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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 BUSUCHAN Defrag My Heart (Spam) cd 8.98
Another bizarre project from our favorite local Hello Kitty maniac and metal maven, the one and only (thank god) Steven Schultz. You may know him from such amazing/ridiculous projects as Stalin Claus Superstar! (y'know, the 4cd rock opera box set), or his "I Forgot To Get A Rap Name!" rap album, or the "History Of Vats" disc that started all this genre-splicing home-recording madness way back when. His new effort, monikered Busuchan, is along the lines of "Vats" or much of "Stalin Claus": insanely accomplished musically, insanely retarded humoristically (witness such song titles as "Jesse Jackson Wants His Forehead Back" and "Bitch, I Stole Your Man, Ho!"). Although, like "Vats" (but not the opera), Steve does this all himself -- drums, guitar solos, electronics, vocals, artwork, silly liner notes, everything. Wow. Imagine a one-man Mr. Bungle, but more metal and with (even) more annoying vocals. This cd is graced by a photo of the man himself decked out oh so convincingly as a coy Japanese schoolgirl. (Possibly the most disturbing picture we've seen lately, and we spend a lot of time on the internet!) But we must tip our hats to Mr. Schultz. Dragging in and desecrating everything from doo wop to electronica to black metal, this is completely spazzy, twisted and strange -- and unfortunately catchy enough to get stuck in your head. This made some people laugh, made others roll their eyes, and still others... uncomfortable. Stop looking at my ass, indeed! Steve Schultz fans (ohmigod it's true, he probably does have fans, indeed, deserves 'em) line up now!
RealAudio clip: "Terpsechlorean Splendor Of Careening Trilobites"
RealAudio clip: "Looking All Deformed Like Cindy Crawford"
RealAudio clip: "Scrotum Symphony"

album cover CAESURA More Specific, Less Pacific (54 40' or Fight!) cd 9.98
In spite of being a 'post-rock' band, this local trio actually knows how to rock. Both live and on this new cd, they're quite impressive, intense and precise...but also not super original. Everything they do sounds kinda like it could be something by Circus Lupus, Shellac, or every other post-rock band on the screamier side of things...maybe a little Bastro, a little Fugazi too. And perhaps the brief Latin hand percussion break halfway through the disc is their nod to Tortoise or Gastr del Sol? So, great if that's your scene and you're not really looking for something new (that is, you want more of what you like, rather than something else). Perhaps these guys should go into temporary retirement for twenty years, and then emerge right about when there's (likely to be) a retro-post-rock revival in 2022, they'd kick everyone's asses then. In the here-and-now, though, they're still really good.
RealAudio clip: "For Staged Encore"
RealAudio clip: "Trap Door"

album cover CAIRO GANG, THE The Corner Man (Empty Cellar) lp 14.98
One man folk outfit, The Cairo Gang, gets his solo vinyl debut on local label Empty Cellar and it's quite beautifully melancholic and intimate. We've been familiar with singer songwriter Emmet Kelly's work for awhile now, especially his collaborations with Bonnie Prince Billy where he managed to take Oldham's recent maximal ambitions back to the spare economy of his work as Palace Brothers. Like another Will Oldham release we favor above most of the others, Master and Everyone, The Corner Man is a spare and close set of tracks that has lovely British folk lyrical qualities with guitars, pedal steel and soft thumping drums. Kelly's clear resonant tones lay out wistful moods of impermanence and a weary knowing regret. On the Corner Man, The Cairo Gang's sound has become fully realized, and it's a thing of beauty indeed.
Comes with download card!

CAKE Comfort Eagle (Columbia / Sony) cd 16.98
These local favorites, that for painfully obvious reasons, have made it big (-ish). The worst song on this cd is the hit on MTV. With embarrassing lyrics, funky, kooky riffs, and gratuitous poppy bullshit, this release was unbearable for me to listen to. Yuck.

CAKE Fashion Nugget (Capricorn/Mercury) cd 12.98
As seen on MTV.

album cover CALCULATORS, THE Circuit Breaking Silence / Simplicity & Style (Princehouse) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Curious what some of those boys from The Rapture were up to prior to hookin' up with the DFA production team and hittin' the dancefloor? Here's your answer! The Calculators' Circuit Breaking Silence cd and Simplicity & Style 10" have both been out of print for a few years now, but have just been reissued together on one disc by uber hip'n'cool SF label Princehouse Records!
Here's what we had to say about them back then... first the cd:
Popular but now sadly defunct SF synth-wave quartet easily recognized by their white belts and ties. Quite frankly this band rocked with a hearty dose of thick Roland Juno 60 and Moog synth lines. Half this album was recorded by Helios Creed at Half Machine Studios.
and as for the 10":
The now-defunct Calculators certainly fired up quite a new wave frenzy in their short life. Thick analog synth lines do battle with distorted guitars. This medium sized piece of vinyl features four prime examples of youthful SF synth rock.
MPEG Stream: "Worthless In A World Of Wires"
MPEG Stream: "Electricity"

CALL AND RESPONSE s/t (Emperor Norton Records) cd 13.98
Seem familiar? The very recent debut album from SF sunny pop group Call And Response is released anew on a different label. That's right they've made the move from Kindercore to Emperor Norton. And this release gets a spiffing up of sorts. New artwork, reworked tunes, rearranged song order and two extra songs! Now what did we say about this album back in AQ List #109?...
The debut album that's been building this Bay Area group quite a hefty buzz around town. And if plentiful pop pleasures with sunshine-y harmonies are your thing, you'll be buzzing madly as well. Although photos have presented them as sorta Elastica-esque ---all black-clad, raven-haired and lanky--- they are in fact much more a perky combination of Free Design, Stereolab and Beach Boys. But y'know I could have sworn I even heard hints of the Byrds doin' "Hey Mr Tambourine Man" in their song "Colors". Lots of la-la-las and ba-ba-bas. Recorded in Atlanta by The Sunshine Fix/ex-Olivia Tremor Control's Bill Doss.
So there you have it. I'd like to add that the C.A.R. rhythm section busts out some easygoing groovy boogieness (check out new song "All Night Long").
RealAudio clip: "All Night Long"
RealAudio clip: "When The Lights Are Out"

album cover CALLING ALL MONSTERS The Traps That Work Best (Turn) cd 11.98
This new album from Calling All Monsters immediately seemed familiar to us here at AQ, and not just because one of the band members is dear Matthew Troy formerly of the raucous yet sweet Bay Area popsters and AQ pals Trackstar (for whom he was one of the two chief songwriters). Although the album gets things rolling with a surprisingly aggressive number that recalled the fist-pumpin' pop punk of Rancid and NOFX (not a bad thing AT ALL!), that bravado soon gives way to the sounds that seem more characteristic of Troy, leaning more towards early to mid nineties Dinosaur Jr and Sonic Youth. The Traps That Work Best makes for a logical progression and development from the fuzzy, feisty songs he wrote for Trackstar's last album Lion Destroyed The Whole World (2002). So nice.
MPEG Stream: "We Are: Special Forces"
MPEG Stream: "The Uneasy Life"

album cover CAMINITI, EVAN Dreamless Sleep (Thrill Jockey) cd 15.98
Dreamless Sleep is the latest from Caminiti, whose day job is as one half of twang flecked drone duo Barn Owl, and like his partner in Barn Owl, Jon Porras, Caminiti's solo records don't always deviate too much from the Barn Owl M.O., offering up variations of the duo's distinctive dusky sound, with the various individual solo records often easily mistaken for proper Barn Owl record, which is not a bad thing at all, Caminiti and Porras have undeniable musical chemistry, and both have proven to be perfectly capable on their own, both experimenting more with keyboards and synthesizers lately, which of course ironically seems to have been influencing their work as a duo as well.
All of that said, Dreamless Sleep definitely finds Caminiti pushing his sounds into uncharted territories, ditching much of the twang, and the droned out mesmer for something way more kosmische and downright new age-y at times. In fact, if it weren't for the fierce guitar tones and muted buzz, the sounds here could easily slip into full on new age bliss out. Thankfully, Caminiti takes that new age drift, and weds it to his dense guitarscapery, letting neither overshadow the other, resulting in tracks that manage to be both dreamy and ethereal, dark and cinematic, wrapping washed out shimmering synths in spidery sinister melodies, and wreathing hushed ethereal ambience in clouds of ominous thrum, the recordings adding even more texture and density, gristly and on the verge of slipping into the red, the sounds blown out and occasionally corrosive, with some of the tracks slipping into near SUNNO)))-like heft, only you have the shimmery swirl hold it back, and conversely, some of the tracks are so airy and ethereal, it's often just a single slab of crumbling, rumbling blackened thrum, that keeps things safely on the darkside. It's like the perfect music for some seriously psychedelic planetarium show, the music evoking massive sprawls of space, and the ever shifting cosmos, dying stars and black holes, planets being born and epic swaths of glimmering starfields.
MPEG Stream: "Leaving The Island"
MPEG Stream: "Bright Midnight"
MPEG Stream: "Symmetry"

album cover CAMINITI, EVAN Dreamless Sleep (Thrill Jockey) lp 16.98
Dreamless Sleep is the latest from Caminiti, whose day job is as one half of twang flecked drone duo Barn Owl, and like his partner in Barn Owl, Jon Porras, Caminiti's solo records don't always deviate too much from the Barn Owl M.O., offering up variations of the duo's distinctive dusky sound, with the various individual solo records often easily mistaken for proper Barn Owl record, which is not a bad thing at all, Caminiti and Porras have undeniable musical chemistry, and both have proven to be perfectly capable on their own, both experimenting more with keyboards and synthesizers lately, which of course ironically seems to have been influencing their work as a duo as well.
All of that said, Dreamless Sleep definitely finds Caminiti pushing his sounds into uncharted territories, ditching much of the twang, and the droned out mesmer for something way more kosmische and downright new age-y at times. In fact, if it weren't for the fierce guitar tones and muted buzz, the sounds here could easily slip into full on new age bliss out. Thankfully, Caminiti takes that new age drift, and weds it to his dense guitarscapery, letting neither overshadow the other, resulting in tracks that manage to be both dreamy and ethereal, dark and cinematic, wrapping washed out shimmering synths in spidery sinister melodies, and wreathing hushed ethereal ambience in clouds of ominous thrum, the recordings adding even more texture and density, gristly and on the verge of slipping into the red, the sounds blown out and occasionally corrosive, with some of the tracks slipping into near SUNNO)))-like heft, only you have the shimmery swirl hold it back, and conversely, some of the tracks are so airy and ethereal, it's often just a single slab of crumbling, rumbling blackened thrum, that keeps things safely on the darkside. It's like the perfect music for some seriously psychedelic planetarium show, the music evoking massive sprawls of space, and the ever shifting cosmos, dying stars and black holes, planets being born and epic swaths of glimmering starfields.
MPEG Stream: "Leaving The Island"
MPEG Stream: "Bright Midnight"
MPEG Stream: "Symmetry"

album cover CAMINITI, EVAN Night Dust (Immune) lp 22.00
Latest solo outing from one half of SF dronedoom duo Barn Owl, coming right on the heels of another solo record, that one from the OTHER half of Barn Owl, Jon Porras, a former aQ-er, whose Black Mesa we dug quite a bit. It would be tempting to try some rock nerd math, and imagine that Black Mesa plus Night Dust might simply BE Barn Owl, but strangely enough, the sounds Porras and Caminiti conjure up on their own, while not really deviating sonically too much from the soundworld they've created with their group, do end up being markedly different. And in many case more experimental and abstract than the twang flecked smolder and drift the two conjure up together. Caminiti's new one might be the strangest (and perhaps coolest) of the bunch, although that strangeness definitely creeps up on you, as the opener, "Near Dark" does sound like it could have been plucked right off a Barn owl record, all billowy clouds of warm softly roiling guitar thrum, shot through with streaks of high end melody, and a warm washed out haze, but even hear, Caminiti pushes the sounds, and the sound itself, pegging the needles, and moving WAY into the red, with sound buzzing and distorting in a way that gives the song a strange outsider psych vibe. But it's on the next track "Returning Spirits" where things get really good. A haunting sprawl of ethereal shimmer, peppered with deep pulsations, and dubbed out percussion, the guitars unfurling little tangles of melody, which get super distorted, a gorgeously muted blown out space-psych (those sounds could be synths, hard to tell, but both Porras and Caminiti, have been experimenting with synths, in Barn Owl, and on their own), but those little soft squalls are gorgeous, and haunting, the vibe super cinematic, dark and otherwordly. Then Caminiti lets loose with a glimmering starfield of super high glistening harmonics, that sound almost like chimes, all over a slow building swell of lush chordal thrum, just might be our favorite Caminiti track yet. But don't want to speak too soon. The rest of the record definitely continues to explore less familiar territory, the pulsing glitchy synths that underpin the warm guitar whorls on "A Memory Or A Mirage", the dense, crumbling, super distorted organ like wall of sound, that churns its way through "Star Circle", the brief blast of wild Neil Young like guitars draped over a woozy tranquil low end drift on "Moon Is The Hunter", the almost Nadja like doomgaze of "Last Blue Moments", the haunting blackened kosmische of "Slow Fade Of Stars", that sounds like Loren Mazzacane Connors playing in some massive cave, wreathed in thick, warm reverb, delicate and skeletal, drowsy and dreamlike, and finally, the two part closer "First Light", which stretches out incendiary guitars into keening dronescapes, again laced with glimmering harmonics, and deep mesmerizing tones, before drifting off into the ether with a final few minutes of spare, soft focus drone-psych blues, wreathed in clouds of whir and hiss, a haunting lo-fi soft noise coda.
Gorgeous full color gatefold sleeves with super striking original art by Caminiti. Includes a download coupon.
MPEG Stream: "Near Dark"
MPEG Stream: "Returning Spirits"
MPEG Stream: "Moon Is The Hunter"
MPEG Stream: "Last Blue Moments"

album cover CAMINITI, EVAN Psychic Mud Shrine (Digitalis) cd 13.98
The first proper cd full length release from Evan Caminiti, who is 1/2 of drone duo Barn Owl, along with Jon Porras, who records solo as Elm. It seems like Elm has been cranking them out, but Caminiti has too, we just haven't been able to get his more limited cd-r releases, but we're so happy to finally get this. A dark and brooding psychedelic drone epic. Four tracks, nearly fifty minutes of heavy smoldering droneguitar bliss.
Long blurred chords, arcing streaks of feedback, slowly unfurling minor key melodies, thick blurry buzz smeared into drifting clouds of gauzy shimmer, layered and textured and expansive, the heavier moments remind us a bit of Skullflower or To Blacken The Pages or Fear Falls Burning, albeit with a folkier vibe, more melody infused into the coruscating buzz, while the prettier more delicate moments recall Steven R. Smith, Six Organs Of Admittance and other folkdrone guitarists.
The record drifts into shimmery contemplative twang here and there, evoking the open road, endless moonlit nights, loneliness and heartbreak, the blur of life moving past, the glimmer of reflections set in the endless black of night, but even those moments soon expand into full blown walls of guitardrone, of sheets of feedback melting into smears of high end glimmer. Elsewhere, deep abstract ambience is laced with minimal guitar twang, moaning distant melodies, sitar like buzz, only again to build into an avalanche of crumbling distortion and heart of the sunn soft focus skree, before slipping into a coda of warm, soft meditative buzz, and dreamlike drones. So gorgeous. So recommended for fans of Earth, Six Organs, Steve R. Smith and like minded dronescapers, and of course, if you love Barn Owl and Elm, then this is pretty much essential as well.
MPEG Stream: "Frozen Plains"
MPEG Stream: "Melting Temple / Plumes Of Babylon"

album cover CAMINITI, EVAN West Winds (Three Lobed) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another gorgeous sprawling collection of smoldering guitarscapes and warm liquid lysergic drones from Evan Caminiti, one half of psychedelic drone-doom-duo Barn Owl, and while West Winds does in fact touch on some of the same sonic territory as past solo efforts, it definitely moves in a much darker, much heavier direction, exploring blackened sonic vistas that have only been hinted at in Barn Owl but that have been gradually becoming more of a focal point on Caminiti's solo ventures. Which is obvious from the opening track, "Night Of The Archon", which begins all tranquil and serene, spidery tendrils of guitars unfurling in a reverbed expanse of billowing shimmer and layered chordal drift, before the guitars begin to rumble and grind, the distortion a living breathing thing, crumbling and glowing like sonic magma, moving glacially, and engulfing the sounds all around, spitting sparks of fragmented melody, before finally spiraling back to ground, the crush receding, leaving an ethereal cloud of chiming harmonics and distant hushed whirr.
But even with the darker vibe, and the heavier overall sound, none of the emotional resonance has been lost, even the heaving slabs of rumble and crush, are shot through with subtle harmonies, with lush layered textures, the tracks slipping from thick swells of almost post industrial sounding blackdrone to gorgeous Arvo Part sounding chorales, a constantly shifting landscape of hazy streaks of blurred melody, gauzy flecks of folk, soft tangles of reverbed twang, slow motion melodies rendered in thick slabs of coruscating guitar crunch, blissed out dronedrifts laced with almost pop like melodies, a little shoegazey, a little Morricone, a little Earth, a little SUNNO))), and a lot of Barn Owl, this is epic, expansive, highly personal music for the soul, evoking the desert, of starry nights and of the landscape painted red with the blood of an burnt orange sun, "Path To The Sea" is maybe the most propulsive, like the score to a post apocalyptic Leone flick, wheezing harmonium melodies over rumbling burnt black guitars, bits of twang laid upon a woozy almost Western lope, which leads directly into the 10+ minute closer "Black Desert Blooming", which does in fact live up to its title, the vibe arid and sun baked, the sound black and bleak, beginning as maybe the most harrowing and intense track on the record, only to blossom into the most abstract, the thick rumbling crush peeling away, leaving just soft swirls of layered guitars, to overlap and intertwine hypnotically, a minimal blurred loopscape, growing ever more indistinct, and ever more hushed, until even the guitars drift off, leaving a gradually dissipating cloud of blackened rumbles, of distant metallic blur, all keening and moaning and finally fading out completely.
LIMITED TO 600 COPIES, pressed on thick vinyl, housed in a gorgeous matte jacket with original artwork by Caminiti, includes a printed insert and a download card. Plus, it's available at aQ two weeks before the official release date!!
MPEG Stream: "Night Of The Archon"
MPEG Stream: "Glowing Sky"
MPEG Stream: "Black Desert Blooming"

album cover CAMINITI, EVAN When California Falls Into The Sea (Hand Made Birds) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest solo record from Barn Owl and Higuma member Evan Caminiti, and one of the first releases on Handmade Birds, a new label launched by R. Loren of Pyramids, White Moth and Sailors With Wax Wings. When California Falls Into The Sea finds Caminiti ditching the billowing brooding drones of recent Barn Owl records, and the humid dronedrift twang of past solo efforts, and instead, stripping his sound way down, crafting something much more intimate and contemplative, abstract and atmospheric, as rife with space and drift as notes and chords, the tone is still dark, and the sound lush, and there is a bit of abstract twang, bit these tracks are more like smoldering folk flecked ragas, smoldering swells of crumbling melody, spare serene stretches of hushed shimmer, hazy sprawls of hushed melancholia, spidery guitars underpinned by distant swells, streaks of fragmented melody, all wreathed in delicate echo, swaddled in spacey reverb, the sound soft, and soft focus, crystalline and fragile, but infused with a dark energy, a subtle power, that transforms muted minimal thrum into a sort of blackened blues. The various sounds shot through with serpentine tendrils, the chords drifting apart, into blurred and smeared expanses of dark moonlit sound.
A fantastic collection of introspective electric guitar meditations, each a hushed and haunting, otherworldly and tranquil, meditative and mesmerizing blackened spectral emanation. And every one spectacularly lovely.

CAMPILONGO, JIM, & THE TEN GALLON CATS Loose (Blue Hen) cd 14.98
Definitely one of San Francisco's musical treasures, here's the country/jazz guitar master and band, with instrumentals inspired by robots, Pee Wee Herman, and the alien autopsy, along with versions of "Harlem Nocturne" and "Mr. Sandman"...wonderful. Fans of Speedy West & Jimmy Bryant will be happy (the pedal steel player is amazing!), and I could see folks into the likes of Man or Astroman? also digging this.

album cover CANDLELIGHT SERVICE, THE s/t (self-released) lp 19.98
Here's a private pressing from the enigmatic project The Candlelight Service, whose various members have a very minimal public profile, consisting mostly of some ubiquitously uninformative Twitter accounts. But musically, this project, which seems to be centered around the production of one Josh Kinney and a host of female vocalists, is a pretty intriguing concoction of goth oriented italo-disco and downer-pop witch house vibes. The leading track "Alchemy" has the decadent emptiness of those Johnny Jewel produced disco tracks for Italians Do It Better (i.e. Chromatics, Glass Candy, Desire, etc.), furthered along by the cool detachment of vocalist Zoe DuFault. "Comfort" pushes a buzzingly punk guitar chord well into the distance behind a downtempo slink from the drum machines and blown out Nord synth lines to go along with the ice-queen vocals from Sierra DuFault, who seems to be the primary vocalist here, presenting more of a Karen O snarl and theatrical warble. The album works through its sparse arrangements for synth, drum machines, guitars, and vocals, with that minimal wave approach to the less is more production values. This is even true for the relatively noisy guitar track "Drink For You" which reprises another track on the album but with the gritty lo-fi goth vibe of Chelsea Wolfe. There's just 100 of these kicking around, and the lp does come with a cd-r of the whole record as well.
MPEG Stream: "Alchemy"
MPEG Stream: "This Curse"
MPEG Stream: "Drink For You"

album cover CANTU-LEDESMA, JEFRE Alone / Together #6 (Emerald Cocoon) 7" 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We were only able to get ten of these and odds are we won't be able to get more, so we'll keep this brief. Needless to say, you might want to grab one of these before they're gone, cuz the A side Finds Cantu-Ledesma unfurling a gorgeous slab of Lovesliescrushing style prismatic dreampop shimmer, skeletal rhythms suspended in crystalline fields of bleary sundappled rainbow synth swaddled guitartroniks, thick swaths of chordal thrum, whirls lazily over a warm billowy background of keening melodies and abstract ethereal ambience. Distorted and dreamily blown out, noisy, but a sort of gauzy soft focus noisiness that makes it sound like the sounds are melting into deliriously colorful fractals before your very ears. Some heady sonic confection for sure, and miles removed from the minimal contemplation of many of Cantu-Ledesma's other releases.
The flipside merges the two, the more subdued ambience of earlier works with the above mentioned blissed out 4AD blur/blear/bliss, the resulting track is a dark, Twin Peaks like drift, all lush soft swirls, fractured dubbed out rhythms, hazy sonic smears, all druggy and droney, a lovely lysergic comedown from the A side's more effervescent sonic swirl.
EXTREMELY LIMITED!!! These are very likely the only copies we'll ever get, includes a printed insert, and comes housed in a swank, thick, full color sleeve.

album cover CANTU-LEDESMA, JEFRE Bloodsteam Sermon (Arbor Infinity) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Only got a little handful of these. 150 copies total, already out of print and we have less than 10. Latest bit of ultra minimal bliss out dronemusic from Cantu, he of Tarentel, the Alps and the mighty Root Strata label. On Bloodstream Sermon, Cantu creates softly billowing stretches of lush shimmer, using only a Roland Juno 60 synth, a pure wave oscillator and a handful of electronics, each of the two tracks gorgeous and hazy and warm, soft swells of dreamlike sound, constantly shifting tones and overtones, utterly tranquil and hypnotic, the first side much more dense and layered, a thick undulating sprawl of deeeeeep tones. While the second side/track is more abstract, a bit more whir and glitch, ambient and almost industrial sounding. A blurred symphony of muted machine-like buzz and rumble, peppered with little glimmers of glitch, all wrapped in a gauzy patina of washed out thrum. So lovely.

album cover CANTU-LEDESMA, JEFRE Love Is A Stream (Type) cd 15.98
Before we blather on like we so often do, it seemed like it might be good to just toss out a first impression of Love Is A Stream, the fantastic new record from Root Strata label Head Honcho Jefre Cantu-Ledesma, his first for the type label. And heck, that first impression might be all you need:
Lovesliescrushing meets Flying Saucer Attack.
There. Hard to argue with that. Warped warbly, blurred shoegazey drift, long stretches of incendiary psychedelic guitar drone, streaks of soft noise, buried melodies, ethereal vocals, lush layered textures, dense and explosive, expansive and dreamily hazy, and in its own way, gorgeously heavy.
A new side of Cantu-Ledesma for sure, whose past records seemed to hover in a much more tranquil serene otherworld, unfurling hushed landscapes of whispery minimalism, of delicate crystalline shimmer, and of barely there soft focus ambient drift. Love Is A Stream is anything but, a fiery, fierce, yet ultimately lush and washed out series of bold shoegaze dreamnoise experiments, not so much pop songs swathed in distortion and effects, as carefully crafted sonic impressions, a series of gorgeous miniature epics, each a brief expanse of prismatic hypnogogic psychedelia, every one a unique a roiling concoction of fuzzpopbliss and murky melodic churn. On the surface, the record plays out like a series of textures, from warm whirling hum, to crumbling blown out white noise blur, to grinding muted pulse and throb, to gauzy bleary haze, to thick billowy low end rumble, to superdistorted effects-drenched synthnoise, and yeah, you're reading right, this is in fact a noisy record, but it's an artfully crafted, carefully sculpted noise. A thick, billowing, warm and gloriously enveloping melodic noise, like sinking into a swirling sea of burnished muted crush, a nearly overwhelming avalanche of whirling swirling crumbling throb and thrum, beneath it all lurk delicate melodies, tendrils of minor key guitar, ghostly voices, whirring synths, they rise to the surface here and there, but for the most part exist as shadowy impressions, infusing the noisy textures with a melodic core, a warm glowing sonic heart, which is what transforms these heaving slabs of shoegazey heaviness into something divine, and divinely dreamy.
There are brief moments, where the surface noise, and the distortion, and the walls of effects peel back, and we get to peek behind the curtain, which reveals the lush minimal underpinnings of the songs, a brief melodic smear here, a hushed little fragment of guitar there, but a glimpse is all we get, and really all we want, because it's how those bits of minimal songcraft interact with the intense sonic effulgence that is truly the magic that Cantu-Ledesma wields in conjuring up the sounds here. And like all magic, the joy is not in how it was done, but it how it makes us feel.
The lp version comes with a bonus cd, a collaboration with Type label mainman Xela, who took source material provided by Cantu-Ledesma, and fashioned his own bit of ambient dronemusic. Nearly 50 minutes of haunting drift, after a short burst of caustic super distorted crunch, Xela settles into a slow burning sprawl of washed out chordal shimmer, deep rumbling thrum and lush streaks of shoegazey buzz, a few moments as dense and psychedelic as the record proper, but for the most part, more of a chill out wind down coda, the perfect addendum to an already practically perfect record. Really quite lovely.
MPEG Stream: "Stained Glass Body"
MPEG Stream: "Loving Love"
MPEG Stream: "Mirrors Death"

album cover CANTU-LEDESMA, JEFRE Love Is A Stream (Type) lp+cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Before we blather on like we so often do, it seemed like it might be good to just toss out a first impression of Love Is A Stream, the fantastic new record from Root Strata label Head Honcho Jefre Cantu-Ledesma, his first for the Type label. And heck, that first impression might be all you need:
Lovesliescrushing meets Flying Saucer Attack.
There. Hard to argue with that. Warped warbly, blurred shoegazey drift, long stretches of incendiary psychedelic guitar drone, streaks of soft noise, buried melodies, ethereal vocals, lush layered textures, dense and explosive, expansive and dreamily hazy, and in its own way, gorgeously heavy.
A new side of Cantu-Ledesma for sure, whose past records seemed to hover in a much more tranquil serene otherworld, unfurling hushed landscapes of whispery minimalism, of delicate crystalline shimmer, and of barely there soft focus ambient drift. Love Is A Stream is anything but, a fiery, fierce, yet ultimately lush and washed out series of bold shoegaze dreamnoise experiments, not so much pop songs swathed in distortion and effects, as carefully crafted sonic impressions, a series of gorgeous miniature epics, each a brief expanse of prismatic hypnogogic psychedelia, every one a unique a roiling concoction of fuzzpopbliss and murky melodic churn. On the surface, the record plays out like a series of textures, from warm whirling hum, to crumbling blown out white noise blur, to grinding muted pulse and throb, to gauzy bleary haze, to thick billowy low end rumble, to superdistorted effects-drenched synthnoise, and yeah, you're reading right, this is in fact a noisy record, but it's an artfully crafted, carefully sculpted noise. A thick, billowing, warm and gloriously enveloping melodic noise, like sinking into a swirling sea of burnished muted crush, a nearly overwhelming avalanche of whirling swirling crumbling throb and thrum, beneath it all lurk delicate melodies, tendrils of minor key guitar, ghostly voices, whirring synths, they rise to the surface here and there, but for the most part exist as shadowy impressions, infusing the noisy textures with a melodic core, a warm glowing sonic heart, which is what transforms these heaving slabs of shoegazey heaviness into something divine, and divinely dreamy.
There are brief moments, where the surface noise, and the distortion, and the walls of effects peel back, and we get to peek behind the curtain, which reveals the lush minimal underpinnings of the songs, a brief melodic smear here, a hushed little fragment of guitar there, but a glimpse is all we get, and really all we want, because it's how those bits of minimal songcraft interact with the intense sonic effulgence that is truly the magic that Cantu-Ledesma wields in conjuring up the sounds here. And like all magic, the joy is not in how it was done, but it how it makes us feel.
The lp version comes with a bonus cd, a collaboration with Type label mainman Xela, who took source material provided by Cantu-Ledesma, and fashioned his own bit of ambient dronemusic. Nearly 50 minutes of haunting drift, after a short burst of caustic super distorted crunch, Xela settles into a slow burning sprawl of washed out chordal shimmer, deep rumbling thrum and lush streaks of shoegazey buzz, a few moments as dense and psychedelic as the record proper, but for the most part, more of a chill out wind down coda, the perfect addendum to an already practically perfect record. Really quite lovely.
MPEG Stream: "Stained Glass Body"
MPEG Stream: "Body Within Body"
MPEG Stream: "River Like Spine"

album cover CANTU-LEDESMA, JEFRE Phantom Harp (Root Strata) 3" cd-r 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A brand new, brief and lovely missive from Jefre Cantu-Ledesma, frontman of Tarentel, member of The Alps, The Holy See, Two Suns, head honcho of the Root Strata label and a pretty handy drone alchemist on his own, this little 3" is no different.
Utilizing a borrowed autoharp and a handful of electronics, Phantom Harp is all glistening glimmering solar flares, shimmering sunlight filtered through green fields sparkling with dewdrops, a gorgeous soft focus glacial drift, an otherworldly, slowed down Appalachia, the chords slowly drifting apart, notes carried skyward like leaves on a summer breeze, sleep, bleary eyed dreaminess, which all gives way to a washed out, lugubrious lowercase smear of fluttering drones, and creeping moonlit fog, hushed and dreamy, an oceanic seascape of twinkling muted melody and near static shimmer. All arranged into a single twenty minute track, multiple movements woven into an epic organic constantly evolving sonic dreamscape. Gorgeous.
Packaged in a beautiful black on black fold over thick paper sleeve, inside a 3" cd in a tiny plastic jacket, and a printed insert.
LIMITED TO ONLY 100 COPIES!!
MPEG Stream: "The Phantom Harp (excerpt 1)"
MPEG Stream: "The Phantom Harp (excerpt 2)"

album cover CANTU-LEDESMA, JEFRE Shining Skull Breath (Students Of Decay) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This ultra limited, and long out of print cd-r from 2007, finally available again, now as a super swank (and still quite limited) lp...
Another gorgeous sonic transmission from right here in the Bay Area, from AQ fave Jefre Cantu-Ledesma, the man behind Tarentel, and the Root Strata label. Those familiar with Cantu-Ledesma's music know that he usually speakers in hushed whispers, breathy and breathless, soft sonic shimmers allowed to drift like billowy clouds into your ears. But here, C-L is no longer whispering, instead he's breathing fire, his guitar a newly minted incendiary device. A sonic flame thrower, each track a layered assemblage of thick peals of sound, glowing tongues of distorted flame. A sonic assault more similar to Total or Sunroof! Than C-L's usual output. Makes sense that the first song is dedicated to Pete Swanson of the Yellow Swans (who also mastered it).
But all of this talk of fire and flame shouldn't scare you off, there is still plenty of delicate beauty to be had, it's just wrapped in thick sheets of sonic napalm, the guitar effulgent and glowing white hot, the chords washed out and the distortion crumbling. Melodies are jagged and dripping with hissy buzz, each track a glacial guitarscape turning your speakers to ash.
There are a few tracks, almost half of the 8 here, that drift in a soporific haze, and hew closer to C-L's usual aesthetic, but here, they sound less like individual pieces, and more like interludes, brief moments of tranquility, a chance to catch your breath, let your ears heal, allow time for your speakers to re-solidify, before launching the next buzzing crumbling divinely distorted salvo of gorgeous blown out guitar bliss.
Fans of stuff like Nadja, the Yellow Swans, Tim Hecker, the Angelic Process, Fear Falls Burning, will be quite pleased with Cantu-Ledesma's visit to the sonic dark side.
LIMITED TO 500 COPIES, comes with a digital download coupon as well...
MPEG Stream: "Distant Star (For Pete Swanson)"
MPEG Stream: "Shining Skull Breath"

album cover CANTU-LEDESMA, JEFRE Shining Skull Breath (Students Of Decay) cd-r 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another super limited sonic transmission from right here in the Bay Area, from AQ fave Jefre Cantu-Ledesma, the man behind Tarentel, and the Root Strata label. Those familiar with Cantu-Ledesma's music, knows that he usually speakers in hushed whispers, breathy and breathless, soft sonic shimmers allowed to drift like billowy clouds into your ears. But here, CL is no longer whispering, instead he's breathing fire, his guitar a newly minted incendiary device. A sonic flame thrower, each track a layered assemblage of thick peals of sound, glowing tongues of distorted flame. A sonic assault more similar to Total or Sunroof! Than CL's usual output. Makes sense that the first song is dedicated to Pete Swanson of the Yellow Swans (who also mastered it).
But all of this talk of fire and flame shouldn't scare you off, there is still plenty of delicate beauty to be had, it's just wrapped in thick sheets of sonic napalm, the guitar effulgent and glowing white hot, the chords washed out and the distortion crumbling. Melodies are jagged and dripping with hissy buzz, each track a glacial guitarscape turning your speakers to ash.
There are a few tracks, almost half of the 8 here, that drift in a soporific haze, and hew closer to CL's usual aesthetic, but here, they sound less like individual pieces, and more like interludes, brief moments of tranquility, a chance to catch your breath, let your ears heal, allow time for your speakers to re-solidify, before launching the next buzzing crumbling divinely distorted salvo of gorgeous blown out guitar bliss.
Fans of stuff like Nadja, the Yellow Swans, Tim Hecker, the Angelic Process, Fear Falls Burning, will be quite pleased with Cantu-Ledesma's visit to the sonic dark side.
LIMITED TO 100 COPIES. Packaged in full color cardboard sleeves, with printed inserts.
MPEG Stream: "Distant Star (For Pete Swanson)"
MPEG Stream: "Shining Skull Breath"

album cover CANTU-LEDESMA, JEFRE The Garden Of Forking Paths (Spekk) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
After a couple of super limited cd-r's and tapes, a release or two as Colophon, and a bunch as records as a member of the Alps and Tarentel, The Garden Of Forking Paths is Cantu-Ledesma's first proper full length, and it's a doozy. A subtle and immersive sound that belies the huge array of instruments used. Electric guitars, acoustic guitars, gong, sruti box, harmonium, singing bowl, cassette, microcassette, reel to reel tape machine, electronics, sound booster and ride cymbal, with help on one track with percussion, tapes and electronics. Somehow, all of those bits and baubles are melted down into a gorgeously lush, yet minimal series of slow crawls, deep rich drones, each adorned with subtle variations and bits of sonic color.
The multitude of tape machines used in the creation of this record gives the proceedings a raw, fuzzy analog vibe that definitely hits our Jeck-Hecker-Basinski spot. Fuzzy and indistinct, thick smeared sonic drifts, that occasionally glow with some sort of diffused inner light, but for the most part, slither darkly through the shadowy corners of your speakers. Here and there, some of the sound will spill from your speakers like black ink, shiny and shimmery, staining you ears with a mysterious darkness. The final track is the only track where you can hear the guitar, a mumbling buzzy melody buried way down in the mix, creeping through a moonlit landscape of shimmering warble and distant barely-there hum. A gorgeously murky minimal world of slow moving tape, vibrating metal, creaking buzz, whirling whispers and abstract dreamy drift.
Packaged in a cool, sleek oversized digipak style folder.
MPEG Stream: "Aberration Of Starlight"
MPEG Stream: "Bay Of Pearls"
MPEG Stream: "Feast Of Pentecost"

album cover CANTU-LEDESMA, JEFRE & PAUL CLIPSON Corridors (Root Strata) dvd-r 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second dvd collaboration from film maker Paul Clipson and Root Strata / Tarentel head honcho Jefre Cantu-Ledesma. Another gorgeous and sonically blissed out tag team, Clipson's films this time around, again on Super-8, shot entirely in NYC, impressionistic shots of cityscapes, rolling hills, the texture of water, sun dappled evening skies, many of the shots textural, extreme close ups, patterns as much as images and shapes, sunspots, shadows, reflections, very active, the world flying past out the window of a train, power lines and bridges slipping out of eyeshot, setting suns and colored clouds, so lovely and dreamy.
Cantu-Ledesma offers up the perfect soundtrack, music culled from the same sessions that produced the huge aQ fave Shining Skull Breath, so even folks who don't care about the dvd, will want this for the sounds, which are thick and dense, whirring dronescapes, textured and layered, slipping from minimal shimmer to buzzing roar and back again, very much active, the intensity and propulsion of the sounds perfectly matching the motion of the visuals, in some cases, seemingly slowing it down, the drone dragging the landscape flashing by into sudden focus before letting it go again.
Either of these elements would be fantastic on their own, we can only imagine seeing these films projected against the side of a building, or on a huge movie screen, and these sounds would kill broadcast through some massive PA, the thick roiling drones washing over us, filling our ears with grit and grime, but together they work even better, even just viewed on the tiny screen of our computer, sonically and visually evoking all sorts of deep feelings and lost memories, of places never visited, of better times, of lost loves and of a past that keeps slipping further and further away. So lovely.
Packaged in an folded up origami style vellum sleeve with a printed insert. LIMITED TO 100 COPIES! Already sold out at the label so these are the last copies EVER!

album cover CANTU-LEDESMA, JEFRE & PAUL CLIPSON The Phantom Harp (Root Strata) dvd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
In the age of YouTube and MySpace, the idea of the music video has changed dramatically since the days of MTV (or at least the days when MTV actually played videos). In the past, only bands on major labels could make a video, often hiring a real director and dropping hundreds of thousands of dollars. Now, plenty of bands have videos before they even have a record out. Super 8, digital video, Final Cut Pro, anyone can put together their own video and have it look as good if not better than the classic videos of old.
Old news maybe, but the thing is, most bands seems to use the video as simply a promotional tactic, or an excuse to fuck around and film it. Instead of, dare we say, ART. In the underground though, it's not at all uncommon for like minded musicians and filmmakers to join forces. In fact, with the advent of live performances featuring laptops and other sedimentary sound making devices (when is someone gonna make a laptop guitar, so left out laptoppers can windmill and leap about with the rest of the band?), often it's the accompanying films that are way more compelling. Often, a show is touted as some band performing "with films by so and so", but in fact, more often than not, it plays out more like seeing a film, that just so happens to feature live accompaniment by some band.
Few labels have really taken advantage of this new technology as much as Root Strata, who have quietly and steadily been releasing a series of super limited dvd-r's, each featuring new compositions by a small handful of artists, coupled with original films. The results have been pretty sublime, the films tending toward the abstract and impressionistic, the music following suit. When watching / listening to these, it's hard not to imagine laying on the floor, propped up on cushions, lights low, the film being projected on a huge blank wall, the band hunkered over their instruments in the corner, which makes sense as that's most likely how these films/sounds were conceived.
So we have two new super limited dvd-r releases, one from Zelienople and one from Jefre Cantu-Ledesma and Paul Clipson, both limited to 100 copies, both already out of print, so these are the only copies we'll ever get.
This is the third collaboration between filmmaker Paul Clipson and Jefre Cantu-Ledesma, who also plays in Tarentel, and runs Root Strata with his partner Maxwell Croy.
The Phantom Harp, as the title might lead you to believe, is in fact a reworking of the piece of the same name, originally released as a 3" cd-r and now out of print. Not only has the piece been reworked, but no it is accompanied by Clipson's gorgeous abstract images. The Phantom Harp is a super minimal sun dappled stretch of glimmering shimmering dreaminess, soft notes float like leaves in the summer sun, smears of high end wreath each note in glimmering sonic haloes, the pace is glacial, the melodies stretched out over minutes instead of seconds, a little ambient, a little new age, a little free drone, all deftly blurred into one smoldering sonic dreamscape. The visuals are super striking, and manage to fit perfectly with the sounds, all black and white, images of rain slicked streets, sun shining through the treetops, car headlights at night, images sometimes overexposed, blurred, superimposed, but mostly left to just play out, cityscapes, buildings, people rushing to and fro, light reflecting on water, shapes and textures, walls, grills, neon signs, restaurants, a soft, a dreamy faded super-8 travelogue. So nice.
Packaged in printed, folded papers sleeves, and again, LIMITED TO ONLY 100 COPIES, and already out of print.

album cover CANTU-LEDESMA, JEFRE & PAUL CLIPSON Within Mirrors (Special Edition) (Students Of Decay) dvd + 3" cd-r 30.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally available, this long in the works compilation of the various collaborations between super 8 filmmaker Paul Clipson and musician Jefre Cantu-Ledesma, he of Tarentel and the Alps as well as one half of the team that runs the Root Strata label. Many (if not all) of these collaborations were previously available as ultra limited dvd-r's, some so limited (as in 50 copies!) we only got a handful, some so limited we never got ANY. This is the first time they've all been compiled on a proper REAL dvd (not a dvd-r), and we're the only store that has the ultra limited version which comes with a bonus 3" cd-r, but more on that in bit.
First, let's talk about the films and the music included here. First, The Phantom Harp from 2007. The Phantom Harp, was in fact a reworking of the piece of the same name, originally released as a 3" cd-r and long out of print. The reworked version found the music accompanied by Clipson's gorgeous abstract images. The Phantom Harp is a super minimal sun dappled stretch of glimmering shimmering dreaminess, soft notes float like leaves in the summer sun, smears of high end wreath each note in glimmering sonic haloes, the pace is glacial, the melodies stretched out over minutes instead of seconds, a little ambient, a little new age, a little free drone, all deftly blurred into one smoldering sonic dreamscape. The visuals are super striking, and manage to fit perfectly with the sounds, all black and white, images of rain slicked streets, sun shining through the treetops, car headlights at night, images sometimes overexposed, blurred, superimposed, but mostly left to just play out, cityscapes, buildings, people rushing to and fro, light reflecting on water, shapes and textures, walls, grills, neon signs, restaurants, a soft, a dreamy faded super-8 travelogue.
Then there's Corridors, also from 2007, which was the second dvd collaboration between Clipson and Cantu-Ledesma. Another gorgeous and sonically blissed out tag team, Clipson's films, again on Super-8, were shot entirely in NYC, impressionistic shots of cityscapes, rolling hills, the texture of water, sun dappled evening skies, many of the shots textural, extreme close ups, patterns as much as images and shapes, sunspots, shadows, reflections, very active, the world flying past out the window of a train, power lines and bridges slipping out of eyeshot, setting suns and colored clouds, so lovely and dreamy. Cantu-Ledesma offers up the perfect soundtrack, music culled from the same sessions that produced the huge aQ fave Shining Skull Breath, thick and dense, whirring dronescapes, textured and layered, slipping from minimal shimmer to buzzing roar and back again, very much active, the intensity and propulsion of the sounds perfectly matching the motion of the visuals, in some cases, seemingly slowing it down, the drone dragging the landscape flashing by into sudden focus before letting it go again.
Two Suns from 2005: A beautifully abstract and paranoid impression of Southern California, filmed on grainy Super8, with lots of dizzyingly hypnotic footage of telephone wires, helicopters, cityscapes, gorgeously blurred out traffic lights and tail lights and street lights. There's late afternoon silhouettes, fuzzy smears of neon, rain drops on glass, cranes and docks, abstract streaks of passing cars and slick roadways, hillsides covered in windmills, the sun reflected on the sea, highways and green hills. So lovely. And haunting. As are the accompanying sounds created, an ominous, buzzing, vocal drone, affected to the point that it still sounds organic, but not like a voice, more like streaks of sound, greys and blacks and browns, all smeared into blurred soundscapes of purr and whir and thrum, that perfectly compliment the shaky camera work, the grainy film stock, and the gorgeously and ominously mundane subject matter.
Constellations from 2006: A dreamlike drift through a dense visual latticework of plants, chainlink fences, branches, leaves, stoplights, neon signs, a delirious series of slow motion visual tangles and patterns. A bug's eye view of the world mysterious and wonderful, like cutting room floor super-8 plant studies and urban landscapes woven into soft focus home movies. All set to the warm glow of Ledesma's swelling dronescapes.
The other three films here may have been released before, but are new to us, Sphinx On The Seine from 2008, is another collection of gorgeous hazy landscapes, in washed out color and start black and white, the films flitting back and forth, industrial structures, glowing lights, moving textures and solar flares, all set to a dark and haunting melody laced low end thrum, meditative and ominous. There's also Within Mirrors, which is also from 2008, and is much more impressionistic, branches and leaves, constantly shifting in and out of focus, while Cantu-Ledesma's score shifts accordingly, from pulsing looped mesmer to warm washed out dreaminess.
And finally, there's Lights & Perfections from 2006, more patterns, this time a journey through ever shifting foliage, another bug's eye view, flowers and grass, and shifting leaves, blossoms, everything swaying gently in the breeze, the soundtrack equally breezy, soft focus, hushed and dreamy, soothing and tranquil and so lovely. In fact all the sights and sounds here are gorgeous. And as if that weren't enough, we have the super limited version, which comes with a bonus 3" cd-r, featuring an exclusive 17 minute track, a gorgeous hazy dronescape, of pulsing softly psychedelic shimmer, of strange hushed industrial whir, of grinding shoegazey crunch, of barely there whispery drift, of staticky dreamlike shimmer, so gorgeous.
EXTREMELY LIMITED, at least the deluxe version with the bonus disc, so grab one quick if you want the extra disc! The packaging is super swank too, an oversized complex multipocketed origami style cardstock sleeve, printed front and back. Nice!

album cover CAPITOL YEARS Dance Away The Terror (Park The Van) cd 13.98
Slip this new Capitol Years album up alongside the latest one from the Pernice Brothers, and you'll have the yummiest soft pop double scoop. Really, the two go together perfectly. Their lilting vocal harmonies and chiming guitars recall the splendor of Big Star and The Raspberries. Despite the album's title which might lead you to expect an electric dancefloor packer like Radio 4 or The Rapture, these eleven polished reverb-drenched songs will prolly have you swaying gently in the autumn leaves instead. Take it nice and easy. Soooooo good.
MPEG Stream: "Revolutions"
MPEG Stream: "It's Not Okay"

album cover CAPRICORNS Go The Distance (Banazan) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hurray, it's a new album from this Bay Area duo! Ever since Kirsten Capricorn brought in their debut cd In The Zone last February it's been a very consistent seller, and this sophomore effort seems primed to follow suit. Filled with bittersweet odes to sweethearts and heartaches, it's still keeping with their beloved lo-fi '80s Casiotone preprogrammed drumbeats and arpeggiated peppiness. Their vocals are much more self-assured and expressive this time around, but still within the same range as Corin Tucker's emotive warble. On a couple of songs though you might also find them a bit reminiscent of the GoGo's Belinda Carlisle too. Super fun and high spirited!
MPEG Stream: "Prisoner Of Love"
MPEG Stream: "Everywhere I Go"

album cover CAPTAIN FATASS s/t (Pipe City Nights) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

CAPTAIN FATASS Sweet Migrations (Pipe City Nights) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Captain Fatass, who have been playing around town for some time now, finally recorded and released a full length album so that now there's no need to wait for their upcoming shows to listen to them. Musically they draw a lot from the musical well of SF's rock history, sounding at times a like a less uptight Camper Van Beethoven, Dieselhed (when they rock out) and even early Thinking Fellers (but with better musicianship skills.)
RealAudio clip: "Lake Charles"

album cover CAPTURED BY ROBOTS Captured Alive! (Robotic Resistance) cd + dvd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Listening to Captured Alive! in a musical sense is nearly impossible. That is of course if you haven't actually witnessed for yourself the incredible live performance of Captured By Robots. Luckily for all, the performance that took place right here at San Francisco's Bottom Of The Hill is not only found on the cd, but you may witness it for yourself in digital video form on the accompanying dvd. Probably the most entertaining and elaborate one-man-band ever.

album cover CARLETTA SUE KAY Incongruent (Kitten Charmer) cd 9.98
Incongruent is a collection of highly intelligent, mostly melancholy songs sung extraordinarily well by a six-foot man in a frock and wig. One would never know that, of course, from any of the minimal (and "naughty") imagery included with the record... The songs here demand your attention: they're catchy, clever, and heartfelt without being sentimental. Carletta Sue Kay's Incongruent is a record that many will obsess over. An obvious comparison would be to Antony (& the Johnsons). Even though Antony and Carletta's voices occupy completely different sonic ranges, they both approach songwriting with an inherent sense of drama. And, like Antony, there's no campiness here. A bit of humor, yes, and a bit of genderbending, but Carletta is definitely not a drag performer. There's no question of Randy playing some kind of character: Carletta is Randy Walker is Carletta Sue Kay. Carletta/Randy lent his vocal talents to the most recent Magnetic Fields disc Love At the Bottom of the Sea. An honor (for a fan), and homage can be felt in the staccato, precise quality to the storytelling and playing on Incongruent. "For the Birds" and "Just Another Beautiful Boy" provide nice juxtaposition as opening tracks. Lyrically, "For the Birds" is some dark shit, but the band takes you to such a dreamy Willie Nelson kind of place you don't notice until your second time through the record. You also don't notice the song tops well over six minutes until maybe your third. After an introduction that includes some crafty arrangements and production to segue, "Beautiful Boy" kicks in with a nod-your-head pop jangle you never expected. By the end you're humming along with the refrain, but there's no way to sing along once Carletta really opens it up at the end unless you've got pipes like his, and that's pretty doubtful. The opening lines of "Pas la Meme" has CSK wondering how much dog shit is in Paris, delivered with just enough bitterness to make you wonder why Carletta has such antipathy for that city. During the entire record, Carletta's androgynous voice never strays below an alto, and is quite strong even in very high registers. He makes you WANT to listen. At a recent (albeit somewhat compact) show, he held the mic well away from him for most of the performance and his voice was still well above the instruments. "Joy Division" sounds more like the also-mentioned Echo and the Bunnymen (no complaints) but none of the songs are predictable or too traditionally arranged. Aside from "Joy Division" and "Beautiful Boy" there's very little use of percussion on Incongruent, relying on the percussive qualities of the piano and acoustic guitar to provide the pulse. The more rocking, poppier songs are great, but the songs without drums provide a more intimate cushion to caress Carletta's voice. The choice to keep the record more orchestral and less traditionally "pop" was a good one. People have been coming into the store for the past week or so asking for this record and that shows no sign of letting up... HIGHLY recommended!
MPEG Stream: "For the Birds"
MPEG Stream: "Pas le Meme"
MPEG Stream: "Joy Division"

album cover CARLETTA SUE KAY Pas Le Meme / Just Another Beautiful Boy (Daddy Pony) 7" 5.98

album cover CARLTON MELTON Always Even (Agitated Records) cd 14.98
We're kind of running out of superlatives for these guys, and new ways to describe the deliriously druggy din they whip up. If only there was a psychedelic space rock thesaurus... So bear with us if it sounds like we're repeating ourselves, but in a way, that wouldn't be such a bad thing, because even though every Carlton Melton record definitely stands up as its own album, they all sound linked, which makes sense, as they're all recorded in the same space (the DOME), and are all culled from sprawling mega-jams, but instead of sounding simply 'jammy', it's almost as if these guys are psychedelic shamans, tapping into some alien sonic continuum, that the rest of us just aren't privy to, and CM are the conduit, the portal, channeling mysterious cosmic vibes from the ether, and transforming them into some of the sweetest (and hard rockingest) psych we've heard. The core members of CM are once again joined by unofficial 4th member John McBain from Monster Magnet, and together, whip up another gorgeous blast of wasted zoner dreaminess, and driving tranced out kraut-psych. The opener here is definitely familiar territory, easing us in with a sound that seems like it bled over from one of the other recent records, all softly billowing shimmer, and blurred melodic tangles, abstract and dreamily drifty, a serious kosmische kraut-age vibe, and as always, if these guys had stretched that out to fill up the whole record, we'd have been perfectly happy. Instead though, they mix it up, with "Keeping On" being one of the weirder jams we've heard from these guys, driving and propulsive, drum heavy, with thick crumblingly distorted guitars, and some awesome progged out synths, that give the sound a serious seventies prog epic/opus vibe, that these guys manage to craft into something way darker and meaner, with some seriously kick ass drum pound, and wild psych freakouts, super heavy AND heady.
"Spiderwebs" pairs creepy Carpenter-ish cinematic synth with some lazy sun dappled slo-mo dream-psych languor, while "Sarsen" seems to fade into a jam already in progress, one that sounds like it's been going on since the beginning of time, primal and primordial, another muscly hard rocky, drum driven psych-kraut blow out, again laced with swirling synths and dense clouds of freaked out FX, all the while the band locked tight into some serious post-Hawkwind heaviness, and finally, "The Splurge" finishes things off with a sound much more raw and blown out, sounding like it was captured live, lots of reverb and echo, like they're playing in a big concrete bunker, the sounds crumbling and in-the-red, the vibe sorta German Oak-ish, definitely super bunkurfunk mixed into the slow-burn psych, noisy, and trippy and fucking awesome.
Killer psychedelic cover art. The cd is housed in a digipak, while the vinyl comes in two versions, one on green wax, one on black wax with a poster, make sure you order the one you want, they're listed as two different items. (And maybe let us know if you're willing to take the other, if we run out of one...)
MPEG Stream: "Slow Wake"
MPEG Stream: "Keeping On"
MPEG Stream: "Spiderwebs"

album cover CARLTON MELTON Always Even [black vinyl w/ poster] (Agitated) lp 19.98
We're kind of running out of superlatives for these guys, and new ways to describe the deliriously druggy din they whip up. If only there was a psychedelic space rock thesaurus... So bear with us if it sounds like we're repeating ourselves, but in a way, that wouldn't be such a bad thing, because even though every Carlton Melton record definitely stands up as its own album, they all sound linked, which makes sense, as they're all recorded in the same space (the DOME), and are all culled from sprawling mega-jams, but instead of sounding simply 'jammy', it's almost as if these guys are psychedelic shamans, tapping into some alien sonic continuum, that the rest of us just aren't privy to, and CM are the conduit, the portal, channeling mysterious cosmic vibes from the ether, and transforming them into some of the sweetest (and hard rockingest) psych we've heard. The core members of CM are once again joined by unofficial 4th member John McBain from Monster Magnet, and together, whip up another gorgeous blast of wasted zoner dreaminess, and driving tranced out kraut-psych. The opener here is definitely familiar territory, easing us in with a sound that seems like it bled over from one of the other recent records, all softly billowing shimmer, and blurred melodic tangles, abstract and dreamily drifty, a serious kosmische kraut-age vibe, and as always, if these guys had stretched that out to fill up the whole record, we'd have been perfectly happy. Instead though, they mix it up, with "Keeping On" being one of the weirder jams we've heard from these guys, driving and propulsive, drum heavy, with thick crumblingly distorted guitars, and some awesome progged out synths, that give the sound a serious seventies prog epic/opus vibe, that these guys manage to craft into something way darker and meaner, with some seriously kick ass drum pound, and wild psych freakouts, super heavy AND heady.
"Spiderwebs" pairs creepy Carpenter-ish cinematic synth with some lazy sun dappled slo-mo dream-psych languor, while "Sarsen" seems to fade into a jam already in progress, one that sounds like it's been going on since the beginning of time, primal and primordial, another muscly hard rocky, drum driven psych-kraut blow out, again laced with swirling synths and dense clouds of freaked out FX, all the while the band locked tight into some serious post-Hawkwind heaviness, and finally, "The Splurge" finishes things off with a sound much more raw and blown out, sounding like it was captured live, lots of reverb and echo, like they're playing in a big concrete bunker, the sounds crumbling and in-the-red, the vibe sorta German Oak-ish, definitely super bunkurfunk mixed into the slow-burn psych, noisy, and trippy and fucking awesome.
Killer psychedelic cover art. The cd is housed in a digipak, while the vinyl comes in two versions, one on green wax, one on black wax with a poster, make sure you order the one you want, they're listed as two different items. (And maybe let us know if you're willing to take the other, if we run out of one...)
MPEG Stream: "Slow Wake"
MPEG Stream: "Keeping On"
MPEG Stream: "Spiderwebs"

album cover CARLTON MELTON Always Even [green vinyl] (Agitated) lp 19.98
We're kind of running out of superlatives for these guys, and new ways to describe the deliriously druggy din they whip up. If only there was a psychedelic space rock thesaurus... So bear with us if it sounds like we're repeating ourselves, but in a way, that wouldn't be such a bad thing, because even though every Carlton Melton record definitely stands up as its own album, they all sound linked, which makes sense, as they're all recorded in the same space (the DOME), and are all culled from sprawling mega-jams, but instead of sounding simply 'jammy', it's almost as if these guys are psychedelic shamans, tapping into some alien sonic continuum, that the rest of us just aren't privy to, and CM are the conduit, the portal, channeling mysterious cosmic vibes from the ether, and transforming them into some of the sweetest (and hard rockingest) psych we've heard. The core members of CM are once again joined by unofficial 4th member John McBain from Monster Magnet, and together, whip up another gorgeous blast of wasted zoner dreaminess, and driving tranced out kraut-psych. The opener here is definitely familiar territory, easing us in with a sound that seems like it bled over from one of the other recent records, all softly billowing shimmer, and blurred melodic tangles, abstract and dreamily drifty, a serious kosmische kraut-age vibe, and as always, if these guys had stretched that out to fill up the whole record, we'd have been perfectly happy. Instead though, they mix it up, with "Keeping On" being one of the weirder jams we've heard from these guys, driving and propulsive, drum heavy, with thick crumblingly distorted guitars, and some awesome progged out synths, that give the sound a serious seventies prog epic/opus vibe, that these guys manage to craft into something way darker and meaner, with some seriously kick ass drum pound, and wild psych freakouts, super heavy AND heady.
"Spiderwebs" pairs creepy Carpenter-ish cinematic synth with some lazy sun dappled slo-mo dream-psych languor, while "Sarsen" seems to fade into a jam already in progress, one that sounds like it's been going on since the beginning of time, primal and primordial, another muscly hard rocky, drum driven psych-kraut blow out, again laced with swirling synths and dense clouds of freaked out FX, all the while the band locked tight into some serious post-Hawkwind heaviness, and finally, "The Splurge" finishes things off with a sound much more raw and blown out, sounding like it was captured live, lots of reverb and echo, like they're playing in a big concrete bunker, the sounds crumbling and in-the-red, the vibe sorta German Oak-ish, definitely super bunkurfunk mixed into the slow-burn psych, noisy, and trippy and fucking awesome.
Killer psychedelic cover art. The cd is housed in a digipak, while the vinyl comes in two versions, one on green wax, one on black wax with a poster, make sure you order the one you want, they're listed as two different items. (And maybe let us know if you're willing to take the other, if we run out of one...)
MPEG Stream: "Slow Wake"
MPEG Stream: "Keeping On"
MPEG Stream: "Spiderwebs"

album cover CARLTON MELTON aQ Hits (aQuarius recOrds) cd 12.98
aQ Hits is a new collection from beloved SF psychedelic space rock minimalists Carlton Melton, and is our second annual official aQuarius recOrds Record Store Day release. Last year's was a live disc called Black Valleys, a document of a killer aQuarius instore by NY psych rockers White Hills, and that one sold out in a flash. This year's looks to do the same - if you like White Hills, you like Carlton Melton, right?!
It's a super limited (just 300 copies) compact disc, collecting a handful of rare, and now out of print vinyl tracks, from various singles and split lps from the last couple years, including one super extended version.
Let's run through the various tracks... "Bottle Of Heat [Extended Version]", is, as you can probably tell from the title, the aforementioned alternate cut, which takes "Bottle Of Heat", originally released on the 2011 Agitated Records 12" comp I'm So Convoluted!, and offers up the unedited full-sprawl recording, stretching out to more than 19 minutes, thick smoldering clouds of soft focus psychedelia, drifting and blissed out, free form and abstract, a meandering epic of lush chordal swell and shimmery FX drenched swirl, all over a shuffling hypnotic and motorik kraut-psych beat. "Handling Snakes" is the A side from the group's Valley King 7" single, and is a jolt of heavy hypno-blues a la Wooden Shjips, but in the hands of Carlton Melton, somehow even heavier with wailing riffs and pummeling drums.
The next two tracks are from Carlton Melton's split 12" with Empty Shapes, originally released on Mid-To-Late Records in 2010: "Call and Response" is an epic (and originally nearly side-loooong) blowout, beginning with a heavy rumble of monolithic sludge eventually progressing into a slow wave of burnt-out blues riffage a la early Comets on Fire, that churns and steeps into a gnarly brew of molten fuzz. While "Purer", is more cosmic and dreamy, built on a layer of percolating synth drones that give way to a more uplifting space rock jam trajectory, total heart-of-the-sun zoner blissout.
And finally, the last two tracks are from CM's split 12" with Qumran Orphics, also originally released on Mid-To-Late Records, that one in the beginning of 2011. "March Of The Cicadas" is a glorious ten minute slab of psychedelic heaviness, that sounds exactly like the title implies, a slowmotion dirge over martial rhythms with buzzing electronic hisses and stratospheric guitar leads. And things finish off with "Murder Ridge", a noirish Bardo Pond-like spiral of burning sonic embers and sustained decay, a gorgeous hazy stretch of blurred lysergic drift, the perfect final movement, psych-drone comedown.
LIMITED TO 300 COPIES, each one hand numbered, the artwork is printed on metallic silver cardstock, everything housed in a slim dvd style case, only available here!
MPEG Stream: "Bottle Of Heat [Extended Version]"
MPEG Stream: "Handling Snakes"
MPEG Stream: "March Of The Cicadas"

album cover CARLTON MELTON Country Ways (Agitated ) cd 14.98
Originally released on vinyl, this most recent batch of blissed out psychedelic space rock heaviness from aQ faves Carlton Melton now gets the cd treatment, with a whopping BONUS HALF HOUR of extra material not on the original lp. More on the bonus tracks in a bit, first, here's what we had to say about the record proper:
There's no shortage of psychedelic space rock in SF these days: recent Record Of The Weekers Lumerians, the Spyrals, Wooden Shjips, Sleepy Sun, and these guys, Carlton Melton, not a person, but a quartet, who conjure up epic stretches of spaced out psychedelia, and who, unlike many of their contemporaries, seem to be less concerned with the pulse, and the rhythm, and the groove, as they are with the SOUND, and the VIBE, weaving lush, expansive sprawls of effects drenched psychedelic ambience, drifting more often than driving, huge clouds of swirling wah guitars, and minimal spare drumming, which seems to exist more as a pulse, than a beat proper, everything murky and muddy and washed out, at once lo-fi, but impossibly dense and heavy, the band seeming to drift weightless though swirling starlit sonic skies, their sound loose and free and abstract and ephemeral, the first track here, is a fantastically entrancing space drone epic, a sound the drifts and buzzes and flutters and swirls, the sound emerging in swells, building into squalls of warm whirling chaos only to slip back into something more druggy and dreamy and meditative, it's not until the final couple minutes that the song finally explodes, and even then it doesn't really get heavier, the rhythm doesn't get any more intense, instead, it just sounds like the whole band crank it up a notch, the swirling clouds of effects and guitars suddenly become more volatile, and more chaotic, the melodies gradually swallowed up by slashes of distorted guitar crunch and crumbling walls of distortion, the sound gets more dense, and more thick, and the whole time the main groove, now buried beneath the roiling surface, continues on unwavering, the only thing keeping the track from drifting into the heavens and toward the heart of the sun.
The remaining tracks, while shorter, are simply more of the glorious same, barring a brief bit of solo guitar, an interlude that is bookended by two more heaving walls of krautpsych swirl, the band unfurling droned out minimal hypnorock mini epics, that howl and thrum, buzz and shimmer, songs that obviously could have been stretched way out and turned this into a record two or three times as long.
The extra tracks here are like a whole extra album, beginning with the nearly 6 minute shimmer of "Night Flight", all smoldering, softly burnished swells of washed out guitars and buried melodies, dreamy and drifty, a slow set up for the more typically explosive space psych of the 14+ minute "The One That Got Away (Extended Version)", which unfurls a heady hypnotic bit of motorik krautrock, sounding like German Oak or Can, and then wrapping it all in layer after layer of buzz and swirl, the effects growing more and more warped and wild, the sound getting more and more spacey and druggy, while all the while the rhythm section stays locked in tight, and keeps the song from lifting off entirely and disappearing into the night sky. The Hawkwind / Spacemen 3 vibe is big here, so drugged out and hypnotic, building to a serious crescendo of tangled leads and dense drum pound, before fading out into a stretch of slowly receding whir and thrum.
The final bonus track, recorded live on KZSU is another epic, nearly 13 minutes, and again, a psychedelic mix of kraut and space rock. A simple skeletal rhythm, wreathed in swirls of buzz, the group adding layers of melody and texture, clouds of ephemeral effects, buzzing synths, the sound growing more dense, yet at the same time, more free, and almost weightless, hypnotic and mesmerizing and totally tranced out, it's almost 4 minutes before things get properly riffy, and from there on out it's total heart of the sun Hawkwindy heaviness, the sound heady and hazy and so totally ruling.
Like we said about the lp version, this is fantastic stuff. Fans of the SF psych/space/drone/kraut rock contingent that aren't already into CM, get with it! And obviously, anyone into White Hills, Hawkwind, Pink Floyd, Cave, The Heads, Heavy Winged, Bardo Pond, White Noise Sound, Mugstar, Spacemen 3, and the like, these guys will definitely hit the spot.
MPEG Stream: "Country Ways"
MPEG Stream: "Full Moon Revisited"
MPEG Stream: "Harrington Fair"

album cover CARLTON MELTON Country Ways (Mid-To-Late) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
There's no shortage of psychedelic space rock in SF these days: recent Record Of The Weekers Lumerians, the Spyrals (who have a new tape reviewed elsewhere on this week's list), Wooden Shjips, Sleepy Sun, and these guys, Carlton Melton, not a person, but a quartet, who conjure up epic stretches of spaced out psychedelia, and who, unlike many of their contemporaries, seem to be less concerned with the pulse, and the rhythm, and the groove, as they are with the SOUND, and the VIBE, weaving lush, expansive sprawls of effects drenched psychedelic ambience, drifting more often than driving, huge clouds of swirling wah guitars, and minimal spare drumming, which seems to exist more as a pulse, than a beat proper, everything murky and muddy and washed out, at once lo-fi, but impossibly dense and heavy, the band seeming to drift weightless though swirling starlit sonic skies, their sound loose and free and abstract and ephemeral, the whole first side here is a single track, the title track, and it's a fantastically entrancing space drone epic, a sound the drifts and buzzes and flutters and swirls, the sound emerging in swells, building into squalls of warm whirling chaos only to slip back into something more druggy and dreamy and meditative, it's not until the final couple minutes that the song finally explodes, and even then it doesn't really get heavier, the rhythm doesn't get any more intense, instead, it just sounds like the whole band crank it up a notch, the swirling clouds of effects and guitars suddenly become more volatile, and more chaotic, the melodies gradually swallowed up by slashes of distorted guitar crunch and crumbling walls of distortion, the sound gets more dense, and more thick, and the whole time the main groove, now buried beneath the roiling surface, continues on unwavering, the only thing keeping the track from drifting into the heavens and toward the heart of the sun.
The flipside is more of the glorious same, barring a brief bit of solo guitar, an interlude that is bookended by two more heaving walls of krautpsych swirl, the band unfurling droned out minimal hypnorock mini epics, that howl and thrum, buzz and shimmer, songs that obviously could have been stretched way out and turned this into a double lp.
As always, fantastic stuff. Fans of the SF psych/space/drone/kraut rock contingent that aren't already into CM, get with it! And obviously, anyone into White Hills, Hawkwind, Pink Floyd, Cave, The Heads, Heavy Winged, Bardo Pond, White Noise Sound, Spacemen 3 and the like, these guys will definitely hit the spot.
MPEG Stream: "Country Ways"
MPEG Stream: "Full Moon Revisited"
MPEG Stream: "Harrington Fair"

album cover CARLTON MELTON Europe Live '12 (Agitated) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We were all ready to write an epic review of this, a special Record Store Day live record from our of our favorite outfits, local psychedelic spacelords Carlton Melton. We ordered as many copies of the 500 pressed that we could get, but as you might imagine we sold tons and as of the writing of this review, we're getting to where we have less than a dozen. Hopefully lots of you were able to grab one in the shop on the day, and those who didn't, might have seen our lists of Record Store Day leftovers and grabbed one then, but for those of you who did NOT, here's what is most likely your last chance, to grab one of these before they are gone (and by gone, we mean on eBay for crazy money).
Released on Agitated, and recorded in 2012 in Belgium and the UK, these four sides of primo CM display everything we lover about these guys, sprawling droned out atmosphere, clouds of synthy shimmer, spidery guitars, all druggy and dreamy, dense and hypnotic, some serious motorik hypnorock minimalism that gives way to seriously shredding heaviness. Lots of the hits here, from all the records, a bit more live and loose and free, but not much, since most of their records are recorded live anyway, so in that sense, this is almost like a sort of alternate version greatest hits. The first side and a half is seriously blissed out, not really kicking into gear until side two, at which point things get seriously heavy and super rocking, the band channeling Hawkwind into their own swirling spaced out brand of riffy freeform psychedelia. The rest of the record(s) shifts constantly from dirgey churn, to wild psych shredding to droned out mesmer and back again. Killer performances, awesome sound, the recording is massive, if it wasn't for the crowd sound at the end of the second record, this easily could have been a CM record proper!
Once again, CRAZY limited, these are the last copies we'll have EVER. Pressed on super psychedelic green/yellow/clear splatter vinyl, housed in an old school distressed looking heavy sleeve.

album cover CARLTON MELTON Four Eyes (Blackest Rainbow) lp 25.00
Latest batch of deliriously druggy psychedelic space-out from these local gents, and yet another killer collection of improvised slow burn sonic drift, as always, culled from hours and hours of wasted late night amp worship captured in 'The Dome' (a geodesic dome where all the CM stuff is recorded!). The core trio of Andy Duvall, Rich Millman and Clint Golden are once again joined again by unofficial member and (not so) secret space rock weapon, John McBain from Monster Magnet, and conjure up a smoldering sprawl of hazy, heady, darkly dreamy wasted zoner psych drift, on the mellow side of the CM canon for the majority of Four Eyes, the group unfurling lush, billowing clouds of blurred bongsmoke buzz, shot through with prismatic shimmers and lazy sun dappled melodies, all underpinned by hushed motorik drum skitter, gurgling synth thrum, all the sounds gorgeously indistinct, oozing and bleeding into each other, a gauzy cloud of tonal color, sculpted into woozy pulsing rhythms and slow shifting sheets of tripped out chordal mesmer, a lysergic slo-mo psych that's all about tripping / chilling / blissing out.
While opener "Personal Space" keeps the rhythms to a minimum, spending most of its time swirling lysergically, "Glass Home" tethers CM's freeform psychedelic drift to a simple caveman kraut rhythm, the sky above filled with reverb drenched melodic squiggles, and spidery melodies, all over a softly churning backdrop of deep rumbling shimmer, while closer "Mist" pushes the rhythm to the fore, with its Necks via Hawkwind throb, the only deviation from this drugged out mellow mesmer comes in the form of "Road Swagger", which does indeed display some rhythmic swagger, easily the most rocking of the bunch, like a super charged Spacemen 3, the drums driving and muscly, the guitars thick and almost metallic, still plenty drowsy and druggy, but with some sonic heft that positions the sound closer to the Heads or White Hills, that the more Bardo Pond-y bliss out of the rest of the record.
As always gorgeous stuff, and like all their records, seemingly cut from the same sonic cloth, as if Carlton Melton are permanently engaged in a jam for the ages, that dome actually some sort of space station, drifting through time and space, traversing sonic starfields into the endless blackness of the universe, playing endlessly to appease whatever gods truly rule over all, these songs the sound of a group, drifting further into oblivion, each record a mere glimpse into their epic cosmic journey.
Pressed on 180 gram vinyl, and LIMITED TO 600 COPIES!!!
MPEG Stream: "Personal Space"
MPEG Stream: "Road Swagger"

album cover CARLTON MELTON Handling Snakes (Valley King) 7" 8.98
One of two brand new Carlton Melton releases this list, the other being their strange and culty split with Qumran Orphics. This one an amazing 7" on a cool brand new deluxe 7" label, Valley King (we also have a new Sweet Apple 7" on the same label to be reviewed later). Housed in a mini-gatefold sleeve with insert and sticker, with gorgeous artwork by Alan Fobres who also did Carlton Melton's Pass It On LP as well as their split with Empty Shapes.
"Handling Snakes" is a jolt of heavy hypno-blues a la Wooden Shjips but even heavier with wailing riffs and pummeling drums. The B side, "The One That Got Away", is more majestic and broodingly heavy with searing and weaving guitar lines and molten textures.
It's over before you know it, but it's just long enough to hit the spot. Limited to 500 copies. Grab this taste of radness while you can!

album cover CARLTON MELTON Live In Point Arena, CA (self-released) cd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If you got the chance to record and play music in a Geodesic Dome off the coast of Northern California, wouldn't you form a band just for the occasion? Well that's the modus operandi of this strangely monikered band made up of former members of Zen Guerilla and friends, who ventured up to Point Arena (an area rife with Utopian minded dwellings including the Sea Ranch) for this once in a lifetime opportunity. But don't expect this to sound like Zen Guerilla's trashy MC5-inspired garage R&B, instead Carlton Melton experiment with a sound more sonically befitting to the dome's acoustic resonance, Space Rock! Equally krauty, droney, and at times cosmically ramshackle, Carlton Melton channel White Hills, Wooden Shjips, Cave, bits of Kinski, Steve Hillage, and of course the less proto-metal leanings of Hawkwind with dual guitars, bass and organ hypnotically riffing through the domed stratosphere. Trippy and Limited!!!!!
MPEG Stream: "Happy Song"
MPEG Stream: "Fucking Funky Shit"
MPEG Stream: "Legion of Dome"

album cover CARLTON MELTON Pass It On (Agitated) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally available on cd, with 3 bonus tracks, two of them previously unreleased - over 30 additional minutes of material!!!
The field of psychedelic hypno-drone rock in San Francisco keeps getting wider, and more amazing. Along with Wooden Shjips, Sleepy Sun and The Lumerians comes the slow growth space rock of Carlton Melton. We raved about their first self-released cd-r, Live at Point Arena, CA recorded in a genuine geodesic dome (sadly out of print now, but one of the bonus tracks comes from this disc!) and we're psyched that they have returned with a follow-up! While the first cd-r had a more rough around the edges shambling momentum to it (after all, the band had pretty much formed just to record in the dome!), Pass It On has a more penetrating and focused feel. Recording in the dome once again, the songs have the slow motion but still very heavy vibrations of White Hills, Moon Duo, Hawkwind and Pink Floyd. In fact, the album begins with a heavy cover version of Pink Floyd's "When You're In" from Obscured By Clouds, which builds with intensity setting up the stoned pillowy cushion freefall of follow-up track "Found Children". "Off The Grid" takes a more divergent path through the woods with freaked out tribal rhythms and strange loping pulsations and alien guitar swells. Side two begins with a reworking of a track from the Point Arena cd-r called "Fucking Funky Shit" now renamed "Digging In" that utilizes its bass and drum rhythmic foundation as a means for the guitars and organ to arc off into the stratosphere before descending into the final track "Sequoia", which burrows deep into the earth with a smoldering drone that leaves us, for the lack of a better analogy, cosmically wasted.
The two unreleased tracks, "Drizzle" and "Star of Hazel" are both slow motion epics. "Drizzle" is softer and prettier, more free-floating and cosmic, gently lilting and soaring. While "Star of Hazel" is more doomy, and heavy, drawing out its long repetitive riffs over burning simmering drones. Sandwiched in between the two tracks is the sweaty hypnotic ramshackle of "Against The Wall" from their first cd-r, that give off a glimpse of the sonic pummel of their live shows. Recommended!
MPEG Stream: "When You're In"
MPEG Stream: "Diggin In (F.F Shite)"
MPEG Stream: "Against The Wall (Dome MIx)"
MPEG Stream: "Star of Hazel"

album cover CARLTON MELTON Pass It On (Mid-to-Late Records) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The field of psychedelic hypnno-drone rock in San Francisco keeps getting wider, and more amazing. Along with Wooden Shjips, Sleepy Sun and The Lumerians comes the slow growth space rock of Carlton Melton. We raved about their first self-released cd-r, Live at Point Arena, CA recorded in a genuine geodesic dome, and we're psyched that they have returned with a vinyl only follow-up! While the first cd-r had a more rough around the edges shambling momentum to it (after all, the band had pretty much formed just to record in the dome!), Pass It On has a more penetrating and focused feel. Recording in the dome once again, the songs have the slow motion but still very heavy vibrations of White Hills, Moon Duo, Hawkwind and Pink Floyd. In fact, the album begins with a heavy cover version of Pink Floyd's "When You're In" from Obscured By Clouds, which builds with intensity setting up the stoned pillowy cushion freefall of follow-up track "Found Children". "Off The Grid" takes a more divergent path through the woods with freaked out tribal rhythms and strange loping pulsations and alien guitar swells. Side two begins with a reworking of a track from the Point Arena cd-r called "Fucking Funky Shit" now renamed "Digging In" that utilizes its bass and drum rhythmic foundation as a means for the guitars and organ to arc off into the stratosphere before descending into the final track "Sequoia", which burrows deep into the earth with a smouldering drone that leaves us, for the lack of a better analogy, cosmically wasted. On redwood colored vinyl. Recommended!

album cover CARLTON MELTON Photos Of Photos (Agitated) cd 14.98
We can't be sure if this is something we actually heard from the band, or if we're just making it up, but really either way, true or not, it does paint a pretty good picture of the sprawling druggy psychedelic jamscapes of local space psych cosmonauts Carlton Melton - and it's that CM records are basically the product of a copious intake of various substances, before holing up in their geodesic dome / recording studio, to jam epically for hours on end, days sometimes, only later sifting through the reels of tape, and hours of bong-ed out headtrip cosmic heaviness. Could be true, should be true, probably is really, cuz how could sane and sober minds produce this sort of psych-bliss space-drone nirvana!?! Regardless of its provenance, we're just glad we're privy to another chunk of CM's heady heavy psychedelia.
This new record finds previous CM special guest John McBain, of the mighty Monster Magnet, seemingly signed on as a full on Melton (even though he's still listed as a special guest), as he's on every track here, and can only imagine that he helped push CM's sound into realms heavier and spacier. And indeed, that's what's going on here. Opener "Nor' Easter" is a brooding sprawl of lumbering dirgey dreamy heaviness, all thick swirls of tripped out shimmer, softly roiling riffage, lazy loping motorik krautrock-ish beat buried in the mix, spidery melodies and woozy washed out shred, woven into the heaving swells of warm lugubrious thrum and churning soft focus space rock crush.
The title track finds the band getting all new age-y, ditching drums, riffs, pretty much everything except warm woozy swirls of shimmery melody, slow shifting layered pulses, whirling, whooshing synths and sparkling glimmering FX, maybe the prettiest thing we've heard from these guys, all dreamlike and kosmische, a little soundtracky, lush and layered, total trip out bliss out.
"Space Treader" is another slow builder, all brooding and moody, thick swaths of buzz and fuzz, a slowly developing propulsive heft, and some Queen like (!) melodies/leads that infuse the track with a gorgeously super melodic vibe, those melodies soon mirrored by synth melodies, that push this track too in a much more kosmische direction, before devolving into a murkier bit of deconstructed riffing, and droned out slow fading FX flecked drift. The record proper finishes off with "Wingspan", which sonically sounds like the title track part two, a symphony of synths, all blurred and smeared over a barely there rhythm, and a loose framework of soft psychedelic grooves, more spidery melodies, and chiming harmonics, drifting in a starfield of synth swirl and bleary jangle, woozy and wonderfully tranced out.
The cd (and the download that accompanies the vinyl) includes two bonus tracks, two of the three tracks from the recent Smoke Drip 12" (good news for you cd nerds who missed out). The first track is the sprawling 22+ minute, originally side-long epic "Adrift", and the band spend the first few minutes just sort of, well, adrift, a simple motorik drumbeat, spidery tendrils of electric guitar, some sitar-like buzz, all wreathed in a swirling cloud of synth shimmer, it's the sort of hazy zoned out psych-drone mesmer that we can't get enough of, and we like to think the original was closer to 3 or 4 hours long, this being just the best 20 minutes, a totally tranced out hypnorock groove, that's druggy and dreamy, a slo-mo swagger that sounds like Hawkwind on tranquilizers, there doesn't even need to be any sort of build or explosive blown out climax, cuz once you're lost in these sounds, you're a willing celestial traveller, drifting on CM's beams of sonic light, headed for the heart of some black sun. But the band do crank it up, the guitars growing wilder near the end, and louder, but never letting totally loose, instead just slipping right back into the same mesmeric groove, and playing us out to the very end.
And then the second, "Smoke Drip" itself, which like much of Photos, ditches drums completely for a heady sprawl of psychedelic ambience, multiple guitars, synths and manipulated tapes, are let loose in a sun dappled spray of softly tangled melodies and smoldering buzz, abstract riffage and swoonsome swells of FX drenched thrum unwind into slithering sonic tendrils and lush layered psychdrone shimmer.
Ok, this is where cd people can stop reading, cuz that's all you get. But for you vinyl folks, at least for this first pressing, while they last, the record proper comes bundled with a whole bonus 12", with two extra tracks (30+ minutes total). The first is a remix from John McBain, of CM's "The One That Got Away", which strips down CM's sound, adds some programmed percussion, and over the course of 14 minutes, transforms the original into something WAY more druggy and trippy, the first few minutes, a lazy meander through a hazy landscape of melody and slowburn psych thrum, before the sound grows a bit more ominous, the buzz cranked up, the sounds smeared and blurry, the Spacemen 3 vibe HUGE, plenty of warped effects, swooping backwards melodies, processed stuttering melodies, muted murky riffage, all wreathed in a warm sun dappled gauze, the whole thing deliriously dreamy and druggy, and sorta makes us wish McBain would remix CM's whole catalog! The bonus 12"s finishes off with a live track from CM's recent trip to Roadburn in Holland, a 16 minute blowout of heavy, churning, retro-riffing, hard rocking, shred laced, bombastic bloozy hard psych, that KILLS.
The vinyl version with the bonus 12" is most definitely EXTREMELY limited, we're getting a bunch, but odds are those will fly out of here, so be prepared to settle for the single lp version when that time comes...
MPEG Stream: "Nor'Easter"
MPEG Stream: "Photos Of Photos"
MPEG Stream: "Space Treader"
MPEG Stream: "Adrift"
MPEG Stream: "Smoke Drip"

album cover CARLTON MELTON Photos Of Photos (Agitated) lp 15.98
We can't be sure if this is something we actually heard from the band, or if we're just making it up, but really either way, true or not, it does paint a pretty good picture of the sprawling druggy psychedelic jamscapes of local space psych cosmonauts Carlton Melton - and it's that CM records are basically the product of a copious intake of various substances, before holing up in their geodesic dome / recording studio, to jam epically for hours on end, days sometimes, only later sifting through the reels of tape, and hours of bong-ed out headtrip cosmic heaviness. Could be true, should be true, probably is really, cuz how could sane and sober minds produce this sort of psych-bliss space-drone nirvana!?! Regardless of its provenance, we're just glad we're privy to another chunk of CM's heady heavy psychedelia.
This new record finds previous CM special guest John McBain, of the mighty Monster Magnet, seemingly signed on as a full on Melton (even though he's still listed as a special guest), as he's on every track here, and can only imagine that he helped push CM's sound into realms heavier and spacier. And indeed, that's what's going on here. Opener "Nor' Easter" is a brooding sprawl of lumbering dirgey dreamy heaviness, all thick swirls of tripped out shimmer, softly roiling riffage, lazy loping motorik krautrock-ish beat buried in the mix, spidery melodies and woozy washed out shred, woven into the heaving swells of warm lugubrious thrum and churning soft focus space rock crush.
The title track finds the band getting all new age-y, ditching drums, riffs, pretty much everything except warm woozy swirls of shimmery melody, slow shifting layered pulses, whirling, whooshing synths and sparkling glimmering FX, maybe the prettiest thing we've heard from these guys, all dreamlike and kosmische, a little soundtracky, lush and layered, total trip out bliss out.
"Space Treader" is another slow builder, all brooding and moody, thick swaths of buzz and fuzz, a slowly developing propulsive heft, and some Queen like (!) melodies/leads that infuse the track with a gorgeously super melodic vibe, those melodies soon mirrored by synth melodies, that push this track too in a much more kosmische direction, before devolving into a murkier bit of deconstructed riffing, and droned out slow fading FX flecked drift. The record proper finishes off with "Wingspan", which sonically sounds like the title track part two, a symphony of synths, all blurred and smeared over a barely there rhythm, and a loose framework of soft psychedelic grooves, more spidery melodies, and chiming harmonics, drifting in a starfield of synth swirl and bleary jangle, woozy and wonderfully tranced out.
The cd (and the download that accompanies the vinyl) includes two bonus tracks, two of the three tracks from the recent Smoke Drip 12" (good news for you cd nerds who missed out). The first track is the sprawling 22+ minute, originally side-long epic "Adrift", and the band spend the first few minutes just sort of, well, adrift, a simple motorik drumbeat, spidery tendrils of electric guitar, some sitar-like buzz, all wreathed in a swirling cloud of synth shimmer, it's the sort of hazy zoned out psych-drone mesmer that we can't get enough of, and we like to think the original was closer to 3 or 4 hours long, this being just the best 20 minutes, a totally tranced out hypnorock groove, that's druggy and dreamy, a slo-mo swagger that sounds like Hawkwind on tranquilizers, there doesn't even need to be any sort of build or explosive blown out climax, cuz once you're lost in these sounds, you're a willing celestial traveller, drifting on CM's beams of sonic light, headed for the heart of some black sun. But the band do crank it up, the guitars growing wilder near the end, and louder, but never letting totally loose, instead just slipping right back into the same mesmeric groove, and playing us out to the very end.
And then the second, "Smoke Drip" itself, which like much of Photos, ditches drums completely for a heady sprawl of psychedelic ambience, multiple guitars, synths and manipulated tapes, are let loose in a sun dappled spray of softly tangled melodies and smoldering buzz, abstract riffage and swoonsome swells of FX drenched thrum unwind into slithering sonic tendrils and lush layered psychdrone shimmer.
MPEG Stream: "Nor'Easter"
MPEG Stream: "Photos Of Photos"
MPEG Stream: "Space Treader"
MPEG Stream: "Adrift"
MPEG Stream: "Smoke Drip"

CARLTON MELTON Photos Of Photos (Agitated) lp+12" 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We can't be sure if this is something we actually heard from the band, or if we're just making it up, but really either way, true or not, it does paint a pretty good picture of the sprawling druggy psychedelic jamscapes of local space psych cosmonauts Carlton Melton - and it's that CM records are basically the product of a copious intake of various substances, before holing up in their geodesic dome / recording studio, to jam epically for hours on end, days sometimes, only later sifting through the reels of tape, and hours of bong-ed out headtrip cosmic heaviness. Could be true, should be true, probably is really, cuz how could sane and sober minds produce this sort of psych-bliss space-drone nirvana!?! Regardless of its provenance, we're just glad we're privy to another chunk of CM's heady heavy psychedelia.
This new record finds previous CM special guest John McBain, of the mighty Monster Magnet, seemingly signed on as a full on Melton (even though he's still listed as a special guest), as he's on every track here, and can only imagine that he helped push CM's sound into realms heavier and spacier. And indeed, that's what's going on here. Opener "Nor' Easter" is a brooding sprawl of lumbering dirgey dreamy heaviness, all thick swirls of tripped out shimmer, softly roiling riffage, lazy loping motorik krautrock-ish beat buried in the mix, spidery melodies and woozy washed out shred, woven into the heaving swells of warm lugubrious thrum and churning soft focus space rock crush.
The title track finds the band getting all new age-y, ditching drums, riffs, pretty much everything except warm woozy swirls of shimmery melody, slow shifting layered pulses, whirling, whooshing synths and sparkling glimmering FX, maybe the prettiest thing we've heard from these guys, all dreamlike and kosmische, a little soundtracky, lush and layered, total trip out bliss out.
"Space Treader" is another slow builder, all brooding and moody, thick swaths of buzz and fuzz, a slowly developing propulsive heft, and some Queen like (!) melodies/leads that infuse the track with a gorgeously super melodic vibe, those melodies soon mirrored by synth melodies, that push this track too in a much more kosmische direction, before devolving into a murkier bit of deconstructed riffing, and droned out slow fading FX flecked drift. The record proper finishes off with "Wingspan", which sonically sounds like the title track part two, a symphony of synths, all blurred and smeared over a barely there rhythm, and a loose framework of soft psychedelic grooves, more spidery melodies, and chiming harmonics, drifting in a starfield of synth swirl and bleary jangle, woozy and wonderfully tranced out.
The cd (and the download that accompanies the vinyl) includes two bonus tracks, two of the three tracks from the recent Smoke Drip 12" (good news for you cd nerds who missed out). The first track is the sprawling 22+ minute, originally side-long epic "Adrift", and the band spend the first few minutes just sort of, well, adrift, a simple motorik drumbeat, spidery tendrils of electric guitar, some sitar-like buzz, all wreathed in a swirling cloud of synth shimmer, it's the sort of hazy zoned out psych-drone mesmer that we can't get enough of, and we like to think the original was closer to 3 or 4 hours long, this being just the best 20 minutes, a totally tranced out hypnorock groove, that's druggy and dreamy, a slo-mo swagger that sounds like Hawkwind on tranquilizers, there doesn't even need to be any sort of build or explosive blown out climax, cuz once you're lost in these sounds, you're a willing celestial traveller, drifting on CM's beams of sonic light, headed for the heart of some black sun. But the band do crank it up, the guitars growing wilder near the end, and louder, but never letting totally loose, instead just slipping right back into the same mesmeric groove, and playing us out to the very end.
And then the second, "Smoke Drip" itself, which like much of Photos, ditches drums completely for a heady sprawl of psychedelic ambience, multiple guitars, synths and manipulated tapes, are let loose in a sun dappled spray of softly tangled melodies and smoldering buzz, abstract riffage and swoonsome swells of FX drenched thrum unwind into slithering sonic tendrils and lush layered psychdrone shimmer.
Ok, this is where cd people can stop reading, cuz that's all you get. But for you vinyl folks, at least for this first pressing, while they last, the record proper comes bundled with a whole bonus 12", with two extra tracks (30+ minutes total). The first is a remix from John McBain, of CM's "The One That Got Away", which strips down CM's sound, adds some programmed percussion, and over the course of 14 minutes, transforms the original into something WAY more druggy and trippy, the first few minutes, a lazy meander through a hazy landscape of melody and slowburn psych thrum, before the sound grows a bit more ominous, the buzz cranked up, the sounds smeared and blurry, the Spacemen 3 vibe HUGE, plenty of warped effects, swooping backwards melodies, processed stuttering melodies, muted murky riffage, all wreathed in a warm sun dappled gauze, the whole thing deliriously dreamy and druggy, and sorta makes us wish McBain would remix CM's whole catalog! The bonus 12"s finishes off with a live track from CM's recent trip to Roadburn in Holland, a 16 minute blowout of heavy, churning, retro-riffing, hard rocking, shred laced, bombastic bloozy hard psych, that KILLS.
The vinyl version with the bonus 12" is most definitely EXTREMELY limited, we're getting a bunch, but odds are those will fly out of here, so be prepared to settle for the single lp version when that time comes...
MPEG Stream: "Nor'Easter"
MPEG Stream: "Photos Of Photos"
MPEG Stream: "Space Treader"
MPEG Stream: "Adrift"
MPEG Stream: "Smoke Drip"

album cover CARLTON MELTON Smoke Drip (Agitated) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What's better than a new record from SF psychedelic space rockers Carlton Melton? Howabout a new record from SF psychedelic space rockers Carlton Melton with John McBain from Monster Magnet?! That's right, McBain, from the original space lord motherfuckers teams up with our beloved local psychlords for three long tracks of improvised spaced out psychedelia, recorded as always in a geodesic dome, where the band go to get lost, and conjure up the sonic spirit smoke that somehow becomes Carlton Melton. Hours of drug addled jamming and sonic experimentation bottled up and distilled into these sprawling smoldering slow burn epics.
The A side here is a sidelong blowout called "Adrift", and the band spend the first few minutes just sort of, well, adrift, a simple motorik drumbeat, spidery tendrils of electric guitar, some sitar-like buzz, all wreathed in a swirling cloud of synth shimmer, it's the sort of hazy zoned out psych-drone mesmer that we can't get enough of, and we like to think the original was closer to 3 or 4 hours long, this being just the best 20 minutes, a totally tranced out hypnorock groove, that's druggy and dreamy, a slo-mo swagger that sounds like Hawkwind on tranquilizers, there doesn't even need to be any sort of build or explosive blown out climax, cuz once you're lost in these sounds, you're a willing celestial traveller, drifting on CM's beams of sonic light, headed for the heart of some black sun. But the band do crank it up, the guitars growing wilder near the end, and louder, but never letting totally loose, instead just slipping right back into the same mesmeric groove, and playing us out to the very end.
The title track on the flipside ditches the drums completely for a heady sprawl of psychedelic ambience, multiple guitars, synths and manipulated tapes, are let loose in a sun dappled spray of softly tangled melodies and smoldering buzz, abstract riffage and swoonsome swells of FX drenched thrum unwind into slithering sonic tendrils and lush layered psychdrone shimmer, which gives way to the closer, which has McBain credited with "Dome Treatment", and is the densest and heaviest of the bunch, the riffs muddy and murky, a churning almost Stooges-y vibe, the drums weirdly chaotic and splattery, the track never locking into a groove, instead seeming to remain unhinged to any specific rhythm, the sounds super twisted, the production all over the map, with the drums sometimes leaping to the front of the mix, bit just as often disappearing beneath an avalanche of crumbling scrabbling guitarnoise, the strange skittering making us imagine Aussie jazzdrone outfit the Necks trying their hand at space rock, which we imagine would not be a bad thing at all. Loose, wild, chaotic, and borderline unhinged, everything doused in distortion, and woozy warped effects, a dizzying, disembodied dose of fucked up space psych drug-DOME bliss!!
Housed in super striking psychedelic jackets, with thick printed inner sleeves, and pressed on milky clear vinyl!
MPEG Stream: "Adrift"
MPEG Stream: "Smoke Drip"

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