; here, she transformed the Coltrane classic into binary data and reassembled the audio signal output into a thoroughly abstracted corollary. Obviously, some of the original has been reintroduced with a subtle groove from a deconstructed bassline and a skittering rhythmic sample emerges amidst the digitally scrubbed and mulched-to-graynoise data. Her most refined work to date!
MPEG Stream: "Ruminant"
MPEG Stream: "The Clearing"
MPEG Stream: "Encoded"

KADET Seismic (Tektonic Shift) cd 12.98
Listening to this new release from SF solo IDM/electronicist Kadet is an almost multi-sensory experience. A plethora of wonderfully itchy glitches, thick tenuous throbs and metallic percussive gasps probe your ears. Some sounds actually made my teeth buzz as if I'd chomped down on some aluminum foil - an impressive feat unto itself. The latter tracks gradually sink into a much more deeply fluid abyss - like the echo-y sensation of slowly drifting to the bottom a pool. Fans of the newest stuff from Phoenecia and Nic Endo might take a shine to Kadet.
RealAudio clip: "Sphere"
RealAudio clip: "Ursula"

album cover KADET Thin Air (Current / Tektonic Shift) cd 12.98
Here is Ms Kadet Kuhne's follow-up to Seismic, her fine IDM album from 2001. Since then she's relocated to LA, but she hasn't made any radical departures in her music. That's a good thing 'cause her past endeavors have been pretty darn great, wholly enveloping listens. Now, whether the "thin air" of the title is in reference to that which you might "vanish into" or that which you find at high altitudes, we do not know. But we can say that regardless, the title suits this album well. Some of her sounds can be fleeting and ghostly, while the more severe and imposing ones may leave listeners a wee bit out of sorts or short of breath. Characterized by swishy, cricket-y textures, gentle cloudy drones and rounded deep bass thuds, This Air is a considerably more subdued ambient affair overall than its kinetic, glitchy predecessor. Also, although these sounds were originally part of Sensorium, her audiovisual installation collaboration with Reto Schmid/testrun which showed in Switzerland, LA and here in SF, Thin Air may be best listened to on headphones in isolation. Nice!
MPEG Stream: "Mind Meld"
MPEG Stream: "Chromosoak"

KADURA From The Depths Of The Other Space (Charnel Music) cd 11.98
From Osaka, Japan: Eastern psych-trance space rock. A treat for fans of Ghost and other mind-expanding PSF-label bands. Really nice, especially when leader Atsushi Kobayashi is playing his zurna (double-reed horn).

KAGEL, MAURICIO Pan String Quartets I, II, III (WDR) cd 14.98

KAGEL, MAURICIO Playback Play (WDR) cd 16.98

album cover KAHN, JASON On Metal Shores (Editions) lp 24.00
As we've mentioned before, American ex-pat and former hardcore drummer Jason Kahn made a radical shift away from the SST punk style jams he was kicking out during the '80s toward an avant-drone-noise-improv type of career that has taken him to Zurich, Switzerland. Yeah, it is a career for him, but the price one has to pay for having a sound-art career is a constant tour / exhibition schedule. Rock'n'roll may have its fortune seekers, but a steady paycheck through sound-art? Not very likely. Yet, Kahn has done it; and done it by producing work that is incredibly refined through his own take on electro-acoustic strategies, modular synth exploration, holy minimalist composition, and an occasional percussion flourish in ghostly deference to his former life as the drummer for Leaving Trains. With all of the touring and exhibitions (seriously, his schedule is fucking insane!), solo releases from Jason Kahn can be fleeting (although he's very prolific with his collaborative contributions). So, this new production from Kahn is something that could be celebrated simply because the man somehow found the time to get this out in the world; but that would be selling it short... as On Metal Shores is a brilliant piece of shimmering, gasping minimalism that glides out of acoustically-sourced drone reminiscent of Andrew Chalk and Organum, the metallurgically organic swells of Alan Lamb's wire recordings, and the graceful minimalism of Eliane Radigue and Roland Kayn. Kahn writes at great length in the liner notes about some of the situations for the source recordings, including the nice image of Jason Kahn tapping on a resonant hand-railing near Lake Zurich as local birds would congregate and take off depending on the volume of Kahn's rhythm-n-drone. These elements along with long-thin-wire instruments attached to transducers, the thrum of giant water tanks, drainage pipe raspings, and much more get worked into Kahn's shifting drones that accrete into swollen crescendos of complex shimmered noise and harmonic interplay. This stunner of an album is limited to 250 copies, hand numbered, and hand-painted.

album cover KAHN, JASON Vanishing Point (23five) cd 14.98
Strange that we, of all people, didn't realize this before - the Jason Kahn who has been producing extraordinary minimalist compositions and beautifully subtle sound installations in recent years is the same Jason Kahn who had stints as the drummer for mid-'80s, SST bands Trotsky Icepick, The Leaving Trains (one of Andee's all time faves!), and Universal Congress Of. Believe it! Around 1990, Kahn moved to Europe, dropping out of the US art-punk / post-hardcore scene and effortlessly transitioning into the avant-garde improv community in Zurich. He soon began experimenting with feedback systems resonating within the architecture of his drum kit, discovering a vocabulary of noises that have become the building blocks for his current body of work. A man of numerous collaborations (Gunter Muller, Ralph Steinbruchel, Asher, Steve Roden, Kevin Drumm, Jon Mueller, Toshimaru Nakamura, etc.), solo Jason Kahn records don't happen ever so often; and this one on 23five is exquisite!
On Vanishing Point, Kahn's techniques shift a little bit from the feedback bouncing around the innards of his drum kit to a series of colored noises generated from his custom built, patch-bay synth. The album reveals itself as a subtle and hypnotic elegy for rattling metals, timbral vibration, gossamer static, hissing field recordings, and those aforementioned softened noises. Soon into the piece, Kahn introduces a flickered ghost of melody whose luminous tones manifest ever so slightly against his contrails of noise. The upper register hiss and statics of these layered noises slowly drop in pitch and frequency over the duration of the piece, revealing subharmonic rumblings and an oceanic current that tugs at the agitated textures of Kahn's surface noises. This glacial, minimalist shift renders Vanishing Point elegant and meditative.
For those familiar with the 23five catalogue, this fits snugly next to those awesome records on 23five from Jean-Francois Laporte and Tim Catlin, and for those who are not, the calm surfaces of Kevin Drumm, the crackled surface noise of Loren Chasse's Hedge Of Nerves, the spectral reflections from Alan Lamb's wire recordings, and even the placid side of Taiga Remains could be good sonic reference points for this excellent album.
MPEG Stream: "Extract 1"
MPEG Stream: "Extract 2"

album cover KAHN, JASON & ASHER Vista (And/OAR) cd 13.98
This is a pairing that we didn't expect; and without a doubt, we didn't expect it to be so good. Jason Kahn is an American ex-pat living in Switzerland, having made a smooth transition from the percussive ends of improv into a drone heavy minimalism that often derives from the resonant frequencies of snares and floor toms. Earlier in 2008, Kahn delivered a transcendent live set at the San Francisco Art Institute with little more than an amplifier, a drum head, and some basic electronics. Asher Thal-Nir has impressed us with his ultra-quiet renderings of whispered field recordings and gauzy atmospherics, on par with some of the best work from Bernhard Gunter (what ever happened to that guy, anyway?). The album begins with rasping din of soft metals like aluminum or copper rattling against each other. For those familiar with Kahn's work, this tactile acoustic noise sounds just like one of his feedback systems transmitted through his drum kit; however, the sources for this album are all field recordings. Asher provided the environmental sounds from the back alleys of Boston, with ventilators, heating units, and other motors that ceaselessly rumble in the urban landscape. Kahn picked the far more pastoral sounds of Lake Zurich. It's almost as if Asher decided upon sounds better suited to Kahn's aesthetic and Kahn to Asher's sensibility. In any case, the huge rumble of subharmonics from Asher's industrial field recordings becomes this leaden cloud that weighs very heavily upon the recording. The fastidious production work between these two subtly shifts the clamorous frequencies into singing overtones, resembling a Ligetti chorale at times or a Pandit Pran Nath harmonium drone at another. But by the end of the record, the thick drone collapses into a vibrating black hole with ripples of negative energy fading into the soft patter of those lakeside field recordings. Definitely for fans of Phill Niblock, John Duncan's drone work, and Kevin Drumm's Imperial Distortion. Very fucking cool.
MPEG Stream: "Vista (extract 1)"
MPEG Stream: "Vista (extract 2)"

album cover KAHN, JASON & RICHARD FRANCIS s/t (Monochrome Vision) cd 15.98
Richard Francis is one of the quieter musicians to hail from New Zealand. His sparse productions opt for a restrained set of grey noises and tactile field recordings that softens the archetypal gnarled NZ distortion of folks like Michael Morley, Antony Milton, or Campbell Kneale. He's also not nearly as prolific as those three, which is a shame as Francis' work has proven to be amazingly consistent over the years.
Here, he's presenting a collaborative body of work in collusion with a man who is nothing but prolific, the Swiss-based sound artist Jason Kahn. Given Kahn's studious use of particular noises (white, pink, blue, brown, etc.), Francis has certainly proven to be one of the more complementary musicians that Kahn has worked with over his lengthy career.
The eponymous record presents four extracts from live performances the two managed in both Switzerland and New Zealand in 2007 and 2008. Kahn's set-up often involves pushing particular, restrained noises and synthesized frequencies through the body of a floor tom, and controlling the feedback that can accumulate within that small architectural space; and Francis goes for the virtual systems through the computer interface. But the two can achieve rather similar results with different tools. These gravely, tactile sounds percolate, scrape, and vibrate their way into shifting sedimentary layers which ultimately form a meditative set of broken minimalism. The opening track features a gong-like set of metallic reverberations that billow against an agitated data-stream, which builds through accreted layers of deep low-end drones. Elsewhere, similarly subterranean tones softly rupture with a low-impact distortion grating clouds of grey static. Like on Kahn's groundbreaking album Vanishing Point, fragmented melodies quietly ripple well below the surfaces of noises, occasionally breaking through the hiss in oceanic swells of drone. Very nicely done!
MPEG Stream: "1"
MPEG Stream: "2"
MPEG Stream: "4"

album cover KAHVAS JUTE Wide Open (Aztec Music) cd 21.00
Aussie prog reissued.

KAIA Lady Man (Mr. Lady) cd 12.98
She of the angel voice and lyrics that bite, it's Kaia from Team Dresch with another solo record of realness. This beats Jewel and Mary Lou Lord into the ground and leaves them writhing in the knowledge of their total inferiority.

KAIA Lady Man (Mr. Lady) lp 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
She of the angel voice and lyrics that bite, it's Kaia from Team Dresch with another solo record of realness. This beats Jewel and Mary Lou Lord into the ground and leaves them writhing in the knowledge of their total inferiority.

album cover KAILASH s/t (Paradigms) cd 12.98
Latest in the ongoing series of lovingly packaged, super limited releases from UK label Paradigms, who ostensibly are a metal label, but whose releases are sonically all over the map, the gothic chamber music of Amber Asylum, the buzzing blackness of Utlagr and Throne Of Katarsis, the blessed out dream done of the Angelic Process, the psychedelic space folk of Plants, the grinding cinematic noise of Gnaw Their Tongues, the black ambient of Wraiths, the metallic post prog rock of Woburn House, the ultra doooooom of Hjarnidaudi and we could go on and on.
And we most likely will as Paradigms shows no sign of slowing down. Two new releases this time around, a disc of dreamy wispy neo-classical ambience from a group called Aythis, and this here slab of progged out bombastic post black metal from Italian horde Kailash.
Equal parts Slint-y black swoon, Opeth like metallic prog, Don Cab like mathy chaos, and plenty of folky strum and doomy lurch.
The tracks are long and proggy, lots of parts, the guitars swinging wildly from finger picked folky flutter, to furious black buzz, grinding out jagged angular riffs one minute, unfurling lilting minor key melodies the next. The drums though hold it all together, incredible fills, blasting double bass, convoluted tangles of odd time signatures, occasionally growled demonic vox, but it's all about the music, even were it instrumental, these songs would be plenty dense and busy, varied and complex to keep your head spinning (and most likely banging).
The label drops names like Ved Buens Ende, Fleurty, Death, Opeth, Emperor, Agolloch and Ulver, and certainly, folks who dig any / all of those bands will certainly be into what Kailash are doing, but to our ears much of this seems a lot mathier, way more dense and complex, and some of the time it really does sound like a black metal Don Cab, but then there's the saxophone (!), never the best idea really in almost any sort of music (outside jazz) and weirdly enough, Kailash drop in some smoky sax here and there, changing the vibe completely, turning it into some sort of blackened Gerry Rafferty jam, but fear not, a burst of furious mathy proggy heaviness is usually right around the corner...
Limited to 750 copies, packaged in a mini lp style sleeve wrapped in a hand stamped brown paper outer sleeve.
MPEG Stream: "The Sleepers"
MPEG Stream: "Wind Under The Door"

album cover KAIN The Blue Guerrilla (Juggernaut) lp 11.98

album cover KAISER / HSU DUO 25 June 2008 (self-released) 3" cd-r 5.98
With a bicycle wheel, a reel-to-reel tape machine, and a few bits of electronics, Jim Kaiser has been a stalwart in the Bay Area improv / experimental community, having worked in French Radio (with Bruce Anderson of MX80), NF Orchest, and Thomas Carnacki's ensemble. But one of his more prolific collaborations has been with Angela Hsu, who's a classically trained violinist who pushes her instrument with tone-bending effects and improvisational techniques. For all of their performances over many years, we're pretty sure that this is their first released recording. Despite the date-as-title alluding to this being a live recording, this is actually a studio production, albeit one that was recorded straight to tape, or more likely to hard drive. During this session, Hsu's violin offers up descending plinks that cascade in a delay ridden tumble, sounding like crumbled bits from some undisclosed orchestral score. Beneath this, there is a grey dinscape constructed from Kaiser's bowed bike wheel and a muddled hiss from the tape machine. It could be a field recording of some sort, playing through the corroded heads of that reel-to-reel, but it's so obfuscated as to be a thick cloud of Philip Jeck dust warbling with varispeed jolts alongside scattered noises and caterwauling screeches, ripping in an agitated field of delay patterns. Limited to something like 25 copies. Don't expect these around for long!
MPEG Stream: "25 June 2008"

album cover KAISER / HSU DUO Alternate Soundtrack To The Last Theft (self-released) 3" cd-r 5.98
The Last Theft is a 1987 short film by the Czech stop-motion animator Jiri Barta, whose sensibility is not far from that of Jan Svankmejer. East Bay improvisers Jim Kaiser and Angela Hsu took up the challenge of working with this baroquely dark fairy tale of a short, using their signature instrumentation for reel-to-reel tape, bicycle wheel, violin, and a few choice effects pedals. Where their collaborations are typically clustered around squiggles and screeches from bowing the bike wheel and scraping against the violin, this 'alternate soundtrack' is considerably moodier and spun around the a warbling industrial-strength drone axis. Long-form bellows and primeval discordant textures weave a growling, ominous atmospheres rich with opium smoke laced with asbestos dust, altogether sounding not all that far from the classic works by Organum or Taj Mahal Travellers. It should also be noted that Spoonbender 1.1.1. scored a very different piece to a condensed version of the film!
MPEG Stream: "Alternate Soundtrack To The Last Theft"

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