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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 KORZYNSKI, ANDRZEJ Possession OST (Finders Keepers) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A lot of the soundtracks we review, are for movies we haven't actually seen. In some ways that's sort of liberating, at least from a purely musical standpoint, hearing the sounds solely for what they are, instead of having those sounds inexorably linked to specific images. And in a lot of cases, we have discovered some incredible films via their soundtracks, and not the more common other way around. We got this soundtrack to this 1981 French horror/thriller (directed by Polish director Andrzej Zulawski, and scored by his longtime collaborator Andrzej Korzynski, also Polish, but more on that in a second) in a few months ago, and instantly, become totally obsessed, spinning it multiple times a day, inevitably folks in the store would ask what it was, because it's so goddamn good. And creepy, and twisted, and pretty much the perfect score, but for what, we weren't sure, as we had not seen the movie. And while are obsession proves that you needn't see the movie to love this, once we actually DID see the movie, we flipped for that too, wondering how the hell we could have missed out on it all these years. It's literally one of the weirdest, most fucked up films EVER. And the soundtrack we had become so familiar with over the last several months, finally viewed in the contest of the film, made both even more bizarre and amazing.
So the film itself, banned until 1991, and at the time classified as a "Video Nasty", stars an American, Sam Neil, who becomes convinced his wife, Isabelle Adjani, is cheating on him, which she is. Neil hires a private investigator, eventually meets the lover, and the lover's mother, but there's so much more to the story, there's a crazily neglected child in the mix, some truly twisted parenting, and SPOILER ALERT!!!! Some sort of super gross oozing monster that lives in an abandoned building that Adjani is in love with, or is at least having sex with? There's tons of screaming and hitting and fighting, and one of thee most dramatic freakouts EVER, with Adjani losing her mind in a tunnel, and ending up spewing and oozing all sorts of weird fluids, there's a particularly psychedelic denouement as well, lots of crazy scenery chewing, the whole thing is utterly and unabashedly over the top. Even right after seeing it, we weren't sure what the fuck just happened. But we did know, we loved the movie, and suddenly, loved the soundtrack EVEN MORE.
Korzynski's soundtrack is a series of short cues, most less than a minute, that find the composer experimenting with synthesizers, drum machines, primitive electronics. It's actually quite progressive, and in places is reminiscent of Carpenter or Goblin, especially in the movie's 'theme'. Check out the opening track "The Night The Screaming Stops", and it will be stick in your head forever, the tense strings, the pulsing rhythmic throb, the mysterious percussion, the swirling synth, and the creepy sci-fi sound effects, not to mention the melody. It's so haunting and creepy, but in the film, it's over the most innocuous sequence, and it's that juxtaposition that makes it so effectively chilling. Seriously if this soundtrack was 2 minutes long, and consisted of that first track, we'd still want a copy!
But dig in, there's plenty more, haunting swoonsome strings, drifting over a lilting organ melody, dreamy and drifty, but so subtly ominous, there's some full on synth prog, again revisiting that opening melody, but with more heft, as the soundtrack unwinds, there's lots of percussion, shakers, little flurries of synth shimmer, deep drones, the orchestral theme is particularly stirring, a refrain of the opening credit sequence, but so much more creepy and hauntingly stately. There are also lots of brief blasts of synthy psychedelia, appropriately titled things like "Detective's Desserts" or "Bloody Embrace", and part of the reason these cues are so short, is that much of the movie is sans incidental music, so the cues come in to accentuate certain events, the sonic equivalent of jump-scares, but super effective, and they add a whole other level of surreal psychedelia to the proceedings, very 'Euro' for sure. The series of "Kreuzberg" variations are particularly freaky, sinister and mysterious, grim ambience and super tense orchestral weirdness. Oh did we mention "The Man With The Pink Socks"? Another perplexing plot point, and one that here gets the bookending closing sequence, revisiting "Meeting With A Pink Tie". Adding some extra wah guitar, and both revisiting that opening theme.
Listen to the sound samples and see if you can resist. But really why bother? You won't be sorry. Even removed from the movie, this score is fantastic, psychedelic, orchestral, proggy, tripped out and bizarre, and no doubt will have you headed to the video store to experience the baffling brilliance of the film, once your sated on the equally baffling and brilliant score.
Like all B-Music / Finders Keepers releases, includes a huge booklet with lots of liner notes and tons of rare photos.
MPEG Stream: "The Night The Screaming Stops (Opening Titles)"
MPEG Stream: "Opetanie 1"
MPEG Stream: "Anna Rewards Mark"
MPEG Stream: "Possession - Orchestral Theme 1"
MPEG Stream: "Kreuzberg 1"
MPEG Stream: "Kreuzberg 4"
MPEG Stream: "What Is it?"

album cover KORZYNSKI, ANDRZEJ Possession OST (Finders Keepers) lp 25.00
A lot of the soundtracks we review, are for movies we haven't actually seen. In some ways that's sort of liberating, at least from a purely musical standpoint, hearing the sounds solely for what they are, instead of having those sounds inexorably linked to specific images. And in a lot of cases, we have discovered some incredible films via their soundtracks, and not the more common other way around. We got this soundtrack to this 1981 French horror/thriller (directed by Polish director Andrzej Zulawski, and scored by his longtime collaborator Andrzej Korzynski, also Polish, but more on that in a second) in a few months ago, and instantly, become totally obsessed, spinning it multiple times a day, inevitably folks in the store would ask what it was, because it's so goddamn good. And creepy, and twisted, and pretty much the perfect score, but for what, we weren't sure, as we had not seen the movie. And while are obsession proves that you needn't see the movie to love this, once we actually DID see the movie, we flipped for that too, wondering how the hell we could have missed out on it all these years. It's literally one of the weirdest, most fucked up films EVER. And the soundtrack we had become so familiar with over the last several months, finally viewed in the contest of the film, made both even more bizarre and amazing.
So the film itself, banned until 1991, and at the time classified as a "Video Nasty", stars an American, Sam Neil, who becomes convinced his wife, Isabelle Adjani, is cheating on him, which she is. Neil hires a private investigator, eventually meets the lover, and the lover's mother, but there's so much more to the story, there's a crazily neglected child in the mix, some truly twisted parenting, and SPOILER ALERT!!!! Some sort of super gross oozing monster that lives in an abandoned building that Adjani is in love with, or is at least having sex with? There's tons of screaming and hitting and fighting, and one of thee most dramatic freakouts EVER, with Adjani losing her mind in a tunnel, and ending up spewing and oozing all sorts of weird fluids, there's a particularly psychedelic denouement as well, lots of crazy scenery chewing, the whole thing is utterly and unabashedly over the top. Even right after seeing it, we weren't sure what the fuck just happened. But we did know, we loved the movie, and suddenly, loved the soundtrack EVEN MORE.
Korzynski's soundtrack is a series of short cues, most less than a minute, that find the composer experimenting with synthesizers, drum machines, primitive electronics. It's actually quite progressive, and in places is reminiscent of Carpenter or Goblin, especially in the movie's 'theme'. Check out the opening track "The Night The Screaming Stops", and it will be stick in your head forever, the tense strings, the pulsing rhythmic throb, the mysterious percussion, the swirling synth, and the creepy sci-fi sound effects, not to mention the melody. It's so haunting and creepy, but in the film, it's over the most innocuous sequence, and it's that juxtaposition that makes it so effectively chilling. Seriously if this soundtrack was 2 minutes long, and consisted of that first track, we'd still want a copy!
But dig in, there's plenty more, haunting swoonsome strings, drifting over a lilting organ melody, dreamy and drifty, but so subtly ominous, there's some full on synth prog, again revisiting that opening melody, but with more heft, as the soundtrack unwinds, there's lots of percussion, shakers, little flurries of synth shimmer, deep drones, the orchestral theme is particularly stirring, a refrain of the opening credit sequence, but so much more creepy and hauntingly stately. There are also lots of brief blasts of synthy psychedelia, appropriately titled things like "Detective's Desserts" or "Bloody Embrace", and part of the reason these cues are so short, is that much of the movie is sans incidental music, so the cues come in to accentuate certain events, the sonic equivalent of jump-scares, but super effective, and they add a whole other level of surreal psychedelia to the proceedings, very 'Euro' for sure. The series of "Kreuzberg" variations are particularly freaky, sinister and mysterious, grim ambience and super tense orchestral weirdness. Oh did we mention "The Man With The Pink Socks"? Another perplexing plot point, and one that here gets the bookending closing sequence, revisiting "Meeting With A Pink Tie". Adding some extra wah guitar, and both revisiting that opening theme.
Listen to the sound samples and see if you can resist. But really why bother? You won't be sorry. Even removed from the movie, this score is fantastic, psychedelic, orchestral, proggy, tripped out and bizarre, and no doubt will have you headed to the video store to experience the baffling brilliance of the film, once your sated on the equally baffling and brilliant score.
Like all B-Music / Finders Keepers releases, includes a huge booklet with lots of liner notes and tons of rare photos.
MPEG Stream: "The Night The Screaming Stops (Opening Titles)"
MPEG Stream: "Opetanie 1"
MPEG Stream: "Anna Rewards Mark"
MPEG Stream: "Possession - Orchestral Theme 1"
MPEG Stream: "Kreuzberg 1"
MPEG Stream: "Kreuzberg 4"
MPEG Stream: "What Is it?"

KORZYNSKI, ANDRZEJ Tajemnic Enigmy (Secret Enigma) 1968-1981 (B-Music / Finders Keepers) cd 15.98

KORZYNSKI, ANDRZEJ Tajemnic Enigmy (Secret Enigma) 1968-1981 (B-Music / Finders Keepers) 2lp 28.00

KORZYNSKI, ANDRZEJ Third Part Of The Night (Finders Keepers) 10" 24.00

KOSAKAI, FUMIO & TAKAHASHI IKURO ...Of Dogstarman (Pataphysique) cd 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Squealing drones make by electronics and processed reeds from this Japanese duo (members of psychededic rock group Overhang Party). Quite beautiful. Similar to Keiji Haino's hurdy-gurdy pieces or free saxophonist Evan Parker's recent electronically-enhanced works.

album cover KOSMIC RENAISSANCE Live At Namba Hatch - Osaka, Japan (e22 / Isotope Records) cd-r 5.00
**SALE **SALE* *SALE**
**LAST COPIES**
Anybody remember a Japanese hiphop artist named Shingo2? He was pretty rad, kind of in the DJ Shadow style. Shingo was based here in SF for a little while, that's how we encountered him, and probably how we ended up with these - we just discovered we had a bunch of copies of this cd-r, from 2005, documenting a live show by an instrumental, improvising band he was in called Kosmic Renaissance, which featured Shingo on mixer/sampler/synths (Vestax Faderboard, ARP Odyssey). The others in the KR trio were Sameer Gupta on drums & tabla, and David Boyce on saxophones, Microkorg, etc. It's pretty groovy, spaced-out stuff, heavy on the electronics and FX...
After a brief intro, they launch into the 25+ minute "Enter The Octagon" and get seriously deep and funky and out there - this is all improvised. "IO" and "Songs For Our Ancestors" follow in similarly sprawling, jammed out fashion. "IO" is nice and mellow, "Song For Our Ancestors" starts that way, then gets more intense, with some jittery digitally glitched-out Japanese vocal samples (?) towards the end. Pretty cool, spacey fusion improv with an Eastern inflection, presumably influenced by stuff like '70s Miles.
MPEG Stream: "Enter The Octagon"
MPEG Stream: "Song For Our Ancestors"

KOSMIK KOMMANDO Universal Indicator 5 (Beta Bodega) 12" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"Universal Indicator" is loaded with seriously hard acid house tracks from Mike Dred's Kosmik Kommando persona that were recorded back in the day, and may have been slotted for release on Rephlex back in the early '90s. Beta Bodega has been purposefully vague on the true facts about this release, but this is nevertheless a fine reminder of the nastier face of rave culture.

album cover KOSMONAUT Future Machines (These Are No Records) lp 14.98
What might one expect from a band called Kosmonaut, and a record called Future Machines? Some serious psychedelic space synth obviously. A kosmiche songsuite beholden to the early masters: Froese, Schnitzler, Pinhas, etc. And aligned with present day practitioners like Umberto, The Slasher Film Festival Strategy, Zombi, Majeure, Expo 70, M. Geddes Gengras, Roll The Dice, etc., as well. But for all the sonic similarities Kosmonaut shares with his space synth brethren, he's managed to conjure up a sound that is nothing like any of them. Sure there are pulsating arpeggiated synths, shimmery celestial swirls, motorik rhythms, but Kosmonaut's sounds are dirtier, gristlier, noisier, opener "City Deterioration", is like a crumbling Carpenter score, especially part way through when the sound shifts and becomes a churning low end buzz, laced with swirling faux strings and jagged melodic shards. And that's just the beginning, the albums trajectory swinging wildly from the furthest reaches of deep space ("Prime Meridian"), to a 2am chase through rain slicked back alleys in some seedy big city ("Haus Maschine"). The synths employed get totally abused, and often instead of dreamy cosmic shimmer, the sounds are garbled and crunchy, distorted and dirty, check out "Wings Of The Sun", the first two minutes of which, sound like Sun Ra going apeshit on the synths, and trying to conjure up some celestial deity, that is before in swoop the shimmers, but even then the shimmers are soon swallowed up, but layer upon layer of sci-fi zoner synth buzz and roiling rhythmless pulses. For all the more 'easy listening' synth music out there, the music of Kosmonaut is actually quite challenging, dark and twisted, off kilter and experimental, avant and abstract, the various space/synth tropes utterly subverted and transformed into something urgent, dangerous and dark, at times frantic and frenetic, and at others brooding and wreathed in shadow, and only occasionally bathed in the prismatic glimmer of deep space starlight.
LIMITED TO 250 COPIES. Housed in screen printed fold over sleeves, includes a printed insert, as well as a download card, that includes not just a digital version of the whole record, but also six download only bonus tracks. Warning to anal record collector nerds, all of the sleeves came slightly damaged, mostly just rumpled corners, and there are no more sleeves in existence with which to replace them, thus, all the copies we got, have slightly bumped / rumpled corners, so if that sort of thing bothers you, steer clear, if not, grab one of these beauties before they're sold out and gone for good!
MPEG Stream: "City Deterioration"
MPEG Stream: "Prime Meridian"
MPEG Stream: "Haus Maschine"
MPEG Stream: "Wings Of The Sun"

album cover KOSMOS s/t (The End) cd 12.98
Kosmos is the new group from Michel Langevin (aka Voivod's drummer Away!) deeply inspired by '70s instrumental space prog and vintage sci-fi movies. For the most part it's a cleanly executed journey, but occasionally treads along -- but never into -- the aggressive, thrashy outer limits of Voivod. Even then, Kosmos' wild guitar and keyboard acrobatics maintain a defined trajectory. Kosmos are at their best when exploring cosmic (natch), cermonial-sounding, krautrock-inspired instrumental vistas... they even do a track called "Krautrock" (no, not a cover of the Faust song). That stuff should appeal to fans of Zombi, ferinstance. Unfortunately there's a few less successful tracks marred by vocals, the band rockin' out for fans of some less hip prog styles of the past... groovy, grungey prog Quebecois isn't totally our thing. So you might hit 'skip' on a track or two, but this definitely has its moments.
MPEG Stream: "Psycho"
MPEG Stream: "Indu Kush"

album cover KOSS Ancient Rain (Mule Electronic) cd 16.98
As much as we love so much of the noisier and heavier psychedelic sounds that come out of the Japanese underground, we have to say lately it's been some of the more blissed out and dreamy records from Japan that have been moving us the most. Folks like Fuqugi, Painting Petals On Planet Ghost, and Eddie Marcon have shown us that just as so many Japanese bands have mastered blown out psychedelic madness, others know how to conjure an equally entrancing sound, but replacing the all out assault with a gorgeously tranquil and languid state of sound.
We loved what we heard last from Koss, his 2008 outing Four Worlds Converge As One, but we're even more entranced and deliriously lost at sea with Ancient Rain. Such tender and delicate movements of sound, that maintain an element of melodicism while still capturing an overall mood and ambience. For sure in line with the great Pop Ambient sounds out of the Kompakt camp, like Gas and early Klimek, as well as the more washed out and ethereal sides of Fennesz, Murcof, Jan Jelinek, The Fun Years and Colleen.
Majestic and flowing, evoking deep sleep, dark drifts, set to the sounds of the waves on an ocean. Tapping into a feeling of lightness and ease with subtle undertones of something a bit darker bubbling just below the surface, Koss creates a sound that throughout the entirety of Ancient Rain manages to feel so honest and organic, lush, rich, and otherworldly, a soundtrack to the perfect daydream...
MPEG Stream: "Dream"
MPEG Stream: "Ancient Rain"
MPEG Stream: "Beauty"

album cover KOSS Four Worlds Converge As One (Mule Electronic) cd 16.98
From Japan, the artist/producer known as Koss (real name: Kuniyuki Takahashi) has apparently been around for a while, involved in the electronic scene since back in the '80s, dabbling in everything from electro body music to dub to hardcore noise to chillout techno to deep house. This, however, is the first album of his we've heard. Well better late than never. Four Worlds Converge As One is lovely, lovely, calm, and lovely. It starts with the soothing, beatless ambient drift of "Water", the first of four tracks on the disc and at 29+ minutes the longest. Hissing, humming, with field recordings of obvious watery origin worked in, this track is like the sound of a white mist rising from the shore of a gently lapping lake, with a wind softly blowing. A relaxed, melodic drone piece. That could have been the whole disc right there and we'd be sold. But there's three more parts, each over a quarter of an hour in length, representing the other elements of fire, air, and earth...
Track two, "Fire / M Point (40N42-34N33 Mix)" is immediately more active than "Water", with pleasantly creaking noises, eventually joined by shuffling electronic beats, and glitchy clicks worked into the washes of more feedbacky drone. Following that, "Air / MW Point (137E35 Mix)" is back to the blissful shimmer of the first track, but with the addition of minimalist Reichian (Steve, not Wilhelm) pulsations. Looping, layered sounds from some classical stringed instrument. Utterly hypnotic of course. And then, Koss brings us down to "Earth / S Point", wrapping this disc up with a surprising mix of forest-at-night nature sounds and percolating, processed tribal percussion, with echo and effects. It gets denser and denser, but remains quite soothing, the sort of "exotica" you might expect from, say, one of Eye Yamataka's remixes... though perhaps a little "rainstick-y" for some. But the more "Pop Ambient", droney-synthy explorations that mostly fill this album are enough for us, so good, reminding us of Eno and Budd (Harold, not the Aussie grunge band) and Tangerine Dream and even composer John Luther Adams.
And by the way, the "converge into one" idea of the title has a special meaning - apparently Koss intends that if all four tracks/elements on this disc were to be played simultaneously (you could buy three extra copies of the cd... or make them yourself), a whole new song will emerge. Hmm...haven't tried it, we're happy with the four just by themselves so far. Recommended!
MPEG Stream: "Water"
MPEG Stream: "Fire / M Point (40N42-34N33 Mix)"
MPEG Stream: "Air / MW Point (137E35 Mix)"

KOSS / HENRIKSSON / MULLAERT The Mollan Sessions (Mule Electronic) 2cd 22.00

album cover KOSTER, JULIAN The Singing Saw at Christmastime (Merge) cd 14.98
Julian Koster is best known for his stint in legendary Elephant Six outfit Neutral Milk Hotel as well as his membership in The Music Tapes. But this holiday season he's going to be known as the man who played Christmas songs on his lovely singing saw, turning old classics into something much more breezy and haunting. It's kind of reminding us of that awesome reissue EM Records put out of the early '20s musical saw stylings of Sam Moore, only if he were to play all of the holiday season's greatest hits. Even for those of us who don't usually get into the spirit of Christmas music can't deny how fun this is!
MPEG Stream: "The First Noel"
MPEG Stream: "Silver Bells"
MPEG Stream: "O' Holy Night"

album cover KOSUGI, TAKEHISA Catch Wave (Showboat / Sky Station) cd 28.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Man, do we at ever AQ love that Japanese '70s group the Taj Mahal Travellers! Masters of organic drone, utilising bowed cymbals, violins, loudspeakers, tape loops and all sorts of unique source material. And we've been blessed of late with the reissue of lots of fairly difficult to find TMT stuff. This disc is Taj Mahal main man Takehisa Kosugi (an influential member of the Fluxus movement) on solo violin, and unlike the truly organic natural sound of most of the Taj Mahal Travellers music, this piece is heavily processed, with all manner of effects, turning his violin into a buzzing squealing beast, sounding like some sort of otherworldly sitar. Gorgeous Eastern melodies drift in and out while tonal ripples spread out and slowly dissipate. Wild runs peter off into swooshing ambience, and sparse squeaks and warm tones tumble into each other creating all sorts of harmolodics. Definitely reminiscent of Tangerine Dream, Klaus Schulze, Conrad Schnitzler and the like, but imbued with Kosugi's unique sense of melody and space. Totally essential.
RealAudio clip: "Mano-Dharma '74"

album cover KOSUGI, TAKEHISA Catch Wave (World Psychedelia Ltd.) cd 17.98
Finally back in print, and way way cheaper. An essential document of godlike ur-drone from one of the all time masters, Takehisa Kosugi of the legendary seventies Japanese drone collective the Taj Mahal Travellers. And by now we shouldn't have to tell you how much we love the Taj Mahal Travellers! But we will. WE LOVE the Taj Mahal Travellers, and pretty much every cd-r drone band out there owes these guys royalties big time. And while we love a lot of that stuff, no one does it better. Masters of the organic drone, TMT utilized bowed cymbals, violins, loudspeakers, tape loops and all sorts of unique source material. And we've been blessed of late with another wave of reissues, making lots of fairly difficult to find TMT stuff available again. This disc is Taj Mahal main man Takehisa Kosugi (an influential member of the Fluxus movement) on solo violin, and unlike the truly organic natural sound of most of the Taj Mahal Travellers music, this piece is heavily processed, with all manner of effects, turning his violin into a buzzing squealing beast, sounding like some sort of otherworldly sitar. Gorgeous Eastern melodies drift in and out while tonal ripples spread out and slowly dissipate. Wild runs peter off into swooshing ambience, and sparse squeaks and warm tones tumble into each other creating all sorts of harmolodics. Definitely reminiscent of Tangerine Dream, Klaus Schulze, Conrad Schnitzler and the like, but imbued with Kosugi's unique sense of melody and space. Totally essential.
MPEG Stream: "Mano Dharma '74 (Excerpt)"
MPEG Stream: "Wave Code #e-1 (Excerpt)"

album cover KOSUGI, TAKEHISA Catch Wave (Phoenix) cd 17.98
Once again reissued, this time courtesy of the folks at Phoenix, naturally.
An essential document of godlike ur-drone from one of the all time masters, Takehisa Kosugi of the legendary seventies Japanese drone collective the Taj Mahal Travellers. And by now we shouldn't have to tell you how much we love the Taj Mahal Travellers! But we will. WE LOVE the Taj Mahal Travellers, and pretty much every cd-r drone band out there owes these guys royalties big time. And while we love a lot of that stuff, no one does it better. Masters of the organic drone, TMT utilized bowed cymbals, violins, loudspeakers, tape loops and all sorts of unique source material. And we've been blessed of late with another wave of reissues, making lots of fairly difficult to find TMT stuff available again. This disc is Taj Mahal main man Takehisa Kosugi (an influential member of the Fluxus movement) on solo violin, and unlike the truly organic natural sound of most of the Taj Mahal Travellers music, this piece is heavily processed, with all manner of effects, turning his violin into a buzzing squealing beast, sounding like some sort of otherworldly sitar. Gorgeous Eastern melodies drift in and out while tonal ripples spread out and slowly dissipate. Wild runs peter off into swooshing ambience, and sparse squeaks and warm tones tumble into each other creating all sorts of harmolodics. Definitely reminiscent of Tangerine Dream, Klaus Schulze, Conrad Schnitzler and the like, but imbued with Kosugi's unique sense of melody and space. Totally essential.
MPEG Stream: "Mano Dharma '74 (Excerpt)"
MPEG Stream: "Wave Code #e-1 (Excerpt)"

album cover KOSUGI, TAKEHISA Catch Wave (Phoenix) lp 24.00
Now available reissued on 180 gram vinyl!!
An essential document of godlike ur-drone from one of the all time masters, Takehisa Kosugi of the legendary seventies Japanese drone collective the Taj Mahal Travellers. And by now we shouldn't have to tell you how much we love the Taj Mahal Travellers! But we will. WE LOVE the Taj Mahal Travellers, and pretty much every cd-r drone band out there owes these guys royalties big time. And while we love a lot of that stuff, no one does it better. Masters of the organic drone, TMT utilized bowed cymbals, violins, loudspeakers, tape loops and all sorts of unique source material. And we've been blessed of late with another wave of reissues, making lots of fairly difficult to find TMT stuff available again. This disc is Taj Mahal main man Takehisa Kosugi (an influential member of the Fluxus movement) on solo violin, and unlike the truly organic natural sound of most of the Taj Mahal Travellers music, this piece is heavily processed, with all manner of effects, turning his violin into a buzzing squealing beast, sounding like some sort of otherworldly sitar. Gorgeous Eastern melodies drift in and out while tonal ripples spread out and slowly dissipate. Wild runs peter off into swooshing ambience, and sparse squeaks and warm tones tumble into each other creating all sorts of harmolodics. Definitely reminiscent of Tangerine Dream, Klaus Schulze, Conrad Schnitzler and the like, but imbued with Kosugi's unique sense of melody and space. Totally essential.
MPEG Stream: "Mano Dharma '74 (Excerpt)"
MPEG Stream: "Wave Code #e-1 (Excerpt)"

album cover KOSUGI, TAKEHISA Studio Improvisations, Tokyo, 16th and 17th September, 1974 (BB) lp 30.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

KOSUGI, TAKEHISA Violin Solo 1980 (P-Vine) cd 25.00
Killer violin ur-drone from Taj Mahal Travellers mainman. Long drawn out high end screech / scrape / skree. Hypnotic and gorgeous.
MPEG Stream: "One"
MPEG Stream: "Two"

KOTAI s/t (WMFREC) cd 14.98
There's not a lot to Kotai's bleak electronica, as a measured recombination of Chain Reaction's heroin house, Georgio Moroder's cyber-disco synth arpeggiations, and Suicide's relentless monotony; but along with Adult., Fisherspooner, and Miss Kitten, Kotai's Goth-inflected New Wave revivalism is pretty seductive. Amongst all of those aforementioned references, Suicide stands out most prominently due to Klaus Kotai's vocal similitude to Suicide's Alan Vega. Each of Kotai's songs sound like updated versions of "Frankie Teardrop," transposing Suicide's dystopian theatricality with a hollow, but studly swagger indicative of the title "Pretty Men Wear Pretty Clothes." Kotai is Euro-trash at its finest.
RealAudio clip: "Pretty Men Wear Pretty Clothes"
RealAudio clip: "Ba3 Breathing"

album cover KOTCHE, GLENN Introducing (Locust Music) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Stepping out from his day job in Wilco, Kotche really stretches out on these four pieces, all performed on acoustic and electronic percussion with occasional cello. This actually sounds a lot like something we would expect from Celebrate Psi Phenomenon (the awesome NZ drone label) or Last Visible Dog (esoteric RI cd-r label). From clicking clattering insect percussion over melancholy drones, wispy and ephemeral, to throbbing noisescapes augmented by chimes and bells, to faux gamelan glitchscapes to dreamy burbly ambience. Maybe Jim O'Rourke got a little too much of the credit for Wilco's new found penchant for experimental sounds...
RealAudio clip: "Cheju"
RealAudio clip: "Wading Pool"

album cover KOTCHE, GLENN Mobile (Nonesuch) cd 15.98
For those of us who thought Wilco reached new heights on Yankee Hotel Foxtrot and A Ghost Is Born, there is no doubt that the addition of Glenn Kotche on drums made a significant impact and influence on those recordings. Joining the band on YHF, he has been a key ingredient in helping Jeff Tweedy/Wilco take their sound further and further. On this, his second solo outing, Kotche shows he isn't just someone's backing man. Kotche has an amazing musical mind and puts it to such great use on this record. What's best about this record is that it isn't what you would expect it to be. Yes it's a drummers solo record and yes it is a mostly percussive affair but the songs have so much depth, variety and interesting twists and turns. You can see how everything from afro-beat to Steve Reich to experimental electronic sounds have helped shape the cannon of Kotche's playing. A very nice outing!
MPEG Stream: "Mobile Parts 1 & 2"
MPEG Stream: "Projections of (What) Might..."

KOTCHE, GLENN Next (Quakebasket) cd 14.98

KOTRA Dissilient (Nexsound) cd 11.98

album cover KOTTKE, LEO 6 And 12 String Guitar (Takoma) cd 18.98
Out of the major Takoma triumvirate of John Fahey, Robbie Basho and Leo Kottke, it is the latter who probably had the most mainstream appeal, but definitely the least hipster cred. Probably due to his early and sudden career switch from an amazing virtuoso instrumentalist to a rather mediocre singer/songwriter. But it's this debut recording of solo guitar work from 1969 of which listeners should take notice. Arguably, the most successful record on the Takoma label (it has sold over 500,000 copies), it is also one of the best. Definitely a student of Fahey school of tongue in cheek liner notes and eccentric song titles like "Vaseline Machine Gun" and "The Brain of The Purple Mountain", Kottke displays a knowing range of blues, pop, classical and folk styles. Though probably not as insistently ornery as Fahey's style could be, there is a pensive resonance that keeps Kottke's pastoralism from getting sappy. For sure, one of the best solo guitar records that actually helped create and popularize the genre originally! Why is this $19? It's only available in this deluxe super audio cd version, whatever that means.
MPEG Stream: "Watermelon"
MPEG Stream: "The Driving Of The Year Nail"
MPEG Stream: "Vaseline Machine Gun"

album cover KOTTKE, LEO 6 And 12 String Guitar (Takoma) lp 16.98
Out of the major Takoma triumvirate of John Fahey, Robbie Basho and Leo Kottke, it is the latter who probably had the most mainstream appeal, but definitely the least hipster cred. Probably due to his early and sudden career switch from an amazing virtuoso instrumentalist to a rather mediocre singer/songwriter. But it's this debut recording of solo guitar work from 1969 of which listeners should take notice. Arguably, the most successful record on the Takoma label (it has sold over 500,000 copies), it is also one of the best. Definitely a student of Fahey school of tongue in cheek liner notes and eccentric song titles like "Vaseline Machine Gun" and "The Brain of The Purple Mountain", Kottke displays a knowing range of blues, pop, classical and folk styles. Though probably not as insistently ornery as Fahey's style could be, there is a pensive resonance that keeps Kottke's pastoralism from getting sappy. For sure, one of the best solo guitar records that actually helped create and popularize the genre originally! Nice to have it again on vinyl.

KOTTKE, LEO One Guitar, No Vocals (Private Music) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Super lovely acoustic guitar twangy figerpicking. Just perfect! A new recording from Kottke, and his first all-instrumental all-guitar album since his legendary 6 & 12 String Guitar debut 30 or so years ago!

album cover KOUDEDE Guitars From Agadez Vol. 5 (Sublime Frequencies) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Do we even have to tell you this is cool? Basically this is something you should want as soon as you read the words "Guitars From Agadez" and "Sublime Frequencies" on the sleeve. Being a limited 7" single also ought to seal the deal.
Everything so far from SF in their Guitars From Agadez series (records from Group Bombino and Group Inerane) has been killer, and this introductory taste of the talents of another North African axe master, Koudede Maman, follows suit. Koudede & his band unleash some smoking, sinuous, hard edged grooves on both hypnotic sides of this single, recorded live on tour last year. Wish we'd been there, sounds like a funky good time. And we most certainly hope that SF has a full-length in the works!
Limited to 600 copies.

album cover KOUDEDE Guitars From Agadez Vol. 6 (Sublime Frequencies) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The fantastic Sublime Frequencies "world music" label brings us another installment of incredible North African guitar music, in the vein of Group Inerane and Group Doueh. We first heard the talents of young Tuareg six-stringer Koudede & his band on Sublime Frequencies' previous Guitars From Agadez Vol. 5 single, and when we reviewed that we said we hoped there was a full-length in the works, 'cause we wanted to hear more of Koudede's hypnotic, hard-edged grooves. Sadly, though, with this release comes the news that Koudede was tragically killed in a traffic accident in October this year, while travelling back to Niger from playing a show in Burkina Faso. So while Vol. 5 was an exciting introduction to his music, Vol. 6 must be a tribute to his memory, and what might have been. The two tracks here were recorded live by SF's Hisham Mayet at a tumultous concert Koudede played in January 2012, in the midst of ethnic strife in Mali.
Limited edition of 700 copies (Vol. 5 is long gone already).

album cover KOUDEDE Guitars From Agadez Vol. 7 (Sublime Frequencies) 12" 16.98
After two 7"s, Sublime Frequencies has released the final four tracks recorded by Tuareg guitarist and vocalist Koudede Maman, the last ones recorded shortly before his tragic death in a car crash while traveling to Niger from Burkina Faso last year. Koudede was a rising star in the nomadic community, a powerful performer and voice for the plight of his people against both the suppression of their ancient traditions and the rise of modern nation-states that usurp the natural resources of the land which the nomadic people desperately need. Most of Koudede's music was created in strife, but sought to create unity in a tumultuous region that saw very little of it. Though listening to him perform, one can only truly sense pure joy. A beautiful and heartbreaking release.

album cover KOUGEZAN KOUKIJI The Live [11th] Final Hyakusenmansyuuraku (Horen) 2cd 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The day we first got this in stock, it was pouring rain -- appropriately enough, because playing this made it seem like it was raining in the store as well as outside, quite a lovely effect we thought. Truly, this is a stunningly beautiful concert/field recording, the culmination of a series of concerts held at (the very rainy) Koukiji temple in Japan. The concerts were organized by Yasushi Utsunomia -- whose claim to fame was as recording engineer for art rockers After Dinner. According to Utsunomia, his initial efforts were unsuccessful due in part to demanding and flaky performers (apparently all rock bands) and a crappy sound reinforcement system supplied by the temple. In the end, the first problem was solved by turning to traditional musicians and the second by constructing a sound reinforcement system worthy of such a space (a detailed diagram of the performance space and speaker locations is included on the back of the booklet's cover.) The performances heard here are on shakuhachi, ryuteki (both Japanese bamboo flutes), sitar and stone flute (played by the legendary shamanistic composer Akio Suzuki). All are accompanied by rain, from soft patter to heavy downpour. At times the rain is so loud it completely drowns out the soft playing of the instruments, essentially being an instrument itself -- and as a warning to those who would say otherwise, says Suzuki: "I'll tear out the ears of whoever says this is just rain." For its part, the electro-acoustic elements added via DSP and Utsunomia's custom built horn loaded speaker array are all but completely transparent for much of the concert. During Korei Deguchi's ryuteki performance is when the processing is most noticeable, with what sounds like the work of a harmonizer. Aside from that, the musicians' playing, the space, the rain and Utsunomia's equipment are seamlessly wedded and, if nothing else, you'll feel drenched by the time you finish listening. This numbered edition comes beautifully packaged with a nicely printed cover drawing (some thick rubbery ink that feels nice to pass ones fingers over) of a couple of cats performing for an audience of felines, and is hand-stamped on the inside. Also it includes a printed fold out with liner notes in Japanese and English. The whole thing -- package, idea, music -- is simply beautiful. Several of us here (Andee, Byram, Allan, at least) have already taken copies home...
MPEG Stream: AKIO SUZUKI "Stone Flute"
MPEG Stream: YASUHIRO MINAMIZAWA "Sitar"
MPEG Stream: KOUREI DEGUCHI "Ryuteki"

KOURGANE Ivan Rebrof, Lonley Hearts Club Band (Sonore) cd 14.98
Eccentric quirky jazz from France. Trumpet, saxaphone and modulationg vocalizing augment the traditional trio head for Uz Jsme Doma territory. Label mates include Hoppy Kamiyama, Ruins and Alboth!

album cover KOUSOKUYA 1st Record (PSF) cd 22.00
Kousokuya are a Japanese heavy psych rock outfit that's been operating for years in the dark shadow cast by fellow Tokyo act Fushitsusha, though they emit a mighty blackness themselves. One reason for their obscurity is the paucity of Kousokuya releases -- one live disc on Forced Exposure many years ago, another with them joined by avant-saxophonist Masayoshi Urabe on PSF also a few years back, not much else really, though some of you might have picked up their guitarist Kaneko Jutok's excellent PSF solo set "Endless Ruins" we reviewed in mid-2001. Now we have this cd reissue of their first LP (+ bonus track), from 1991, and with it more evidence of the debt both Fushitsusha and Kousokuya owe to those mythical heroes of Japanese '70s psych, Les Rallizes Denudes.
The Haino-like cries and guitar feedback skree will remind you of Fushitsusha (and I wouldn't be surprised if the band wears shades on stage too) but there's less 'free jazz' improv, more conventionally heavy '60s/'70s rock stuff going on, some melody even. It's somewhere between Fushitsusha and White Heaven I guess, and really more 'doomy' than either, what with their torpid sometimes Sabbath-heavy bass sound and the melancholic wail of the singer. Totally slow, doomy psych indeed -- though the slowest, saddest song here abruptly cuts off at the end, as the band then launches into a garagey number with Quicksilver-meets-Black Flag guitar. Cool. So, especially if you're already into other dark acts from the Tokyo psych underground like Shizuka and Overhang Party and Ohkami No Jikan, don't neglect Kousokuya -- and this is the disc to get.
MPEG Stream: "The Dreams Of The Recollections"

album cover KOUSOKUYA Echoes From The Deep Underground (aRCHIVE) cd+dvd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Japanese psych nerds alert! Here's a cd AND dvd package from aRCHIVE of anguished, punishing, distorto psychblurtblowouts to the max from these legendary dwellers in the darkness, Kousokuya. They were Tokyo psych scene stalwarts for many, many years (from the '70s, until the recent passing of guitarist Jutok Janeko), part of the Rallizes-worshipping, sunglasses at night posse along with Keiji Hanio's Fushitsusha and High Rise and more recent torchbearers Up-Tight and LSD-march, amongst other flashbackers. They've never been that heavily documented, so it's a red letter day for fans to get this 42 minute, 3 track live cd recorded at a show in Osaka, 2001 along with a bonus DVD vid of that same performance, in suitably ghostly-effected black & white.
It's sort of music that makes even our Christine in mailorder feel like a grandmother from the Midwest. Just doesn't get it. Is it Halloween? Why is the lady crying? Can't they turn it down? This rock n' roll stuff is scary.
But while Christine's not gonna buy one, that's just all the better for the rest of you who thrive on this sort of stuff, since it's limited to 700 copies, of course lovingly packaged (silkscreened in metallic silver and gloss varnish on heavy black cardstock folder, complete with sillkscreened obi bundling the envelopes holding the two discs) in the expected aRCHIVE style.
MPEG Stream: "Clothed In Flames"
MPEG Stream: "Shadow Of A Dream"

album cover KOUSOKUYA First Live 1979 Kichijoji Minor (PSF) cd 22.00
Kousokuya are one of the bands whose heavy sounds predate such current Japanese psych scenesters as LSD-march (who played here in SF last week) and Suishou No Fune (who are playing here next week), and without whom... well, along with Fushitsusha they're one of the longest running dwellers in darkness that Tokyo has produced. They've been around for going on three decades now, and as you can tell from the title of this disc, PSF has managed to dig up a tape of their very first ever live performance back in '79. Not a bad-sounding tape either. And definitely special not just for historical reasons, but for the amount of synth freakoutishness heard here, courtesy of a keyboardist who was only briefly a part of Kousokuya's early line-up. Reminds us a bit of early Comets On Fire, all totally damaged and dirgelike, embellished with tons of electronic fuckery... in fact, if you focus on just the vocals and the effects, this sounds like it could be a new release on the noise-mongering Load label. Just three songs, a densely-packed 25 minutes.
MPEG Stream: "track 1"
MPEG Stream: "track 2"

album cover KOUSOKUYA Live - Gyakuryu Kokuu (PSF) cd 22.00
Les Rallizes Denudes, High Rise, Fushitsusha... If you know them, you probably know Kousokuya. Or you should. This Japanese combo, led by guitarist Kaneko Jutok, has been playing dark, heavy, distorted psych-rock in a similar vein to those bands for decades now. They haven't had all that many releases, but that's gradually being rectified by the efforts of the PSF label. So here's the Kousokuya trio live (as they should be!) in 1991 at a club called Gospel. This was recorded the same year as their debut LP, recently reissued on PSF as well (and reviewed elsewhere on our website). They churn out two long, slow-building tracks (20+ minutes apiece) filled with dark atmospheres, haunting vocals, primitive beats...and lots of geetar burn once things get going.
The inky black booklet for this cd includes lyrics, and also liner notes in English translation by Angie Hamamori, that touch on the long history of Kousokuya (going back to 1975!) and attempt to explain in an intimate way the power of the band and the individuals within it. She writes: "The solitude of all the musical instruments, and the armed musicians are spreading aesthetics at the edge of the world. The duel between the swords. The first note cuts the second note sharply, the third note reacts the loudness on no notes. In conclusion, this kind of high leveled quality definitely separates Kousokuya from the ubiquitous so-called psychedelic bands all over the world." Now, I don't know about you, but I'd be interested in hearing any band that would compel someone to write something like that. And from this and other experiences with their recordings, I'd say there's something to what she's saying...
MPEG Stream: "The Omen"

KOUSOKUYA Ray Night 1991-1992 Live (Forced Exposure) cd 13.98
"Legendary and ultra-obscure Japanese psychedelic rock group." You may have heard them on the Tokyo Flashback compilation series (volumes 1 & 2).

KOUSOKUYA & MASAYOSHI URABE The Dark Spot (PSF) cd 22.00
Tokyo psych band Kousokuya (previous release a live cd on Forced Exposure) collaborate with Japanese free saxophonist Urabe.

album cover KOUYATE, BASSEKOU & KGONI BA Segu Blue (Out Here) cd 16.98

album cover KOUYATE, BASSEKOU & NGONI BA I Speak Fula (Sub Pop / Next Ambiance) cd 14.98
With all the recent reissues of lost '70s West African musical gems, it's important to remember that there is amazing music being made RIGHT NOW over there, of course. And with so many of today's indie bands like Animal Collective and Vampire Weekend borrowing so much from African music its nice to go right to the source and hear some brand new sounds from that region, that are overflowing with such beauty and the rich tradition of storytelling through song that has long been a part of Ngoni culture.
Bassekou Kouyate has been a major player in the West African music scene for years, from back in his days playing in a trio with Keletigui Diabate and Toumani Diabati and then branching out to form his own ensemble, where he has invented and perfected his own instrument known as the bass ngoni, which has the ability to reach such rich harmonic states of sound. On I Speak Fula, the first release on Sub Pop's new international imprint Next Ambiance, Kouyate and his band show how rich, peaceful yet trance inducing the music they create can be. With guest spots from his former musical partner Toumani Diabate as well as vocals from Vieux Farka Toure on a few tracks, this is such an amazing display of some of the most talented musicians in West Africa today. So much on the record reminds us of some of our favorite releases on Terp, like Lanaya or Djibril Diabate, only with the addition of some seriously enchanting vocals. The first, fantastic release from a new label that definitely seems poised to bring us more great unfiltered sounds from across the globe. So good!
MPEG Stream: "Musow - For Our Women"
MPEG Stream: "I Speak Fula"
MPEG Stream: "Saro (Featuring Vieux Farka Toure)"

album cover KOUYATE, BASSEKOU & NGONI BA Jama Ko (Out Here Rec) cd 16.98
Bassekou Kouyate is like the Steve Vai of Mali. About as close as you'll get to a shredder. His instrument of choice the ngoni, an African lute which is an early ancestor of the banjo. Bassekou builds his own ngonis, at at some point decided he just didn't have enough strings, so started adding MORE, and eventually formed Ngoni Ba, the first ever group formed around FOUR ngonis, augmented by percussion and of course soulful stirring vocals, but it's the ngonis that are the star. Apparently, when Bassekou was a young man, he observed guitar players moving to the front of the stage to solo, and as luck would have it, Bassekou had outfitted his ngoni with a strap, and while most ngoni players traditionally sat to play, when it came time for his solo, he stood up, headed for the front of the stage and proceeded to blow everyone away. Signaling his radical intentions for the instrument. He also developed his own unique style of picking, a unique version of slide guitar technique as well, a style that was quickly adopted by a new crop of young ngoni players in Mali.
Jama Ko is the latest from Kouyate and his Ngoni Ba, and is easily the best thing we've heard. His Sub Pop records (!) didn't quite capture the raw energy and emotion, but here, the songs are dreamy, haunting, emotional, passionate, the vocals a huge part of the sound, with the ngonis weaving a lush melodic backdrop, but it's when the ngonis take center stage that things get really good, the sound very reminiscent in places of Konono No.1, the lead ngoni, super distorted and buzzy, unfurling wild tangles of melody, but every song here is incredible, the sound of four ngonis divine, easily slipping into wild psychedelic swirls, with at least half of the record spent in some sort of Afro-psych mode, but just as easily, weaving soft lushly layered textures, over which the group lays down swoonsome minor key melodies, and delivers heartfelt vocal driven Afro pop dreaminess. So great!
MPEG Stream: "Jama Ko"
MPEG Stream: "Dankou"
MPEG Stream: "Ne Me Fatigue Pas"
MPEG Stream: "Kele Magni"

album cover KOUYATE, BASSEKOU & NGONI BA Jama Ko (Out Here Rec) lp 27.00
Bassekou Kouyate is like the Steve Vai of Mali. About as close as you'll get to a shredder. His instrument of choice the ngoni, an African lute which is an early ancestor of the banjo. Bassekou builds his own ngonis, at at some point decided he just didn't have enough strings, so started adding MORE, and eventually formed Ngoni Ba, the first ever group formed around FOUR ngonis, augmented by percussion and of course soulful stirring vocals, but it's the ngonis that are the star. Apparently, when Bassekou was a young man, he observed guitar players moving to the front of the stage to solo, and as luck would have it, Bassekou had outfitted his ngoni with a strap, and while most ngoni players traditionally sat to play, when it came time for his solo, he stood up, headed for the front of the stage and proceeded to blow everyone away. Signaling his radical intentions for the instrument. He also developed his own unique style of picking, a unique version of slide guitar technique as well, a style that was quickly adopted by a new crop of young ngoni players in Mali.
Jama Ko is the latest from Kouyate and his Ngoni Ba, and is easily the best thing we've heard. His Sub Pop records (!) didn't quite capture the raw energy and emotion, but here, the songs are dreamy, haunting, emotional, passionate, the vocals a huge part of the sound, with the ngonis weaving a lush melodic backdrop, but it's when the ngonis take center stage that things get really good, the sound very reminiscent in places of Konono No.1, the lead ngoni, super distorted and buzzy, unfurling wild tangles of melody, but every song here is incredible, the sound of four ngonis divine, easily slipping into wild psychedelic swirls, with at least half of the record spent in some sort of Afro-psych mode, but just as easily, weaving soft lushly layered textures, over which the group lays down swoonsome minor key melodies, and delivers heartfelt vocal driven Afro pop dreaminess. So great!
MPEG Stream: "Jama Ko"
MPEG Stream: "Dankou"
MPEG Stream: "Ne Me Fatigue Pas"
MPEG Stream: "Kele Magni"

album cover KOUYATE, SEKOU BATOUROU ET SA CORA s/t (Tembo) cd 17.98

album cover KOUYATE, SEKOU BATOUROU ET SA CORA s/t (Tembo) lp 24.00

KOVACS, ERNIE Percy Dovetonsils....Thpeaks (Omnivore Recordings) lp 21.00
Lavender vinyl. comes with download with bonus kovacs tv material

KOVACS, ERNIE The Ernie Kovacs Record Collection (Varese Sarabande) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Relive the Golden Age of Television with this disc, containing various ridiculous tunes performed in Kovac's sketches. "Including the song of the Nairobi Trio." Sports terrific Chris Ware (Acme Novelty Library) art.

album cover KOWALSKY, GREGG Battery Townsley (Senufo Edition) lp 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
For those who remember the escapades of Jewelled Antler, the various tunnels and concrete bunkers of Battery Townsley provided a musty ambience of crumbled mortar and mold spores to any number of that collective's psychedelic ragas. But the Battery's intended use was to house a couple of huge artillery cannons dug into the top of one of the higher peaks just to the north of San Francisco's famed Golden Gate Bridge, all in preparation for a Japanese invasion during World War 2. As this never came to pass, the vast network of bunkers throughout the Marin Headlands landed in the domain of the National Park Service, who had done a major renovation job on Battery Townsley, by resealing the massive steel doors and cleaning out decades worth of detritus - both manmade and natural. Those Jewelled Antler excursions had occurred well before the National Park Service's renovation, and the bulk of Battery Townsley remains under the watchful eye of the staff, who open it up weekly for docent led tours.
Many of the bunkers throughout the Headlands have attracted sound artists from across the globe, given the massive sustained reverb and interesting acoustics of the various bunkers. But nearly all of these recorded sessions needed to be held surreptitiously, given that the Park Service doesn't want to have to rescue somebody with a microphone who plummeted into a cistern in the heart of a mountain. But in 2010, the curators of the Soundwave Festival approached the Park Service about setting up a concert in Battery Townsley, and were pleasantly surprised that the Park Service was very keen on such a presentation. There, of course, were some challenges to overcome - the most daunting of which was the lack of electricity. But the Festival gathered a pretty kick-ass assemblage of artists making amazing sounds without having to plug into the grid, including Danny Paul Grody, Hora Flora, Jacob Felix Heule, Jim Haynes, and Gregg Kowalsky. Of course, Kowalsky went into the thick reverberant space with his arsenal of tape decks, which he's employed for his ever-changing Tape Chants performances.
On this super limited recording, Kowalsky presents a live recording of his performance in the bunker and a studio reinterpretation using the same material. The source tapes have the radiant glow of a church organ, beaming with luminous hues as the slippery tones bend in and out of dissonant ripples and downright heavy drones. While the studio recording is gorgeous, it's all the more impressive to hear this material as broadcast within a bunker thick reverberation, as the tones begin to growl and the tape deck speakers' crackle being pushed to their limits, giving the whole collage of swirl and drone a heaviness never heard in any of Kowalsky's previous recordings. It's more of a Surface Of The Earth recording of corroded amplifiers and slumped guitars, but it's all tape decks. Totally fucking great!
Unfortunately, this LP is limited to 250 copies of which we got the very last batch from the label.

album cover KOWALSKY, GREGG Tape Chants (Kranky) cd 14.98
Finally, a second release from Mr. Kowalsky, with all his heavy electronic /cassette wizardry, he has been a long time favorite for us at aQ, and we couldn't be more impressed with Tape Chants. After spending several years working and reworking these aptly named tape and oscillator compositions, Gregg offers up his opus, a beautifully sculpted expanse of midnight meditations and thick, buzzing walls of analog radiance. Working with digital composition and software, and becoming frustrated with the seemingly unlimited possibilities of digital music-making, Gregg challenged himself to work with more organic, analog-rich source material. The result was a live performance that involved placing 6 to 10 cassette recorders around a space, and playing them simultaneously to create an experiment in live mixing and psychoacoustics. While Tape Chants is not meant to be a document of these live performances, it attempts to channel the mood and aesthetic of these live invocations. And take it from us, the result is an extremely deep and entrancing listen, beaming with melodic overtones and hypnotic pulsing, Tape Chants is like being at the center of a gong or inside a bell tower. Long tones ringing out through a low-lit cavern or cathedral, slow creeping layers of shruti box and mixer feedback thicken the mix to an overwhelming, otherworldly bliss. And unlike most minimalist composition, this record is super engaging, lots of subtle details and deliberate movements that keep you fully immersed. Not that dissimilar from recent releases on Root Strata or Miasma. If you couldn't tell by now, this is highly recommended and a must have!
MPEG Stream: "I-IV"
MPEG Stream: "V"

album cover KOWALSKY, GREGG Tape Chants : Live In Chicago (self-released) cd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Super limited release from this long time aQ fave, continuing on in his recent Tape Chants direction, where, tired of working digitally, decided to work with tapes and old tape players, the results of which were displayed on the Tape Chants disc on Kranky reviewed back in May. These particular Tape Chants were recorded live, and were pressed up as a cd-r (in super swank screenprinted sleeves BTW) for his current US tour.
Like the cd proper, Kowalsky works magic with his tapes, on the first lengthy track, creating a symphony of bells and chimes and gongs, letting the overtones drift and overlap and bleed into one another until they begin to crumble and buzz, and on the second track, where similar sounding bells are set amidst a field of deep grinding rumbles and softly buzzing low end, the bell like tones bobbing as if on some soft black sea. Softly percussive, almost nautical sounding, whirring and hypnotic, meditative and ethereal.
Gorgeous stuff. Obviously grab one of these while you can, before we run out, and if you get the chance, don't hesitate to see him live conjure these sonic mysteries in the flesh!
MPEG Stream: "Chants I-IV For Tuned Percussion"
MPEG Stream: "Tape Meditation on Tuned Percussion"

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