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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.


KOREKYOJIN s/t (Tzadik) cd 15.98
Ruins mastermind Yoshida's newest group is a fiery combination of the familiar stop and start dynamics of the Ruins, spastic instrumentals, free improv freak outs, and a sort of funky edge (due in no small part to bass player Nasuno Mitsuru).

album cover KOREKYOJINN Arabesque (Magaibutsu) cd 14.98
Tatsuya Yoshida's Magaibutsu label has at last repressed this second disc from Ruins side-project Korekyojinn. And now, it's got BONUS TRACKS (which may elicit an 'argh' from those who got it already, but that's the facts). They're not listed anywhere on the sleeve, but there are indeed four bonus previously unheard live cuts appended to this disc. FYI, here are the titles: "You Know What Yo`u Like", "Careless Heart", "Out Of Head", and "On Reflection".
And here's our review of the original edition:
It's kinda unbelievable, if you think about just how many records Ruins drummer Tatsuya Yoshida has been involved with. Dozens at least. Especially unbelievable since when you check the credits on most things he's played on, it quite often turns out that he wrote *all* the music. A hero to drummers everywhere, eh? He's got to have written literally hundreds of songs. Consider just Ruins albums alone: that's a LOT of music and it's almost all him. Even the larger ensembles he's in, like Koenjihyakkei, he's always the main composer. And, to a fan like me anyway, his stuff is always amazing. It's not a case of quantity over quality, no sirree. He's just a seemingly bottomless well of not just crazy riffs and rhythmic ideas, but songwriting talent (matched with an ability to play like a mofo). So that brings us to this new album, the second release from Yoshida's Korekyojinn band. Here he teams up with a bassist and a drummer, and as you might expect it's a bit like Ruins+1. A bit groovier perhaps, with some classic rock moments riff-wise, and it's all-instrumental. No nutty vocals, just the tricky, twangy guitars of Kido Natsuki, the bulldozering bass of Nasuno Mitsuru, and of course in the driver's seat, the masterful drumming of Yoshida. Eleven more complex compositions from the mind-boggling musical mind of Yoshida, encapsulating Led Zep licks, Hella hyperactivity, and jazz swing... Chances are if you've read this far, you're a Ruins fan, and if you're a Ruins fan, you'll probably want to check this out. But Arabesque would be a fairly accessible place in the pantheon of Yoshida projects to start with, too, if you're not already a convert. An utter prog instrumental monster that never loses the groove despite the chops on hand. Japanese import on Yoshida's own label.
MPEG Stream: "Arabesque"
MPEG Stream: "Exodus"

album cover KOREKYOJINN Isotope (Tzadik) cd 16.98
Loud, heavy, energetic, supple, jaunty, nimble. That's these guys. The instrumental outfit Korekyojinn consists of drummer Tatsuya Yoshida of Ruins, guitarist Kido Natsuki of Bondage Fruits and Nasuno Mitsuru of Altered States -- an utter prog power trio blasting out of Tokyo. They're responsible for two chops-crazed studio albums already, a self-titled debut on Tzadik from '99 and last year's Arabesque on Magaibutsu. And if you thought that this band was impressive on those cds (which they damn sure were), wait until you hear 'em playing live on Isotope!! Yep, this release is a live in concert recording featuring tracks taken from two shows in Tokyo, June and October 2004. Man are they tight. Spot-on playing of Yoshida's typically riffy, complex compositions. Your ears will be falling all over themselves trying to follow this stuff, it's amazing that the musicians aren't. Of course, some will consider this to be beyond-Berklee widdle-wank... and maybe it is, but you can still love it. Any fan of fan of the mad mathiness of Ruins, Stinking Lizaveta, Breadwinner, Orthrelm, that sort of thing ought to. Along with 13 live cuts, this disc also includes one prev. unreleased studio track (the punishing "Hash") that was left over from the sessions from Arabesque.
MPEG Stream: "Hash"
MPEG Stream: "Isotope"

album cover KOREKYOJINN Jackson (Magaibutsu) cd 13.98
Ruins fans, listen up! Jackson is the fourth cd to be spawned by Ruins drummer Tatsuya Yoshida's ultra-tech Korekyojinn trio, an instrumental mathrock juggernaut that's basically the Ruins +1 (a guitarist added to the bass/drums duo), chugging a six pack of Red Bull, going gonzo and making the likes of Don Cab and Hella seem like mere amateur fumblers (well, not quite -- going for a bit of hyperbole there, but still...). This isn't improv, all these complex cuts are compositions sprung from the sweaty brow of Yoshida and the musical genius mind behind it.
The spazmodic yet precise drumming of Yoshida, the virtuoso guitar playing of Kido Natsuki, and the thick bass rippage of Nasuno Mitsuru as displayed on this disc's hard hitting, smoothly energetic opener "Lebanon" is what we want and expect. You'll be left dizzy and drained before its seven minutes are up. But watch out, there's a dramatic shift of gears when portions of the next track "Jackson" dip into an unfortunately funky style of glitterball fusion. Not sure what they were thinking there... maybe a tongue-in-cheek joke? Thankfully despite being the title track, it's a total anomaly on this album, and with the very next cut "Mindgames", we're back into sheer frenzied insanity of heavy prog mania, though melodiousness isn't neglected, with the bright, folky, infectiously nursery rhymey "Kaleidoscope" standing out in that regard, sounding a bit like something by Yoshida's Tairikutoko vs. Sanmyakuonna band. Mostly this album demonstrates that Korekyojinn are very nearly metal in their shredding capabilities, though of course they sound more like the Ruins than anything else...maybe like Stinking Lizaveta too at times. Which leaves us only to say, wow!
MPEG Stream: "Rambling"
MPEG Stream: "Kaleidoscope"

album cover KOREKYOJINN Swan Dive (Magaibutsu) dvd + cd 17.98
Seeing is believing. Knowing that the music they make is pretty much mindboggling, perhaps that's why Japanese power-prog trio Korekyojinn elected to package their new album as a double disc set, one an audio cd, the other a live dvd, packaged in a slim, dvd-sized case. The dvd portion provides the visual proof of their ability to play like this live, if there were any doubt about it, while fans already convinced of their genius will enjoy watching it over and over while bowing down in front of the screen chanting "we're not worthy". And since this unit hasn't toured much outside of Japan, it's also the only way we can get to see 'em short of springing for a plane ticket to Tokyo!
The cd constitutes Korekyojinn's 5th album, Swan Dive, an album entirely, amazingly improvised by the trio of Mitsuru Nasuno (bass), Natsuki Kido (guitar), and linchpin Tatsuya Yoshida of Ruins fame (drums) plus very special guests Uchihashi Kazuhisa and Hoppy Kamiyama, who contribute on guitar and keyboards/vocals, respectively, on two tracks each.
Of course it gets pretty wild, there's only six tracks but they're mostly all loooooong ones, up to 11, 17, and even 24 minutes in length... yet somehow they manage to keep it up, both the energy and creativity, their frenzied improvisations sometimes sounding rather more like the most complex COMPOSED prog rock music you could imagine (Orthrelm?), it's pretty insane. However, their convoluted chaotic outbursts are occasionally tempered by stretches of truly lovely, melodic, momentary mellowness. Melt-Banana meets Mahavishnu???
With herky jerk rhythms and heavy riffing, jazzy tinkling keys (when Hoppy sits in) contrasting with massively distorted electric bass, plus sheer avant-guitar textural shred-grind (the ante on that, upped by Uchihashi), this pretty much rules. As we had no doubt it would, considering who the heck this is (members of Ruins, Altered States, Bondage Fruit, etc.).
On the live dvd (70 minutes, NTSC, all region), they do a dozen songs, mostly from previous albums (though we think a couple, like the title track, are new), all of which we should mention are pieces in fact composed by mastermind Yoshida, NOT improvs. Again, total math-rock madness, very Ruins-esque, but with guitar. We are not worthy!
MPEG Stream: "Magnetic Pole"
MPEG Stream: "Vothqrassent"

album cover KOROUVA Shipwrecks & Russian Roulette (2007) (Khrysanthoney) lp 19.98
After a bit of a hiatus, the Khrysanthony label returns, with a handful of new releases, as well a a newly hatched label (Loveswirls). The first new release on Khrysanthoney proper comes in the form of Korouva's Shipwrecks & Russian Roulette, a reissue of a long out of print cd-r / download, available on vinyl for the first time, and part of a three lp trilogy (we do have the other two installments, to be reviewed later, but if you want 'em now, check the in stock not yet reviewed section of this week's list). Shipwrecks is probably best known as one of the records 'stolen' by black metal duo Velvet Cacoon, only adding to that group's mystery and controversy, although we imagine there was likely some serious collusion going on between Korouva and VC, regardless, much like the first time we heard this years back, even then thinking it was in fact VC, we were struck by what a darkly lovely and hauntingly creepy record Shipwrecks really is. Folks expecting black buzz or blown out shoegaze will likely be disappointed, as this is all brooding balladry, haunting washed out piano, the sound of rain, and plaintive vocal croons. Miranda "Korouva" Lehman's voice is deep and sultry, reminding us at time of Fiona Apple actually, but much more abstract and minimal, often cooing mumbly wordlessly, those vocals drifting above a slow shifting backdrop of creaking ambience, witchy wheezing harmonica, tinkling chimes, soft swirls of subtle barely there effects, the sound sometimes do distorted it becomes almost avant garde, but at other times so hushed as to be ghostly, the vibe washed out and woozy, faded and dreamily murky. A collection of minimal abstract torch songs, moody, melancholic and mesmerizing, not hard to imagine wandering through some strange city, the rain pouring down, looking for someplace to duck out of the downpour, only to find some mysterious dimly lit dive, and inside, a strange collection of shapes hunched over their drinks, lit only by the flicker of candlelight, while in the corner, sits an old piano, with a shadowy shape at the keyboard, the woman at the piano, providing a mysterious musical balm for the rainsoaked dispossessed, each song a haunting threnody, an aching lament, that speaks to the collective misery, and sadness and hopelessness of the clientele, all drowning their sorrows, waiting for the end.
So gorgeous, and darkly, depressively dreamy. Fans of folks like Chelsea Wolfe and Zola Jesus should check this out too, Korouva's sound laced with a gloomy/gothic vibe that seeps into every ghostly note.
LIMITED TO 200 COPIES, while they last we have the opaque red / black swirl colored vinyl version. Packaged in a thick full color jacket, with an 8 page lyric booklet and a Khrysanthoney insert.
MPEG Stream: "Slowclub"
MPEG Stream: "Dne Eht Ton"
MPEG Stream: "The Rain Song"
MPEG Stream: "Tide"

album cover KOROUVA Sleepwalker (2009) (Khrysanthoney) lp 19.98
As we mentioned in our review of Korouva's recently reissued Shipwrecks & Russian Roulette record, originally released in 2007, Korouva, aka Miranda Lehman, is probably best know for having that record 'stolen' by black metal provocateurs Velvet Cacoon, but in fact, separate from the hype, it was and is a gorgeous collection of murky, melancholy outsider torch songs, and was in fact the first in a trilogy, of which this is the second part, originally released in 2009, and available again now courtesy of the Khrysanthoney label (and available exclusively from aQuarius), and like Shipwrecks, Sleepwalker is another gorgeously minimal and haunting bit of abstract mood music, Lehman's vocals a mumbled croon, seductive yet mysterious, the music a lush washed out hybrid of haunting chamber folk and brooding slow jazz mesmer, detuned pianos warble though clouds of hiss and static, the melodies lilting and achingly melancholic, tinkling chimes draped over slow chordal swells, and darkly brooding shimmer, faux strings swirling and soaring, everything muddy and murky, giving the proceedings a definite Caretaker vibe, as if these tracks were all culled from some old wax cylinder. Hushed minimal ballads drift into droned out black ambient creeps, which drift into what sounds at times like alternate universe Tom Waits, that sort of Nighthawks At The Diner, dingy dive bar, house band playing mournful laments for all the drunks and lonely hearts, and like on Shipwrecks, there's still a huge gloom/goth vibe, with Lehman's voice reminding us of Chelsea Wolfe and Zola Jesus. But Sleepwalker shows a definite development, slightly more polished, more textured, less lo-fi and raw that Shipwrecks, without losing any of the emotional urgency that made the first record so intense. Gorgeous, haunting, mesmerizing stuff, we of course recommend getting all three, the third will be reviewed on the next list, but you can grab it now (along with the first one, just ask), separate or as a trilogy, all three of these lps come highly recommended!
MPEG Stream: "Marusja"
MPEG Stream: "Close At Hand"
MPEG Stream: "Im Abendrot"
MPEG Stream: "Ghosts"

album cover KOROUVA Unbearable Romance (2011) (Khrysanthoney) lp 19.98
Finally, the third in this series of reissues, of all three full lengths from Miranda Lehman, aka Korouva, who, as we mentioned in our reviews of the first two (Shipwrecks & Russian Roulette and Sleepwalker, which we still have in stock!), is maybe best know for having her 2007 record Shipwrecks & Russian Roulette, appropriated by black metal jokers Velvet Cacoon. We posited that she was probably in on it, and played some part in the hoax, cuz really it worked out for both groups, cementing VC's reputation, and getting Lehman's music out there and into the ears of folks who otherwise might not have discovered her creepy, gothic, piano ballads. And really, this is about as far removed from the black metal of Velvet Cacoon as you could get, hushed and haunting, dark and dreamily druggy, Unbearable Romance recorded four full years after that purloined Shipwrecks lp, yet instead of displaying a more polished production, or more full arrangements, in fact seems to have gone the opposite way, a super stripped down, bare bones, skeletal songsite, of mostly just vocals and piano, recorded live it sounds like, all the sounds bathed in natural reverb, and wreathed in warm swirls of tape hiss, total 4 track bedroom balladry that is so gorgeous. At times, we're reminded of PJ Harvey in fact, albeit super spare and stripped down, a bit like her White Chalk record. In the other reviews we mention Zola Jesus and Chelsea Wolfe as well, and those comparisons are still pretty spot on, fans of either of those women, will find much to love here, but the sounds on Unbearable Romance are much more intimate and personal, the sounds immediate and organic, more than the other two records, this sounds like Lehman is performing just for you, the listener, as if you're curled up in front of her piano, while he serenades you, her harrowing torch songs ghostly and spectral, mysteriously moody and so so lovely. If you bought the other two already, you're gonna want this one too. And if you've yet to check out Korouva, this record will very likely convince you to by all three!
LIMITED TO 200 COPIES, packaged in a thick full color jacket, with an 8 page lyric booklet and a Khrysanthoney insert.
MPEG Stream: "Exceprt 1"
MPEG Stream: "Exceprt 2"
MPEG Stream: "Exceprt 3"

KOROVAKILL Waterhells (Red Stream) cd 13.98
After a long absence, here's a new, third album from these former Napalm Records recording artists, the sometimes very weird Austrian black metal outfit Korova, now rechristened Korovakill. They've always been one of our favorites, playing unclassifiable epic metal with baroque keyboards and downright bizarre male and female vocals (too silly for some, it must be said) that on their first album even reminded us of the Sun City Girls! The album after that dabbled in electronica, ending up even stranger than some of Arcturus' experiments, but with this disc they rely on more standard, blasting black metal techniques, making for probably their most "accessible" release, but definitely still one for fans of the weird in black metal, along the lines of the aforementioned Arcturus, Borknagar, Enslaved, etc. We haven't had this disc long enough to fully comprehend the watery concept at play here, but "Waterhells" seems to refer to a mythology of the sea that ties together the songs (interesting subject matter for a band from the Alps).
RealAudio clip: "Into The Underwhirls"

KORPBLOD Vardens Fard (Nordvis) cd 13.98

album cover KORPERSCHWACHE Evil Walks (Crucial Blast) cd 13.98
The first appearance on the aQ list by these Texas based guitarnoise terrorists, was a recent collaboration with Irish doomdronedirge outfit To Blacken The Pages, but this is the first proper record of theirs we've managed to get enough of to list. And it's a doozy.
Previously a one man band, and previously more of an oozing blacknoise Skullflower psychguitar buzz drone dirge freakout-fit, the band has expanded to a duo (unless the new member is just the drum machine), either way, the sound has definitely shifted gears, less abstract, less noisy, and more industrial, with proper songs; a lurching, lumbering, downtuned chunk of miserable abject slo-mo heaviness. The programmed beats minimal and robotic, the guitars murky and crusty, the vocals a super reverbed and heavily effected demonic croak, the songs, creeping and crawling, haunting and harrowing, shades of the Swans, Godflesh of course, the label compare their sound to Loop crossed with Abruptum, and we can definitely here that in places.
The sound is way less caustic than in the past, and more psychedelic and hypnotic, "Ouroboros: First Lesson", for all its croaked vocals and grim guitar buzz, locks into a looped mesmer and gets downright psychedelic, like Spacemen 3 covered by some basement black metal band, it's pretty bad ass. And a bunch of the tracks follow a similar path, building to a lurching groove and then getting all spaced out hypnorock. Then there's tracks like "The City Of Lost Girls", that are downright pretty, the guitars smoldering, laced with piano, mournful and melancholy, drifty and droney and dreamlike. And even in the harsher jams, hidden amidst all that crunch and pound and howl are strange melodies, unlikely hooks, gorgeous textures, all woven into a dense industrial tinged, blackened psychedelia, that will most likely have lots of you scrambling for all those Korperschwache releases you missed.
Includes a link for a download to a companion record, featuring early/alternate versions and a handful of unreleased tracks.
MPEG Stream: "There Is A Certain Smell Attractive To Wolves"
MPEG Stream: "Ouroboros: First Lesson"
MPEG Stream: "The Rearing Elephant"

album cover KORPSES KATATONIK Oeuvres Completes (Klanggalerie) cd 21.00
The Austrian post-industrial provocateur Michael DeWitt attained notoriety in the mid-'80s for his project Zero Kama whose sole album was sourced entirely from human bones and skulls, with plenty of smoke and mirror production techniques to arrive at a Crowleyian sound parallel to the likes of early Current 93, Coil, and Psychic TV. Beyond the one album as Zero Kama, DeWitt released another obscure recording in 1982 under the moniker Korpses Katatonik. This cassette - sometimes referred to as Sensitive Liberated Autistiks, sometimes as Subklinikal Leukotomy Aphrenia Spasmophilik Lyssophobo Asphyxia Sinister Lethal Anorex - delved into parallel concerns of societal pathologies and death-obsessed transgressions through very dark electronics. It's very much in step with the classic industrial productions of SPK (when is anybody going to reissue those records again?) and the pre-Brighter Death Now project Lille Roger, with blackened squalls of grim noise belched through slow-grinding rhythms and an ominous proclamation that "we're all fucked." Such doomspeak from Industrial Culture was commonplace, but DeWitt's Korpses Katatonik said it with just as much brutalist force and conviction as SPK, TG, and Cabaret Voltaire at their most zombified. All of the tracks from that cassette and a compilation track make up the entire body of work for Korpses Katatonik, which have been remastered and repackaged for this anthology. The template for much of what Wolf Eyes did later is found here. Terrifyingly great.
MPEG Stream: "Nekom"
MPEG Stream: "Kcock Transplant"
MPEG Stream: "Chronozon"

album cover KORT, ALEXANDER Friend OR... (self-released) cd 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Friend OR... compiles the incidental music Alexander Kort composed and performed for a three act play titled FOE which was presented by the University of California - Berkeley's department of theater, dance and performance studies back in 2003. Kort, who also performs with Bay Area groups such as Subtle and Themselves, loosely entwines multiple glacial string movements with the sounds of waves, sputtering rainfall and other mysterious effects and sources. The somber moan and creak of Kort's compositions on this cd bring to mind an antiquated ocean liner listing sleepily on a calm eve. Actually come to think of it this makes for a more spartan companion to Nurse With Wound's very nautical Salt Marie Celeste album. Hauntingly beautiful.
MPEG Stream: "The Dead Captain"
MPEG Stream: "Dream Of The Two Islands"

KORT, ALEXANDER Mother Of Pearl (self-released) cd 11.98
Mother of Pearl is the debut from this North Carolina born, Bay Area based solo electric cellist. Slow, viscous and deeply brooding. The strings' dark tones and textures accumulate and build in cloudlike formations - like a thick rolling fog or a billowing thunderhead. You may have also heard Mr. Kort's work with such varied artists as Sole or Jill Tracy.

KORT, ALEXANDER / KITUNDU Eighteen July Two Thousand Four (self-released) 10" 9.98

KORZYNSKI, ANDRZEJ Man Of Marble OST (Finders Keepers) lp 25.00

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)"

album cover KOSS Silence (Mule Electronic) cd 17.98
'Tis another lovely new release from Japanese producer Kuniyuki Takahashi, aka Koss. We've giving glowing reviews to a couple previous ones, also on Mule: Four Worlds Converge As One (2006) and Ancient Rain (2008); this is just as recommended (welcome back, Koss!). He specializes in wonderfully blissful, pianistic, drone-laced electronica, very much in a quasi-new-agey, Pop Ambient vein. The dozen tracks on this release, with titles like "Watercolors" and "Shadow World", are quite soothing, calm, and spacious. The mix of gentle piano and hushed electronics, slow-moving and graceful, seems inspired equally by Bill Evans and Brian Eno; another reference point would be Harold Budd. Also at times we're reminded of our old friend Koji Asano, but more produced, less experimental. Also in the mix, environmental field recordings - samples of what could be rain, or what could be applause, or what might be the processed sounds of an orchestra warming upÉ Some pieces are more rhythmic, some more abstract; there's variety without disturbing the relaxed mood. Koss maintains a light touch with this deep music and it's perfectly enjoyable.
FYI, vinyl version forthcoming, but this compact disc edition has more tracks.
MPEG Stream: "Dust "
MPEG Stream: "Voyage"
MPEG Stream: "Shadow World"

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!

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