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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 L Holy Letters (VHF) cd 13.98
The mysterious L (actually Japanese folk-psych troubadour Hiroyuki Usui, an ex-member of both Fushitsusha and Marble Sheep) released the Holy Letters album back in 1992, as a cd + 7" set in oversized packaging, on his own Holy Castle label, only to see it fade immediately into obscurity. In the years since, the whole underground Japanese psych scene has grown in popularity, with artists such as Ghost, Acid Mothers Temple, and Nagisa Ni Te among others gaining a measure of popularity and recognition. However, L's lone recording languished in the realm of collector/fanboy rumour, unknown to most, beloved by some and sought after by others. Amongst AQers, both Andee and Allan had finally managed to track down copies of the original edition of L's Holy Letters for themselves (to the tune of $25 or so apiece, yikes!) when it was announced that the VHF label would be reissuing this modern day acid-folk holy grail domestically. This lovely digipack reissue is now here, and comes complete with not only the music from the both the original cd and 7", but also with a seven minute previously unreleased bonus track from the original sessions circa 1989-90! VHF didn't attempt to replicate the original packaging, but does provide a handsome subsitute, in the form of a cardstock sleeve housing the disc and a booklet thick with color photos and liner notes by both Hiroyuki Usui himself and devoted L fan Ben Chasny of Six Organs of Admittance. On the cd, you get about 70 minutes in total of slowly unfolding, sparse and beautiful music, with L taking the listener on an aural trip that includes drones, field recordings, throat singing...and his own otherworldly take on bottleneck slide blues (in fact, the first track is a version of Blind Willie Johnson's "Cold Was The Ground"). There's an introspective Nick Drake feel to this, but it's more abstract and free-floating and eerie than that... Sad and shimmering, these songs/suites will have you believe that ocean waves come lapping up to L's strummed acoustic guitar, while Tibetan monks join in with ritualistic percussion and backing vocals/whispers... There's shades of a Japanese Jandek in L's charmingly atonal vocals (Chasny's gushing liner notes liken them to "a favorite uncle singing knowingly about things you will one day learn"), half-spoken, half-sung, hushed with spiritual import. Everything on here was played by L (guitars, bass, vibes, drums, organ, harmonium, etc.). In addition there's a guest cellist on one track and electric guitar on another (by Taku Sugimoto).
We really can't argue with the assesessment that VHF themselves give this: "For anyone who's into Richard Youngs, Popol Vuh, Six Organs of Admittance, Tim Buckley, acid-folk, or Japanese underground, this is an essential purchase." Of special note to Six Organs fans, actually, since Hiroyuki Usui will be releasing a record in collaboration with Six Organs sometime next year...Chasny must be in heaven! A few weeks ago we made Drag City's reissue of Ghost leader Masaki Batoh's solo cd our Record Of The Week. This belongs on the same pedestal with the best of Ghost and Batoh, so if you like those folks, please don't miss this.
MPEG Stream: "Blues Trip #2"
MPEG Stream: "Holy Letter"
MPEG Stream: "Troll"

album cover L'ACEPHALE Decollate (Black Horizons) cassette 8.98
The Northwest's harshest militaristic horde returns with this cassette-only collection: five tracks (including three covers!) of hateful in-the-red black metal, grim neo-folk and crumbling black ambience. Opening ominously with an eerie choral wail, before launching into an overwhelmingly noisy cover of Emperor's "Ye Entrancemperium" (complete with an actual sample of the original's spoken word intro), dragging this classic regal monument of symphonic black metal into the realms of clattering lo-fi, taking a song that was already labyrinthian and opaque and plunging it into even murkier, more impenetrable depths. "Sleep Is The Enemy" is by contrast simpler, but that's not to imply it's any easier of a ride - opening with the foreboding ticking and chiming of some monstrous clock before emerging as a massive tuneless dirge that shifts into a wall of frantic blasts, buried subliminal growls and ghostly breathy whispers, but always returning to the dreamy surreal horror of that looming haunted chime. L'Acephale's take on Darkthrone's "As Flittermice As Satans Spys" (easily one of the best/weirdest BM song titles ever) is the biggest departure here - building this timeless piece of simplistic shadowy black metal into a grim neo-folk march, complete with the rapid strum of a mandolin, cracking militaristic thuds and inhuman howling. "Passing Into Sleep" is an atmospheric wash of moss-flecked black ambience. The single deathly groaning note of a haunted piano tolls endlessly underneath a wall of droning loneliness, creaking and shifting under the weight of its distant feedback and echo drenched operatic vocals. Closing out the proceedings is a reworking of Current 93's "Let Us Go To The Rose" (here translated into the French "Allons Vior Si La Rose"), taking the sparse folk melodies of the original and letting them drift hazily over a minimal, mid-paced, very Burzum-esque drum beat, before morphing into a churning trance of grinding tremolo guitars and furious blasts. And as this is being put out by Black Horizons it goes without saying that the packaging is minimal and beautiful, even including a miniature black and silver printed poster, incorporating the original artwork from Darkthrone's Transilvanian Hunger into an abstract surreal collage.

album cover L'ACEPHALE Malefeasance (Aurora Borealis) cd 17.98
They may have taken two years between their first and second records, but here comes number three, mere months after we raved about number two, Stahlhartes Gehause. Malefeasance is another stunner, again mixing all manner of experimentation and soundscapery with a core grim black buzz, but L'Acephale move ever farther from the constricting tropes of black metal here, instead utilizing those sounds and styles to their own end, i.e. creating some of the most mysterious and darkly compelling abstract buzz drenched heaviness we've heard in ages.
Where Stahlhartes Gehause was still essentially a black metal record, Malefeasance feels like anything but, with much of the record buzz-free, and even when the band do create some seriously harrowing grimnity, it's abstract, and obtuse, avant even, bordering on a sort of sculpted noise, utilizing bits of blackness to enhance each track's mood and menace.
Album opener "Vainamoinen Nacht" is an epic 10 minute chunk of blackened drift, hushed and shimmery, laced with strange samples and nits of found sound, ominous and haunting, eventually, the song culminates in a flurry of hiss and static and crunch, leaving just some strange bit of European choral music. The following track, "Hitori Bon Odori", harkens back to L'Acephale's Mord Und Totsclag record, offering up some apocalyptic folk, replete with steel string strum and martial snares, whirling winds, and deem ominous wordless vocals. "A Burned Village" is the first time the band explore any black metal, although the track begins with a haunting funereal drum dirge and deep monk like chanting, which continues throughout the track, which consists of buzzing insectoid riffage, harsh vokills, and no traditional blasting drum beats, instead, more martial snares and that same opening percussion. Heavy for sure, and black, but not necessarily metal, more like some sort of metallic black ambience.
The last three tracks, clocking in at 18:09, 14:17 and 23:00 respectively, make up the bulk of the record, the first, "From A Miserable Abode" explodes in a squall of swirling downtuned guitars, super distorted and saturated vocals, a heaving Merzbowian freakout, tons of effects and stuttering sonic fragments, there do seem to be drums, but they're buried in the mix, instead the track seems to expand ever outwards, a huge dense cloud of frenzied sound, all underpinned by a moaning, keening high end drone, which later on reveals itself as a bagpipe or some sort of horn, the metal and noise fading out, leaving just a glorious Eastern style high end ur-drone, mesmerizing and meditative and very very mysterious. "Sleep Has His House" is another 'metal' track, but again, there seems to be very little forward momentum, very little propulsion, instead, the band whip up supercharged drifts of noise drenched high end skree, while underneath, a guitar is locked in a motorik hypnotic loop, the result a sound like some Finnish forest drone folk outfit remixed by some harsh noise combo, the two disparate elements melding into something wholly original and hauntingly listenable.
Finally, the record closes with the 23 minute "Nothing Is True, Everything Is Permitted", a deep drone / soft noise exploration, beginning with some subsonic rumbles, some streaks of feedback and brittle high end, and finally an extended doom folk dirge outro, a simple minor key guitar figure over a backdrop of his and whir, the whole thing strangely textural and visceral, ominous and dense with menace.
It's definitely strange that what might be the best L'Acephale record so far, also happens to be the least metal. So much so that we can only recommend this to the most adventurous of metalheads (which we like to think would be the majority of metal loving folk that read the aQ list), but fair warning to the rest, that this is not really a black metal record at all, instead, it's some gloriously abstract, blackened ritualistic collection of dark metallic drift and alchemical doom folk, of blacknoise and apocalyptic dronemusik, and thus, metal or not, is WAY recommended.
MPEG Stream: "From A Miserable Abode"
MPEG Stream: "Vainamoinen Nacht"
MPEG Stream: "Hitori Bon Odori"

album cover L'ACEPHALE Malefeasance (Aurora Borealis) 2lp 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW AVAILABLE ON VINYL! This killer chunk of avant outsider black metal mystery, carved into two slabs, a super deluxe 180 gram double lp, housed in a super thick jacket, with a big two sided poster, a 20 page full color booklet, LIMITED TO ONLY 500 COPIES!!!
They may have taken two years between their first and second records, but here comes number three, mere months after we raved about number two, Stahlhartes Gehause. Malefeasance is another stunner, again mixing all manner of experimentation and soundscapery with a core grim black buzz, but L'Acephale move ever farther from the constricting tropes of black metal here, instead utilizing those sounds and styles to their own end, i.e. creating some of the most mysterious and darkly compelling abstract buzz drenched heaviness we've heard in ages.
Where Stahlhartes Gehause was still essentially a black metal record, Malefeasance feels like anything but, with much of the record buzz-free, and even when the band do create some seriously harrowing grimnity, it's abstract, and obtuse, avant even, bordering on a sort of sculpted noise, utilizing bits of blackness to enhance each track's mood and menace.
Album opener "Vainamoinen Nacht" is an epic 10 minute chunk of blackened drift, hushed and shimmery, laced with strange samples and nits of found sound, ominous and haunting, eventually, the song culminates in a flurry of hiss and static and crunch, leaving just some strange bit of European choral music. The following track, "Hitori Bon Odori", harkens back to L'Acephale's Mord Und Totsclag record, offering up some apocalyptic folk, replete with steel string strum and martial snares, whirling winds, and deem ominous wordless vocals. "A Burned Village" is the first time the band explore any black metal, although the track begins with a haunting funereal drum dirge and deep monk like chanting, which continues throughout the track, which consists of buzzing insectoid riffage, harsh vokills, and no traditional blasting drum beats, instead, more martial snares and that same opening percussion. Heavy for sure, and black, but not necessarily metal, more like some sort of metallic black ambience.
The last three tracks, clocking in at 18:09, 14:17 and 23:00 respectively, make up the bulk of the record, the first, "From A Miserable Abode" explodes in a squall of swirling downtuned guitars, super distorted and saturated vocals, a heaving Merzbowian freakout, tons of effects and stuttering sonic fragments, there do seem to be drums, but they're buried in the mix, instead the track seems to expand ever outwards, a huge dense cloud of frenzied sound, all underpinned by a moaning, keening high end drone, which later on reveals itself as a bagpipe or some sort of horn, the metal and noise fading out, leaving just a glorious Eastern style high end ur-drone, mesmerizing and meditative and very very mysterious. "Sleep Has His House" is another 'metal' track, but again, there seems to be very little forward momentum, very little propulsion, instead, the band whip up supercharged drifts of noise drenched high end skree, while underneath, a guitar is locked in a motorik hypnotic loop, the result a sound like some Finnish forest drone folk outfit remixed by some harsh noise combo, the two disparate elements melding into something wholly original and hauntingly listenable.
Finally, the record closes with the 23 minute "Nothing Is True, Everything Is Permitted", a deep drone / soft noise exploration, beginning with some subsonic rumbles, some streaks of feedback and brittle high end, and finally an extended doom folk dirge outro, a simple minor key guitar figure over a backdrop of his and whir, the whole thing strangely textural and visceral, ominous and dense with menace.
It's definitely strange that what might be the best L'Acephale record so far, also happens to be the least metal. So much so that we can only recommend this to the most adventurous of metalheads (which we like to think would be the majority of metal loving folk that read the aQ list), but fair warning to the rest, that this is not really a black metal record at all, instead, it's some gloriously abstract, blackened ritualistic collection of dark metallic drift and alchemical doom folk, of blacknoise and apocalyptic dronemusik, and thus, metal or not, is WAY recommended.
MPEG Stream: "From A Miserable Abode"
MPEG Stream: "Vainamoinen Nacht"
MPEG Stream: "Hitori Bon Odori"

album cover L'ACEPHALE Mord Und Totsclag (Aurora Borealis) cd 15.98
A year or so back, a strange and mysterious cd was left for us to listen to. An oversized black package adorned with a cryptic white woodcut, all sorts of strange text, in other languages. It took us forever to get around to it, but once we did we were kicking ourselves BIG time. One of the most amazing slabs of buzzing black grimness EVER. With lots of weird ambient and acoustic stuff mixed in. So we got in touch with the band to order a whole bunch, but unfortunately, it was limited to 100 copies and was gone gone gone.
So here we are a while later and in swoops Aurora Borealis to save the day, reissuing that very same cd-r, as an actual cd, in a a super swank dvd style case, with a printed slipcover, as well as a bunch of inserts and even a poster. But all that stuff is just extra, it's the creepy fucked up black damage inside that we're most concerned with.
A French band name, a German album title, but the band is in fact from Portland, which is a bit unexpected once the filthy black fog of Mord Un Totschlag comes creeping out of your speakers. The guitars are harsh and buzzing, super high end, whirling and furious, with strange little epic melodies and harmonies surfacing here and there, but for the most part, each track is an extreme blast of buzzing blackness, the drums barely there, a constant pound way down in the mix, and the vocals, even more brittle and acidic than the guitars, threatening to overwhelm everything, a harsh hateful hissy howl. Repetitive and hypnotic, epic and majestic, and ultra grim and raw. Lo-fi but still heavy and relentless.
These black blasts are separated by haunting stretches of apocalyptic folk, which makes a bit of sense when you realize the band features at least one member of Blood Axis and Waldteufel. Dark, dolorous, downtuned guitars strewn over vast expanses of murk and grime, haunting vocals, crumbling industrial ambience, tolling bells, the final track, "Euntes Ibant Et Flebant" is a black ambient epic, a spare sonic wasteland, with angelic vocals buried in the mix, what sound like bombs exploding in the distance and random low end disturbances way way off, rain, thunder, disembodied voices, simple muted percussion, angular guitars drenched in reverb, a gorgeous sprawl of wartime shimmer, of dismal desolate ambience.
The record seems to center around the 21 minute "Against A Weeping Sea Of Sleep" which begins as a white hot burst of hellish hateful buzz, the vocals AND guitar blown out almost to the point of becoming pure white noise, until the buzz dissipates, giving way to a simple funeral strum, over a shifting shimmering soundscape of ghostly vocals, and industrial whirs, until the buzz returns, but it's been transformed into a wispy sheet of sound which is draped over a swirling sea of mournful melodies and strummed flamenco sounding guitar, as well as that original steel string dirge, strangely lovely and haunting. The perfect combination of L'Acephale's two seemingly disparate sonic sides.
Packaged in a dvd style case, housed in a cardstock slipcover, with a huge booklet featuring tons of intense woodcuts, random text, notes on each song, photos, diagrams and drawings, as well as a fold out black and white mini poster.
MPEG Stream: "Terror Is Our Tenderness"
MPEG Stream: "The Book Of Lies"
MPEG Stream: "Heartless & Miserable"

album cover L'ACEPHALE Stahlhartes Gehause (Parasitic) cd 12.98
It's taken two years, but L'Acephale have finally returned. This Northwestern black metal horde, whose debut was a massive hit around here, after it mysteriously showed up one day, has risen from the murk once again, dragging an army of decaying flesh with them, hidden from view in the Cascadian forests, the then proceeded to conjure up all manner of sounds and spirits, capturing them only to flay them alive, spread them out beneath a black sun, guts and all, carefully and meticulously crafting the sonic abomination that is this, their second blackened gospel. Another disturbing hybrid of militaristic martial folk, and furious blasting raw blackness, four songs, long songs, the shortest 12 minutes, the longest nearly 25, the opening, a haunting bit of sampled vocals, militaristic percussion, dense drones, haunting chorales, that goes on for nearly six minutes, building the tension, sprawling out like some black military slowly moving machine like toward their next conquest, until finally, the band explode into action, a black cloud of furious buzzing riffage, blasting beats, grunting growling vocals, all wound up into a woozy dizzyingly blasting bit of lurching blackened metal. And then out of nowhere, the buzz and blast drop away, leaving some dark folk, soft strumming, crooned dramatic vocals, moaning violin, the sound definitely reminiscent of Der Blutharsch or Death In June (or perhaps Blood Axis or Waldteufel, seeing as Markus Wolff, one of the drummers, plays in both), gorgeous and languid and darkly haunting, until the rest of the band joins in, splattering the tranquility with chaotic blasts of wild drumming, and more frenetic riffing, finally dropping out, leaving just the sound of wind, and a woman, singing some sort of folks song. Really intense and mysterious. And that's just the first song!
The other three tracks are just as dense and tangled, with sampled soundtracks, to convoluted Deathspell style blackness, laced with haunting acoustic guitars, the band locking into some seriously intense bursts of mathy buzz, languid stretches of string laced dark ambient folk, simple strum, and mournful melodies, soaring epic sounding black doom, majestic and mighty, super chaotic black psychedelia whipped into a frenzy and wrapped around a women's chorus, like some fucked up black metal opera, deep lumbering minimal drones, sprawling out endlessly, beneath strange bits of creak and groan, and deep intoned voices, some sort of incantation, creepy bits of piano parlor music, all wrapped up in, and surrounded by, jagged shards of grim frosty blackened buzz.
A seriously twisted and magickal collection of ritualistik black art, a litany of musical blasphemies, as lovely and mysterious as they are hellish and haunting. A black covenant scrawled in flesh and blood, and rendered in pure audial evil.
Incredible packaging, 6 panel digipak, with a massive booklet, which tons of diagrams, photos, lyrics, liner notes, as well as text about the meaning behind each song.
MPEG Stream: "Stahlhartes Gehause"
MPEG Stream: "Psalm Of Misery"

album cover L'ACEPHALE Stahlhartes Gehause (Pesanta Urfolk) 2lp 29.00
The second full length from this Northwestern, militaristic folk flecked black metal horde, originally released on cd back in 2009, has now been reissued on vinyl, by the always kick ass Pesanta Urfolk label (who also released the Hell II lp reviewed elsewhere on this week's list), two records pressed on super thick, gorgeously colored vinyl, the D-side etched, housed in a super deluxe heavy, spot-varnish printed, full color gatefold sleeve, with a heavy cardstock printed hand numbered 12"x12" insert, and a thick 7"x7" booklet with lyrics and liner notes. And of course it's EXTREMELY LIMITED, just 650 copies pressed! Here's what we had to say about the record when we first reviewed the cd version a few years back...
L'Acephale have finally returned. This Northwestern black metal horde, whose debut was a massive hit around here, after it mysteriously showed up one day, has risen from the murk once again, dragging an army of decaying flesh with them, hidden from view in the Cascadian forests, the then proceeded to conjure up all manner of sounds and spirits, capturing them only to flay them alive, spread them out beneath a black sun, guts and all, carefully and meticulously crafting the sonic abomination that is this, their second blackened gospel. Another disturbing hybrid of militaristic martial folk, and furious blasting raw blackness, four songs, long songs, the shortest 12 minutes, the longest nearly 25, the opening, a haunting bit of sampled vocals, militaristic percussion, dense drones, haunting chorales, that goes on for nearly six minutes, building the tension, sprawling out like some black military slowly moving machine like toward their next conquest, until finally, the band explode into action, a black cloud of furious buzzing riffage, blasting beats, grunting growling vocals, all wound up into a woozy dizzyingly blasting bit of lurching blackened metal. And then out of nowhere, the buzz and blast drop away, leaving some dark folk, soft strumming, crooned dramatic vocals, moaning violin, the sound definitely reminiscent of Der Blutharsch or Death In June (or perhaps Blood Axis or Waldteufel, seeing as Markus Wolff, one of the drummers, plays in both), gorgeous and languid and darkly haunting, until the rest of the band joins in, splattering the tranquility with chaotic blasts of wild drumming, and more frenetic riffing, finally dropping out, leaving just the sound of wind, and a woman, singing some sort of folks song. Really intense and mysterious. And that's just the first song!
The other three tracks are just as dense and tangled, with sampled soundtracks, to convoluted Deathspell style blackness, laced with haunting acoustic guitars, the band locking into some seriously intense bursts of mathy buzz, languid stretches of string laced dark ambient folk, simple strum, and mournful melodies, soaring epic sounding black doom, majestic and mighty, super chaotic black psychedelia whipped into a frenzy and wrapped around a women's chorus, like some fucked up black metal opera, deep lumbering minimal drones, sprawling out endlessly, beneath strange bits of creak and groan, and deep intoned voices, some sort of incantation, creepy bits of piano parlor music, all wrapped up in, and surrounded by, jagged shards of grim frosty blackened buzz.
A seriously twisted and magickal collection of ritualistik black art, a litany of musical blasphemies, as lovely and mysterious as they are hellish and haunting. A black covenant scrawled in flesh and blood, and rendered in pure audial evil.
LIMITED TO JUST 650 COPIES!!
MPEG Stream: "Stahlhartes Gehause"
MPEG Stream: "Psalm Of Misery"

album cover L'ACEPHALE The Book Of Lies (Parasitic) 7" 4.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Yet another new (to us at least) release from Northwestern apocalyptic folk / black metal horde L'Acephale, whose new record Stahlhartes we raved about on the last list. These two tracks were recorded back in 2005, when this record was actually released, predating even their first demo / full length Mord Und Totsclag.
And anyone who dug either or both L'Acephale's records will probably need this too. Both tracks unreleased, exclusive to this single, not so much folk here, instead, barring some creepy choral intros and a haunting ambient hymn like outro, this is full on raw and harsh old school black metal, furious and frenetic, pounding and thrashing and blasting, the vocals chaotic and off kilter, the riffage brittle and buzzy, the drums dense and often buried in the mix. There are some strange arrangements, some almost militaristic breakdowns, a bit of post rocky mathiness here and there, but those moments are subtle and barely discernible within L'Acephale's blown out sonic squall, a furious and relentless, grim and blackened two part plague delivered from the depths... glorious, soul shearing pestilence in sound.
Beautiful packaging, a black and red gatefold sleeve, with lyrics, credits, some amazing black and white photos of skulls and catacombs, also a printed insert, pressed on red vinyl, and limited to 1000 copies, each one hand numbered (and the numbers are getting up there, so odds are these are almost gone).

L'AUGMENTATION (Pickled Egg) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Extremely likable Birmingham space-pop for fans of Pram, Broadcast, and Stereolab. We like Pickled Egg's releases so much we imported these straight from the UK.

album cover L'INFONIE Vol. 333 (Tir Groupe / Mucho Gusto) 2cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This swank double cd reissues the 1972 third album from Canada's craziest new music/psychedelic rock collective, the anarchic L'Infonie which flourished from '67-'74. (Giving you some clue about their methodical madness, their other LPs were titled "Vol. 3", "Vol. 33", and "Vol. 3333", of which only the first has also been reissued on cd as yet -- we recommended it here back in '01.) Hailing from Montreal, Quebec these academic avant-garde freaks mixed classical chamber music, acid fuzz rock, weird warbling vocal babble, jazzy groove, free improv, musique concrete, prog overload, etc. etc. into a confusing, chaotic, comedic happening that should appeal equally to Terry Riley and Zappa fans. I know sometimes mentioning Zappa is the kiss of death, so don't take it the wrong way. Let's mention some other stuff this reminds us of, in part: Soft Machine Goblin New Trolls Univers Zero Faust Mahogany Brain Art Zoyd Nurse With Wound. This is pretty darn cool and weird and original, bizarrely funny sometimes and simply strange and beautiful on other occasions. Disc one is more "rock", disc two more "classical." What it all means, I don't know -- there's lotsa liner notes, but useful only to the francophones among us.
MPEG Stream: "Section 19-23"
MPEG Stream: "Ubiquital"

L'INFONIE Volume 3 (Tir Groupe / Mucho Gusto) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
On the same label that reissued that weird Les Maledictus Sound album, comes this even weirder French-Canadian late '60s artifact. But this isn't really like the pop-psych commerical craziness of the Maledictus disc. L'Infonie was a much more avant-garde group, playing psychedelic-rock infused "new music", mixing Moog synths, primal screams, 20th century academic experimental chamber music, and more, over the course of their 1967-1974 career ("seven years of pure mayhem" say the liner notes), the weirdest and wildest examples of which seem to be compiled onto this cd. Youthful anarchic energy and serious somber musical beauty are simulanteously evident here. Terry Riley fans may already know L'Infonie as the student group who performed a somewhat more psychedelic than usual version of his minimalist classic "In C", which is found on the Cortical Foundation cd version of Riley's Reed Streams.
RealAudio clip: "J'ai perdu 15 cents dans le nez froid..."
RealAudio clip: "Ode a L'Affaire -- Ouverture"
RealAudio clip: "Viens danser le 'OK La!'"

L'ORCHESTRE KANAGA DE MOPTI s/t (Kindred Spirits) lp 19.98

album cover L'ORCHESTRE NATIONAL A DE LA REPUBLIQUE DU MALI s/t (Mississippi) lp 14.98
**MISSISSIPPI RECORDS ALERT**
One of two new Mississippi Records releases this week, this one from L'Orchestre National De La Republique Du Mali, one of several groups (this one designated 'A' as they were the first) organized as the National Orchestra for Mali, on the heels of Mali's independence, featuring the best musicians in the country, each sworn to "serve their country by contributing with all their genius to the protection and revalorization of Malian musical art". As not all the musicians could perform in the same band, thus were born the different National Orchestras, those designated 'B' and 'C'.
This version of Mali's National Orchestra was led by legendary Malian musician Keletigui Diabate, and the record is so fantastic, lush and melodic, with warm lustrous guitars, gorgeous vocals harmonies, and while most of the record is festive and celebratory, there are a few tracks that are a bit darker, more minor key, and those are the ones that definitely stand out, "Janfa" is the tale of a lost love, and sounds like it, intense and dramatic and melancholy, with some incredible and complexly melodic guitar playing, while "Duga" is an extended almost Ethiopian style groove, with tendril like guitars, incredible sung/spoken vocals, emotional and moving, the whole thing strangely and subtly psychedelic, those tracks perfectly balancing the rest of the records ebullience. So good.
Pressed on super thick vinyl, and housed in a heavy full color sleeve, the back featuring the liner notes from the original release.

L'USINE s/t (Isophlux) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
An interesting discovery in the overcrowded IDM genre (intelligent dance music); densely programmed melodies and rhythmmic elements building into impressively catchy grooves recalling Richard D. James' 'Polygon Window' and the more recent works of Autechre.

album cover L. PIERRE Dip (Melodic) cd 14.98
Dip is quite possibly Aidan Moffat's most expansive and varied L. Pierre release to date. So much so that it's easy to get lost in and forget who you're listening to. It's quite unlike anything we've heard from him (either on his previous L.Pierre and Lucky Pierre recordings or his other band Arab Strap's). With considerably more forward motion and development, each of the six tracks certainly seem far less loop-centric than 2005's Touchpool. Super pretty at times quite majestic.
MPEG Stream: "Gullsong"
MPEG Stream: "Drift"

album cover L. PIERRE Dip (Melodic) lp 14.98
Dip is quite possibly Aidan Moffat's most expansive and varied L. Pierre release to date. So much so that it's easy to get lost in and forget who you're listening to. It's quite unlike anything we've heard from him (either on his previous L.Pierre and Lucky Pierre recordings or his other band Arab Strap's). With considerably more forward motion and development, each of the six tracks certainly seem far less loop-centric than 2005's Touchpool. Super pretty at times quite majestic.
MPEG Stream: "Gullsong"
MPEG Stream: "Drift"

album cover L. STINKBUG The Allure Of Roadside Curios (Starlight Furniture Co.) cd 13.98
Nels Cline is the man. He's not only a super-nice guy, but of course also a brilliant avant-garde guitarist, equally at home with ECM jazz as Sonic Youth noiserock. L. Stinkbug is the (odd) name of his band with fellow LA guitar maestro G.E. Stinson, bassist Stuart Liebig, and drummer Scott Amendola. Improv, improv, improv is what they've been doing together since 1997. Loud and noisy, with rock grooves (thanks to Amendola), thence to quiet jazz moments. This disc features four long tracks, flexing and stretching and splattering all over the place. There's ambient sections of noir-ish mystery, plenty of tinkering sounds of things in their strings, and outright intense noise-scorch when they build up to it. These guys are really into preparing their guitars and basses and drums with a variety of unusual objects (Cline, Stinson, Liebig and Amendola are credited, respectively, with the use of implements, applied tools, stuff, and hair. Hair?). Tools, implements, and stuff like chopsticks, springs, Nels' famous egg whisk, an electric drink stirrer, custom-made doodads, etc. And then there's all the effects they run their guitars through on top of that. L. Stinkbug: for all your avantguitarimprov "extended techniques" playin' needs!
Recorded live at Bruno's, just around the corner from us here at Aquarius. Can't imagine the usual yuppie Bruno's crowd would have liked this one bit!
RealAudio clip: "Chopped Up And Laid End To End"
RealAudio clip: "Beacon"

album cover L.A. VAMPIRES & MARIA MINERVA Integration (Not Not Fun) lp 14.98

L.A.F.M.S. Unboxed (Cortical Foundation) cd 15.98
Excellent sampler of the limited and prohibitively priced Los Angeles Free Music Society box set. From noise to spoken word rants to sappy jazz to avant garde audio fuckery.

L.I.K. The Second Wind (Razed Soul) cd 13.98

L.O.S.D. 7 Songs 77 Frequencies: The Lower Range (Staalplaat) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Like the antithesis of Ryoji Ikeda, here's a disk to check the power of your subwoofer, for all the sine wave rockers out there. Seven tracks, the first beginning with a 25hz sweep and steadily increasing the pitch over 77 increments of 3hz each. To be sure, there are some high pitch tones and a bit of mid range thrown in to boot to give the rest of your speakers a workout as well as some jittery rhythmmic noise to shake up the mix. For fans of the above mentioned, Coh, Noto, and Byetone.

L.O.S.D. The Man Who Made Radio / Mort Aux Vaches (Staalplaat) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
L.O.S.D.'s contribution to the recently prolific Mort Aux Vaches series (which includes John Duncan, Stillupsteypa, Zoviet France, Maeror Tri, etc...) is more of an aural documentary of neo-historicism which fuses primitive hiss, noise, and static from shortwave radio broadcasts with a running narrative of flowing vocal samples offering a fascinating history of the birth of the radio.

L/A/Z/Y Obsession (Moniker) lp 15.98

album cover L/R When I Lift I Can Feel My Sunburn Singing (Paha Porvari) cd-r 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We're so excited to finally be holding this long in the works release in our grubby little paws. A long term collaboration between Loren Chasse and Ray Guillette, When I Lift I Can Feel My Sunburn Singing was originally intended to be released as a picture disc on tUMULt, but through a series of strange circumstances, the picture disc series was put on hold indefinitely, and the L/R record just sort of languished on a dusty shelf somewhere, which was an absolute shame as this is a beautiful piece of work. Thankfully, the folks at Paha Porvari tracked this record down and decided to give it a proper release. While we sort of wish they had pressed this as a real cd, the cd-r format's transitive nature is perfectly suited to the record's sound and theme.
Culled from a series of field recordings collected at the site of a ruined factory in South San Francisco way back in 1996, When I Lift I Can Feel My Sunburn Singing is the document of several live performances in 1997 and 1998 assembled from those sounds.
L/R explore a world of thick washed out drones, swirling seas of whir, gorgeously shimmery expanses of sun dappled sound, all peppered with crackle and glitch, cavernous windblown soundscapes, haunting metallic chimes and muted percussive events, jagged shards of sound, recontextualized into haunting rhythmic grooves, a constantly shifting soundworld of mystery and magic, alternately jagged and caustic, soothing and dreamlike. Incredible stuff!
Gorgeously packaged in an oversized black on black cardstock sleeve, inside lots of beautiful full color inserts, drawings and etchings and paintings reproduced on super nice paper, as well as two delicate vellum inserts with liner notes and credits.
MPEG Stream: "One"
MPEG Stream: "Two"
MPEG Stream: "Three"

album cover LA BARBARA, JOAN Voice Is The Original Instrument (Lovely) 2cd 26.00
Lovely has done a good thing and reissued some classic Joan La Barbara recordings from the seventies along with some rarities from the eighties to boot. When it comes to extended vocal technique, La Barbara is the queen. Not only can she boast a lengthy career as one of the top vocal performers in the avant garde and a strong resume of academic compositions, but she's even got a film credit as the voice of one of the evil baby aliens in Alien Resurrection. How many performers of her stature in academia can claim to have voiced a slimy little puppet? Not many we'd guess. The set is divided up into an "Explorations" disc and "The Music" disc, and includes her entire 1976 self-released album "Voice Is The Original Instrument". The "Explorations" half is all live, and/or real time, solo voice performances. None of them use any form of processing (digital or otherwise) of the voice and as such are not just intimate, but down right claustrophobic to listen to. Reactions here in the store (from customers and staff alike) range from extreme discomfort to uncontrolled mirth. Andee said that this was the kind of stuff he liked to do as a kid. La Barbara's vocalizations range from slow hooting glissandos like a breathing exercise gone awry to feral animal-esque growls. The second disc, while including much of the same vocal techniques as the first, contains La Barbara's studio works using multi-tracks to over lay multiple overdubbings of growls and such on tape. A definite must for fans of sound poetry.
MPEG Stream: "Circular Song"
MPEG Stream: "Twelvesong"

album cover LA BIG VIC Actually (Underwater Peoples) lp 17.98
We had never heard of La Big Vic before, but from what we had read, it was an unlikely supergroup of sorts, with a frontman that once fronted a Japanese J-Pop band and produced hip hop records and commercials before moving to the US. There's also some sort of Pink Floyd connection, and the label described La Big Vic as a sort of RnB hip hop thing, which we were imagining was more of that current strain of weirdo sonic explorers who take elements of those genres and twist them all up into something new, which is actually a bit closer to the truth.
Opener "LYNY" is more a sort of washed out psychedelic dream pop, garbled samples, swirling effects, warm woozy melodies, hazy ethereal vox, with some softly cacophonous crescendos that soar and shimmer majestically, and that sound definitely informs much of the record, the second track "Heyo (Silver Morning)", takes the hazy psychedelic shimmer of the opening track and adds some skittery rhythms, some strange clanking percussion, spidery guitars, again all burred and smeared into something dreamy and blissed out. There's some sax that surfaces near the end, and begins showing up more as the record progresses. Which depending on your feelings toward the sax, may affect your feelings towards La Big Vic.
And so it goes, there are moments that do seem to dabble into a sound more RnB rooted, but only just barely, the vibe is way more lysergic and warped, that sax, actually begins to make more sense as the record progresses, there's some cool angelic female vox too, and at least one track that downright rocks, all super shoegazey and sounding like an alternate soundtrack for the Breakfast Club, finally finishing off with a nearly 11 minute closer, a stripped down skittery ballad, wreathed in warm whirring synths, and swirling soft focus effects, the most hypnotic song on the record for sure, channeling a little space/dirge/drone rock into their synth drift, finishing with some wild tangled psych guitar and Carpenter like pulsing synths.
Tripped out psychedelic abstract RnB synth weirdness, that should most definitely appeal to fans of the usual subjects: James Ferraro, Gary War, Ariel Pink, How To Dress Well, D'Eon and all the rest...
MPEG Stream: "LYNY"
MPEG Stream: "Heyo (Silver Morning)"
MPEG Stream: "FAO"

LA BIG VIC Dub The World! Actually Revisited (Underwater Peoples) lp 17.98

LA CASA, ERIC Air Ratio (Sirr) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MPEG Stream: "One"
RealAudio clip: "Two"
MPEG Stream: "Three"
MPEG Stream: "Four"

LA CASA, ERIC L'empreinte de L'ivress (Digital Narcis) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Eric La Casa - who has also recorded as Syllyk - presents these elemental recordings from mineral ore, electrical buzz, and aquatic field recordings (from the coasts at both the North and Adriatic Seas) ebb and flow against ascending metal drones from a number of Tibetan bowls and bells. Quite lovely in fact.

LA CASA, ERIC Les Pierres du Seuil 4-7 (Edition ... ) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Eric La Casa is a French sound artist primarily interested in curating unprocessed field recordings, which are usually of the most common natural element of minerals, wind, and water. With only the contextualizing resources of the recording level and the narrative position, La Casa masterfully reveals the volatile sonic properities of seemingly inert substances. If you're a fan of Chris Watson's incredible field recordings, you should certainly check this one out.

LA CASA, ERIC The Stones Of The Threshold (Ground Fault) cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Eric La Casa (who has previously recorded as Syllyk) presents two collages of layered (and not really processed) field recordings that bookend a lengthy composition for wood, breath, and Tibetan bowls. La Casa may not have the Midas touch to field recordings that Chris Watson has been blessed with, but he has a remarkable ear that enables him to collage his textural recordings within an evocative context.

album cover LA CASA, ERIC / CEDRIC PEYRONNET Zones Portuaires (Herbal International) 2cd 17.98
There was a highly dubious rumor going around that some sound ecologists boasted that they could identify the exact locations of water recordings based on the specific aural characteristics of mineral content, salinity, acidity, and whatnot. An obvious pile of bullshit, if we ever heard one; but we'd like to witness the ensuing debate of two blowhards making fools of themselves trying to argue that this sound of water came from Bangalore and not Brazil. Proof that two refined artists can hear totally different things from the same locations is found on Zones Portuaries. Here are two French modern-day concrete artists who use field recordings as the building blocks in composition; and both have done so for well over two decades having blossomed in the wake of the cassette culture of the '80s. Peyronnet may be better known as Toy Bizarre, whose prolific output clock in at over 200 compositions, all of which given the unwieldy and unknowable acronym "kdi dctb" followed by the corresponding number. La Casa did use the moniker Syllyk way back when, but probably nobody remembers that one. These two artists based their compositions on original recordings that were made in the same two cities (La Harve in France and Liege in Belgium) during the same year (2010, if you must know). La Casa's clamorous sounds from Le Havre give the impression of that city being a labyrinth of massive steel doors whose battleship resonance and squeaking hinges are constantly monitored by sensors and alarms. It's a very claustrophobic experience, and the Belgian recordings are equally as monolithic if more based on pneumatic motors and pressurized hissings, with a bit more of the environmental ambience (e.g. birds, foghorns, people yelling into walkie-talkies, etc.). Peyronnet's opening piece is a remix of La Casa's source material from Le Havre, reprising those same metal door bangings and oscillating alarm calls, although Peyronnet is far more likely to extract a particular frequency to build an alien drone suspended throughout the piece. His other two pieces adopt this strategy with compacted layers of hiss, grit, echo, and fizz that twist and bend with phase patterning undulations. Yeah, these are two totally different interpretations of the same locale; and both are riveting in their organic / synthetic amalgams of the urban environment.
MPEG Stream: ERIC LA CASA "Liege 2"
MPEG Stream: ERIC LA CASA "La Havre 2"
MPEG Stream: CEDRIC PEYRONNET "kdi dctb 258 [b]"

LA COFRADIA DE LA FLOR SOLAR s/t (World Psychedelia Ltd) cd 17.98
Argentinian psych from '71 with some nice fuzz bits!

album cover LA DRIVERS UNION POR POR GROUP, THE Por Por: Honk Horn Music Of Ghana (Smithsonian Folkways) cd 16.98
Ghana must be a really loud place. Even just based on the amount of honking that that goes on there. Vehicles honk often and repeatedly, to shoo pedestrians or cyclists out of the way, to signify annoyance with slow traffic or blocked roadways, to signify a desire to change lanes or pass, to get the attention of other drivers or just because they're so thrilled to be driving. Taxis honk rhythmically to attract fares, buses also honk rhythmically while their drivers sing out the various destinations. But there's more than just honking, sound systems blast music, stalls selling their wares broadcast songs and sounds, prayers are broadcast through large speakers affixed to the outsides of mosques...
Sonic chaos certainly. But at the same time, all of these sounds merge into a strange sort of music, the sounds of a city going through the motions of daily life. Chaotic certainly, but also vibrant. Unique. And so alive. A joyful celebration of everyday activities.
At the root of all of this sound is Por Por, the honk horn music of Ghana. Por Por, pronounced 'paaw paaw', an onomatopoeic description of the local drivers' honking squeeze-bulb horn music, was initially just that, the sounds of a city in motion, but eventually, the drivers who helped keep the city moving, took the sounds of their work day and turned it into music. Horns honking, found percussion, wrenches on tires, pipes on concrete, drums, pumping up tires, singing and shouting, those sounds became ritualized, and became their own music, with particular sounds and rhythms and arrangements, and a specific purpose. This music while a reflection of the city around it, was rarely performed in public, but instead, was almost exclusively performed at union drivers' funerals, those funerals very reminiscent of the New Orleans jazz funeral, replete with processions, music obviously, and coffins modeled on the various buses and trucks carrying the dead to the afterlife. The story of por por, of Ghana and its independence is a long one, far to intricate and complex to get into here, but La, the province from which these drivers and horn honkers hail, was critical to the resistance to colonial rule, refusing to pay taxes, fighting a proposed ban on por por horns, a strong sense of community, were all critical to the region's struggle for independence.
So in honor of this year's golden anniversary of Ghana's independence, for the first time, the La Drivers Union Por Por Group gathered to record the music that had been such a part of their culture and their life. Recorded outdoors, in backyards, the sound of the city, the traffic, all around, the music of por por spills forth, effusive and celebratory, joyous and spiritual, complex and strange and like nothing we have ever heard before.
A gorgeously ramshackle rhythmic workout, metallic percussion dense and spidery, a lush framework of intricate rhythms, beneath amazing vocal arrangements, but it's the por por that make this music so unique, honking rhythmically, strange melodies, sounding a bit like geese, an orchestra of squeeze-bulb horns, locking into looped rhythmic structures, hypnotic and mesmerizing. Like traditional African music being performed during rush hour in the middle of a busy intersection. Like Konono No1 but with horns instead of amplified thumb pianos. Most of the tracks seem to be more focused on the vocals, or the hypnotic rhythms, with the horns acting more as a melodic counterpoint. But some tracks, like the opening track "Por Por Akwaaba / Welcome" are entirely about the honking horns, sounding a bit like Philip Glass or Steve Reich composing for automobile horns, rhythmic and strangely catchy, and that is when Pop Por completely captivates, when the horns lock into strange cyclical melodies, all tangled up with the vocals, complete transporting us to the dusty streets of Ghana, horns in hand, honking joyously, letting the sound and the rhythms carry us away.
The final track is especially stirring, with the Por Por group heading into the city, and setting up outside the union office, enlisting all of the drivers present, as well as enlisting the help of various passing vehicles, for a call and response salute to their Independence, the por por horns honking rhythmically, regular car horns held down, underpinning the proceedings with long keening drones, folks singing long drawn out tones, almost wailing, a dense swirl of droning honking mesmer. So intense. And moving.
As with all Smithsonian Folkways releases, there is a huge booklet, with tons of amazing photos, extensive liner notes, as well as notes on each track.
MPEG Stream: "Otsokobila"
MPEG Stream: "Trotro Tour Of Ghana"
MPEG Stream: ""Trotro Drivers, We Love You So""

LA DRUGS (Twisted Village) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover LA DUSSELDORF Individuellos (Water) cd 15.98
Also now reissued by Water, Individuellos is the third and final outing for Klaus Dinger's post-Neu! kraut glammers, La Dusseldorf. Originally released in 1980, it has a slightly more pronounced eighties treatment then Viva or their self-titled debut, but the big keyboard driven rhythms on opening number "Menschen" are unmistakably classic La Dusseldorf. Not every song on here is classic, but the ambient "Sentimental" with its layered tones and backwards recordings showcase a sublime side not as present on their earlier records. Probably not as essential as the reissues of those first two records (which, by the way, we now have on vinyl), but much much better than we had expected!
MPEG Stream: "Menschen"
MPEG Stream: " Sentimental"
MPEG Stream: "Das Yvonnchen"

album cover LA DUSSELDORF s/t (Warner Music Germany) cd 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We're very excited about these two remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be a current release (we've already witnessed a couple customers' disbelief at the year it was originally released!) This self-titled 4-song cd is absolutely classic Krautrock! "Silver Cloud", with its huge drums and layers of simple, syrupy melody create one of our favorite krautrock songs ever! At the time of this album's release, it was played on German radio a bunch and even became a "funk" hit! "La Dusseldorf" opens with the chanting of a football [soccer] audience and leads into a pulsating anthemic rhythm also joined by the valliant one-word chant of "Dusseldorf". If you've been reading some of our more recent lists, we should distinguish that La Dusseldorf do not fall in the krautrock sub-genre of WWII-effected dark & broodish-type stuff, a la German Oak. La D. better fit into the uber-clean & hypnotic song-kraft family of Neu!, Harmonia, Cluster, Can, Kraftwerk, etc. Both the self-titled and Viva releases are highly recommended as an integral part of any Krautrock kollection!
MPEG Stream: "La Dusseldorf"
MPEG Stream: "Silver Cloud"

album cover LA DUSSELDORF s/t (Water) cd 15.98
We're very excited about these two DOMESTIC (thus, cheaper) remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. You could also picture 'em as Neu!'s clean-cut little brother, with more in the way of vocals too.
Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), the La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be current releases (we've already witnessed a couple customers' disbelief at the date there were originally released!). This self-titled, four track debut from 1976 is absolutely classic Krautrock. "Silver Cloud", with its huge drums and layers of simple, syrupy melody create one of our favorite krautrock songs ever. It's epic and unforgettable and alone makes this album worth picking up. At the time of this album's release, it was played on German radio a bunch and even became a "funk" hit! Another highlight, "La Dusseldorf", opens with the chanting of a football [soccer] audience and leads into a pulsating anthemic rhythm also joined by the valliant one-word chant of "Dusseldorf".
Both the self-titled and Viva records are highly recommended as an integral part of any Krautrock kollection. Thanks to the fine people at Water Records, who also made sure these are properly packaged with liner notes and lyrics, they are finally available again. Psych, prog, proto-punk and all kinds of other music fans, this is what you need!
MPEG Stream: "La Dusseldorf"
MPEG Stream: "Silver Cloud"

album cover LA DUSSELDORF s/t (4 Men With Beards) lp 17.98
ALSO NOW REISSUED ON VINYL!
We're very excited about these two DOMESTIC (thus, cheaper) remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. You could also picture 'em as Neu!'s clean-cut little brother, with more in the way of vocals too.
Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), the La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be current releases (we've already witnessed a couple customers' disbelief at the date there were originally released!). This self-titled, four track debut from 1976 is absolutely classic Krautrock. "Silver Cloud", with its huge drums and layers of simple, syrupy melody create one of our favorite krautrock songs ever. It's epic and unforgettable and alone makes this album worth picking up. At the time of this album's release, it was played on German radio a bunch and even became a "funk" hit! Another highlight, "La Dusseldorf", opens with the chanting of a football [soccer] audience and leads into a pulsating anthemic rhythm also joined by the valliant one-word chant of "Dusseldorf".
Both the self-titled and Viva records are highly recommended as an integral part of any Krautrock kollection. Psych, prog, proto-punk and all kinds of other music fans, this is what you need!
MPEG Stream: "La Dusseldorf"
MPEG Stream: "Silver Cloud"

album cover LA DUSSELDORF Viva (Warner Music Germany) cd 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We're very excited about these two remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be a current release (we've already witnessed a couple customers' disbelief at the year it was originally released!) Viva, their second record, is filled with Krautrock anthems, culminating in the 20 minute long Cha Cha 2000 - an epic of krauty proportions. If you've been reading some of our more recent lists, we should distinguish that La Dusseldorf do not fall in the krautrock sub-genre of WWII-effected dark & broodish-type stuff, a la German Oak. La D. better fit into the uber-clean & hypnotic song-kraft family of Neu!, Harmonia, Cluster, Can, Kraftwerk, etc. Both the self-titled and Viva releases are highly recommended as an integral part of any Krautrock kollection!
MPEG Stream: "Viva"
MPEG Stream: "Cha Cha 2000"

album cover LA DUSSELDORF Viva (Water) cd 15.98
We're very excited about these two DOMESTIC (thus, cheaper) remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. You could also picture 'em as Neu!'s clean-cut little brother, with more in the way of vocals too.
Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), the La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be current releases (we've already witnessed a couple customers' disbelief at the date there were originally released!). Viva, their second record, from 1977, is filled with Krautrock anthems, culminating in 20 minute long album closer "Cha Cha 2000" - an epic of krauty proportions. And the instrumental number "Rheinita" managed to chart in Germany!
Both the self-titled and Viva records are highly recommended as an integral part of any Krautrock kollection. Thanks to the fine people at Water Records, who also made sure these are properly packaged with liner notes and lyrics, they are finally available again. Psych, prog, proto-punk and all kinds of other music fans, this is what you need!
MPEG Stream: "Viva"
MPEG Stream: "Cha Cha 2000"

album cover LA DUSSELDORF Viva (4 Men With Beards) lp 17.98
ALSO NOW REISSUED ON VINYL!
We're very excited about these two DOMESTIC (thus, cheaper) remaster/reissues from Germany's La Dusseldorf! La Dusseldorf were THE masters of anthemic open and clean-sounding happy funky krautrock, inspiring the likes of Eno and Bowie (Heroes-era). They crafted repetitive hypnotic percussion with layers of super clean life-affirming melodies that were driven by minimal lyrics. Neu! co-founder Klaus Dinger and drummer Hans Lampe (who joined Neu! for their 3rd album 75) formed La Dusseldorf following the breakup of Neu! They were joined by Klaus' brother, Thomas, on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. Any fan of Neu! will immediately recognize that Neu! sound, which is still evident here, but where Neu! was icy and detached, La Dusseldorf is positive and practically bubbling with warmth. You could also picture 'em as Neu!'s clean-cut little brother, with more in the way of vocals too.
Like Harmonia (a product of fellow ex-Kraftwerker, Michael Rother), the La Dusseldorf albums have an incredible, ahead-of-their-time production level and truly sound like they could be current releases (we've already witnessed a couple customers' disbelief at the date there were originally released!). Viva, their second record, from 1977, is filled with Krautrock anthems, culminating in 20 minute long album closer "Cha Cha 2000" - an epic of krauty proportions. And the instrumental number "Rheinita" managed to chart in Germany!
Both the self-titled and Viva records are highly recommended as an integral part of any Krautrock kollection. Thanks to the fine people at Water Records, who also made sure these are properly packaged with liner notes and lyrics, they are finally available again. Psych, prog, proto-punk and all kinds of other music fans, this is what you need!
MPEG Stream: "Viva"
MPEG Stream: "Cha Cha 2000"

album cover LA GRITONA Demasiado Tonto Para Los Ninos Listos (Tortuga) 2cd 15.98
If you're like us, you probably never heard of these Boston bashers, a short lived ultra heavy combo from Boston, with just a handful of releases, all collected here, and a sound that makes us wish we had, and one that most definitely puts most other heavy bands to shame, equal parts gnarled Black Flag dirge, mathy sci-fi Voivod-isms, and churning downtuned Swans like pummel, every track here a grim, dense slab of sonic crush, the guitars massive and thick, the riffs fucking fierce, the drums devastating, the band alternatingly locking into hypnorock grooves, or super intricate, churning mathiness, loads of buzz and feedback, total math rock / post rock / noise rock / post punk bliss.
The label describes these guys thusly: "Imagine massive slabs of discordance at earsplitting volume and a terrifyingly intense, tattooed madman working out his personal demons while wearing a too-small Sonic the Hedgehog tee shirt", which sounds pretty amazing (and had us thinking of Oxbow for some reason), and La Gritona, even minus the apparently terrifying live experience, sound pretty goddamn terrifying on record too, with plenty of Jesus Lizard-y swagger, Helmet like metallic chug, and that vocalist, mostly singing in a monstrous bellow, but seemingly constantly slipping into a crazy hysterical shriek, but not like a metal shriek, more like an inhuman high pitched squeal, weirdly haunting, and definitely disturbing, but perfectly suited to LG's pigfuck heaviness. And while they do slow it down every once in a while, those slow songs almost sound even more intense, offering up a sort of mutant blues Birthday Party style onslaught.
Every single track here rules, from tangled atonal metallic dirgery, to doomed out lurching math sludge, old school noise rock crunch to psychedelic fuzzed out harmonic drenched post punk, a sound that at the time was obviously a decade or so to early, but that to these ears would have the current crop of sludge worshippers going nuts, and if Harvey Milk can finally get the love and adoration they so deserved, a full decade late, then why the hell not these guys. And as long as we're mentioning it, Harvey Milk fanatics would do well to check these guys out too. Just sayin'...
Massive double disc, 40 track collection gathering up EVERYTHING these guys ever recorded, which includes loads of unreleased and live tracks, as well as the Steve Albini engineered full length Arrasa Con Todo, which just might be one of the most perfect slabs of skull splitting downtuned heaviness we've ever heard.
MPEG Stream: "Victory At Sea"
MPEG Stream: "Tony Alamo"
MPEG Stream: "Vitamin"
MPEG Stream: "Pigs Ass"

album cover LA IRA DE DIOS Apus Revolution Rock (World In Sound) cd 23.00
All right, this is a relief. Reviewing a freakin' kick ass real ROCK N' ROLL record. Nice to know they still can make 'em. Not that we didn't expect a healthy helping of rockin' from Lima's La Ira De Dios, whose previous album more than lived up to its title, Cosmos Kaos Destruccion (no translation needed, right?). We compared 'em to stonery stuff like Monster Magnet and Hawkwind last time 'round, but on Apus Revolution Rock they've gone even more raw and retro, punking it up '60s garage fuzzmonster style, with nods to surf music and other retro sounds, to the extent of including screaming girls (La Ira De Dios mania!?) in the mix on the blown out opening cut "Revolucion", which has a '50s meets the Stooges vibe that sounds a lot like '70s Japanese jams-kicker-outers Gedo. Good grief! What's not to like about that? And if you like to rock that is. THEY sure do, second track "No Hay Control" not letting up, in fact, cranking it up, it and ALL the dozen tracks on this album delivering nothin' but 110 percent high energy distortodelic rock action.
Need we say more? 'Cause La Ira De Dios really say it all with the slogan on the cd booklet: "Peru Psicodelia Punk". Another one they're fond of: "MAXIMUMVOLUMEROCKANDROLL!!!" If you're looking for catchy amped up anarchistic rawk with tons o' frantic fuzz, and cowbell too, for fans of The Heads, The Hives, Crushed Butler, Mudhoney, Larry Wallis era Pink Fairies, Motorhead, Boris circa Pink, fellow Peruvians / labelmates El Cuy, and other rad rockin' coolness of that ilk then La Ira De Dios have a rekkid for you!! Or if you can, imagine Los Natas on a search and destroy mission to do a Louie Louie and you're close to what La Ira De Dios is dishing out here.
So yeah, reviewing this was a blast, just turned it up and let the rock dictate these words... now the problem is turning it off and trying to put on something else we gotta review, which almost by definition will be less rockin' and thus less worthwhile. Plus somehow, in the process of reviewing this, we had a couple beers...maybe we'll just play this record one more time.
By the way, the vinyl version of this comes with a bonus 7", featuring of all things, a cover of "Shadowplay" by Joy Division (!), whereas the compact disc includes an exclusive bonus video for the track "5000 Anos".
MPEG Stream: "Todo Arde En Llamas"
MPEG Stream: "5000 Anos"
MPEG Stream: "Atravezare"

album cover LA IRA DE DIOS Apus Revolution Rock (World In Sound) lp + 7" 30.00
All right, this is a relief. Reviewing a freakin' kick ass real ROCK N' ROLL record. Nice to know they still can make 'em. Not that we didn't expect a healthy helping of rockin' from Lima's La Ira De Dios, whose previous album more than lived up to its title, Cosmos Kaos Destruccion (no translation needed, right?). We compared 'em to stonery stuff like Monster Magnet and Hawkwind last time 'round, but on Apus Revolution Rock they've gone even more raw and retro, punking it up '60s garage fuzzmonster style, with nods to surf music and other retro sounds, to the extent of including screaming girls (La Ira De Dios mania!?) in the mix on the blown out opening cut "Revolucion", which has a '50s meets the Stooges vibe that sounds a lot like '70s Japanese jams-kicker-outers Gedo. Good grief! What's not to like about that? And if you like to rock that is. THEY sure do, second track "No Hay Control" not letting up, in fact, cranking it up, it and ALL the dozen tracks on this album delivering nothin' but 110 percent high energy distortodelic rock action.
Need we say more? 'Cause La Ira De Dios really say it all with the slogan on the cd booklet: "Peru Psicodelia Punk". Another one they're fond of: "MAXIMUMVOLUMEROCKANDROLL!!!" If you're looking for catchy amped up anarchistic rawk with tons o' frantic fuzz, and cowbell too, for fans of The Heads, The Hives, Crushed Butler, Mudhoney, Larry Wallis era Pink Fairies, Motorhead, Boris circa Pink, fellow Peruvians / labelmates El Cuy, and other rad rockin' coolness of that ilk then La Ira De Dios have a rekkid for you!! Or if you can, imagine Los Natas on a search and destroy mission to do a Louie Louie and you're close to what La Ira De Dios is dishing out here.
So yeah, reviewing this was a blast, just turned it up and let the rock dictate these words... now the problem is turning it off and trying to put on something else we gotta review, which almost by definition will be less rockin' and thus less worthwhile. Plus somehow, in the process of reviewing this, we had a couple beers...maybe we'll just play this record one more time.
By the way, the vinyl version of this comes with a bonus 7", featuring of all things, a cover of "Shadowplay" by Joy Division (!), whereas the compact disc includes an exclusive bonus video for the track "5000 Anos".
MPEG Stream: "Our Cold War"
MPEG Stream: "Chemical Restraint"
MPEG Stream: "Halo Becomes A Noose"

album cover LA IRA DE DIOS Cosmos Kaos Destruccion (World In Sound) cd 23.00
In our recent highlight review of No More Invention by the frantic French acid guitar punk band Gunslingers, we kinda bagged on all other modern day signings by the World In Sound label (as opposed to their rather better selection of reissues, of which we generally enthusiastically approve). Then we realized, that wasn't quite fair, 'cause besides the excellent Gunslingers, WIS has also put out good stuff by at least a couple other contemporary bands, both of 'em from South America, Peru to be precise. There's El Cuy (which we'll review when we can get more in, our supplier was out) and this one, La Ira De Dios.
We've actually stocked several earlier discs by this Peruvian power trio (sans reviews, sorry), so we knew we liked 'em. They rock it and roll it in a fat, fuzzed out "desert rock" style not unlike an Andean version of Kyuss, or Monster Magnet... Each track swirls dizzily with spaced out Hawkwindy electronic FX, while the band keeps on keepin' on, riffin' hard, hair and sweat a-flyin'. With their gravelly Spanish language vocals and command of psychedelic/Satanic drug things we also wouldn't understand, they also of course remind us of AQ faves Los Natas from Argentina. But while Los Natas sometimes get all gentle and proggy, these guys stick with the blown out, balls out rockin'. Pretty badass! The final track, a 13 minute trip called "Jamas Morire", is a category 5 stoner rock storm that definitely demonstrates that this album was not mis-titled.
MPEG Stream: "Velocidad"
MPEG Stream: "El Pacto"

album cover LA IRA DE DIOS Peru No Existe (World In Sound) cd 21.00
Heck yeah, some more "Peru Psicodelia Punk" from these explosive South American garage-fuzz faves. That means it's time to ROCK, let's go! Lima's La Ira De Dios offer up another energetic dose of their can't-sit-still-listening-to-it distorted wailing grooviness on this, their fifth album. When we first heard these guys some years ago, they played spacey stoner rock, kinda like Kyuss meets Hawkwind, but their interest in freaky fuzz mongering has seemingly sent them on a path into the past, so by now it sounds like they've REALLY studied their '60s proto-punk stuff, with a concentration on Detroit. They even have backup vocals by a "girl group" of sorts, "The Borrachettes". The heavy Hawkwind-y space rock sounds are still there, though, too, along with the "Rumble" of Link Wray and some Nuggets-y jangle - and its a combo that's tough to beat, we love hearing La Ira De Dios bash it out in this style, with their gruff, sandpapery singing (some in Spanish, some in English) sounding sincerely urgent and desperate, contributing to this album's generally dark vibe.
They do take a few breaks from the rawk, allowing for some moody, melodic moments amidst the high energy mayhem, such as on the title track at the end of side A, all windswept acoustic strum and hushed downer vocals, before winding up with a jet engine blast of feedback noise, heralding a return to the uptempo rock action of "Underground" that begins side B. In some ways, this might be this trio's best or at least most multidimensional record yet, one that we'll listen to for their trademark "MAXIMUMVOLUMEROCKNROLL!!!" and much more besides.
As always, recommended! Especially to fans of very early Monster Magnet, as well as the likes of Vee Dee and DMBQ and local boys Hot Lunch. But really there's not too many modern day bands doing this sort of thing so darn well, demonstrating the true power of rock. For sure La Ira De Dios owe a lot to the greats - "Ghost City" reminds us a lot of Radio Birdman, and on "The Unrest" they channel the shake appeal of the Stooges - but nothin' wrong with that, in fact, everything is right about it, especially when you've got this cranked on 10 and wish you could turn it up even louder.
MPEG Stream: "Confusion"
MPEG Stream: "Aparecidos"
MPEG Stream: "Green Smoke"

album cover LA IRA DE DIOS Peru No Existe (World In Sound) lp 27.00
Heck yeah, some more "Peru Psicodelia Punk" from these explosive South American garage-fuzz faves. That means it's time to ROCK, let's go! Lima's La Ira De Dios offer up another energetic dose of their can't-sit-still-listening-to-it distorted wailing grooviness on this, their fifth album. When we first heard these guys some years ago, they played spacey stoner rock, kinda like Kyuss meets Hawkwind, but their interest in freaky fuzz mongering has seemingly sent them on a path into the past, so by now it sounds like they've REALLY studied their '60s proto-punk stuff, with a concentration on Detroit. They even have backup vocals by a "girl group" of sorts, "The Borrachettes". The heavy Hawkwind-y space rock sounds are still there, though, too, along with the "Rumble" of Link Wray and some Nuggets-y jangle - and its a combo that's tough to beat, we love hearing La Ira De Dios bash it out in this style, with their gruff, sandpapery singing (some in Spanish, some in English) sounding sincerely urgent and desperate, contributing to this album's generally dark vibe.
They do take a few breaks from the rawk, allowing for some moody, melodic moments amidst the high energy mayhem, such as on the title track at the end of side A, all windswept acoustic strum and hushed downer vocals, before winding up with a jet engine blast of feedback noise, heralding a return to the uptempo rock action of "Underground" that begins side B. In some ways, this might be this trio's best or at least most multidimensional record yet, one that we'll listen to for their trademark "MAXIMUMVOLUMEROCKNROLL!!!" and much more besides.
As always, recommended! Especially to fans of very early Monster Magnet, as well as the likes of Vee Dee and DMBQ and local boys Hot Lunch. But really there's not too many modern day bands doing this sort of thing so darn well, demonstrating the true power of rock. For sure La Ira De Dios owe a lot to the greats - "Ghost City" reminds us a lot of Radio Birdman, and on "The Unrest" they channel the shake appeal of the Stooges - but nothin' wrong with that, in fact, everything is right about it, especially when you've got this cranked on 10 and wish you could turn it up even louder.
MPEG Stream: "Confusion"
MPEG Stream: "Aparecidos"
MPEG Stream: "Green Smoke"

LA LENGUA ASESINA Hotel Opera (Smells Like) cd 12.98
Tim Foljahn's unique take on "experimental country"--as if the Shadow Ring were to play with Cat Power? For fans of Loftus, too.

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