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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.


M (Drag City) 7" 3.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
M is the work of Louisvillian Dave Pajo who's also played in Tortoise and Slint.

album cover M 'M' The History - Pop Muzik The 25th Anniversary (Metro) cd 14.98
Pop! Pop! Pop Musik! Pop! Pop! Pop Musik! Hands up, who loves that single? Okay, now let's see who can name any other songs by M (aka Robin Scott)? Although he more than fits the definition of "one hit wonder", M also had a sizable body of work that unfortunately never reached as many ears as that single. But now we all get a second chance with this commemorative 25th anniversary compilation that reveals many more facets of M! The first half of this compilation is really strong, short blasts of catchy sort of punky commercial new wave but about halfway through veers dangerously into ultra cheesy, new wave/disco pap. But hell it's worth it for the first half alone. "Pop Musik" may be the only song you know by heart, but check out "M Factor", the just-as-good-B-side of "Pop Musik", "Modern Man" and a bunch of other little gems.
FYI: Actually Scott fostered a bit of a 'comeback' of sorts a couple of years ago when he produced Ex-Girl's last album and made a live guest appearance with them at SXSW (yes, performing *that* song... it was great!).
MPEG Stream: "M Factor"
MPEG Stream: "Smash The Mirror"

album cover M AX NOI MACH Creeper (Ormolycka) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's funny, lately it seems like every time we discover some cool new record by some super obscure artist, it turns out that the dude who runs tape label Ormolycka has already put something out by them, way before we even knew who they were. Whether it was the creeped out witch house of Modern Witch, the fucked up aggro hip hop of Death Grips, the twisted electro pop of Pictureplane, the weirdo Southern crunk of Lil Ugly Mane, or what we have right here, the crunchy, ultra distorted industrial beat heavy electro dirgery of the oddly monickered M Ax Noi Mach, aka Philly noisemaker Rob Francisco. Not sure of the exact chronology, but we're guessing Ormolycka were all over this guy when we first laid ears on the In The Shadows lp on White Denim. Regardless, any of you who snagged that lp, are definitely gonna want this too. A dense blast of distortion drenched lumber and crunch, the beats like caustic blasts of grey noise and crusty buzz, all wreathed in thick black clouds of analog synth noise, swirls of hiss and whir and hum and plenty of feedback. Sounding like Techno Animal covered by Amps For Christ, or super obscure noise-hop combo Fever (whose record on DHR is one of our favorite records ever), the sound here lurches from noisy Wolf Eyes-meets-Godflesh stomp, to cool minimal noise drenched mesmer, and from experimental electronic minimalism to spaced out heavily layered dronemusik, primitive and noisy, the sounds manage to fall into patterns that reveal themselves as weirdly melodic and super mesmerizing, the 'songs' constantly devolving into dense tangles of processed electronic noise that while brutal and punishing, somehow remain groovy and tranced out, the sort of rhythmic psychedelic noise that we can't ever seem to get enough of.
Like all Ormolycka tapes, SUPER LIMITED (only 100 copies we think!)...

album cover M AX NOI MACH In The Shadows (White Denim) lp 13.98
We had never heard of the oddly monikered M Ax Noi Mach, aka Philly noisemaker Rob Francisco, but it was brought to our attention that if we were digging Finnish power electronic hypnodirge weirdos Will Over Matter, we really oughta check out this guy, and holy cow, while it's definitely not the same thing, it definitely pushes a lot of the same buttons, total lo-fi beat heavy post industrial noiserock club music for sure, the sort of shit noiseheads would be blasting if they had any sort of booming system. Just check out opener "Creeper", with its brittle crunked out beats, super distorted tweeter punishing clipped hiss, the howled feral vox, a total gristly groove that kills. Think Will Over Matter collaborating with Wolf Eyes on some sort of alternative universe club banger, and you wouldn't even be close.
The second track sounds like some sort of cold wave DHR mash up, stuttering trashcan beats, the warbly bass groove, peppered with a killer skipping skittering high end break that DESTROYS.
There's definitely some serious Throbbing Gristle worship going on, but via Philly club music, and there's some glitchy post Whitehouse chaotic crunch, like "Devil City" which definitely sounds a lot like Will Over Matter, a thick grinding murk pulsing away, and peppered with caustic blasts of white noise drenched feedback/vocal freakouts, a thick ugly groover that would be a guaranteed dancefloor clearer. Then there are tracks like "Fetico", which finds much of the high end peeled back, the skree blunted, the rhythms muted and murky, multiple vocals laid atop one another, whispers, spoken, slooooowed doooooown gurgle, a dizzying tangle over that loping stuttersludge loop, the follow up, "Hallowed Eyes" is equally stripped down, a fuzzy pulsating low end throbs beneath some clipped house-y skitter, about as groovy and anything on the record gets, the melodic element supplied by what sounds like amp buzz, and a switch being flipped on and off again, it's like some sort of Dead C electro, which is fine by us, we could listen to shit like this endlessly, and at 6 minutes it ends WAY too soon.
The rest of the record cranks it back up again, a barrage of lo-fi DHR pound, gouts of growled angry bellowed vox, sheets of Metal Machine Music chopped and screwed into hiccuping expanses of grind and gristle, clouds of angry crunch and dense swirling hiss wrapped around robotic drum pound and muddy mechanical grooves, everything filthy and crusty and blown the fuck out, a glorious chunk of rhythmic electronic punishment that we can't seem to stop listening to.
LIMITED TO 406 COPIES. Housed in swank printed cardstock jackets.
MPEG Stream: "Creeper"
MPEG Stream: "Charelenni's Father"
MPEG Stream: "Devil City"

album cover M'LUMBO Sacrifices To The Neon Gods: The Greatest Sacred Cargo Cult Television Theme Songs Of All Time (Mulatta Records) cd 16.98
For being released on the same label that brought us two albums of elephants playing instruments (the Thai Elephant Orchestra), an album of rapping by grade-schoolers (Da Hiphop Raskalz) and several other weird/wonderful projects, the idea of an album of avant-groovy cover versions of well-known television themes seems downright tame! Yet, downtown NYC hipster jazz/world/cassette culture/kitchen sink band M'Lumbo do manage to entertain and intrigue -- who could not help but enjoy unusual, out-there renditions of such familiar tunes as "Hawaii Five-O", "The Addams Family", "I Dream Of Jeannie", "I Love Lucy" and "Get Smart", among others?? It's exotica for the TV generation(s), coming across like a wild mix of Martin Denny and Afrobeat and John Zorn. And actually, most of the time you'd be hard pressed to identify the TV tune that they're using/abusing as a basis for each track of faux-ethnic improv, lost under electronics and samples and an abundance of percussion, and even what sound like the calls of jungle birds... in fact it's probably best if you try to listen *without* thinking about these songs being TV themes, or at least imagine that M'Lumbo's "cargo cult" conceit is true, and you're hearing the musical worship of classic cathode ray gods done by some musically freaky tribe of "savages" who just happen to have free cable and became addicted to old TV reruns.
MPEG Stream: "Mickey Mouse"
MPEG Stream: "The Alfred Hitchcock Theme"

M, SACHIKO Detect (Antifrost) 3"cd 9.98
Austere sine-wave tones, clicks and silence from Japanese experimentalist Sachiko M, known for her work solo and in the avant-pop trio Hoahio as well as with collaborators like Otomo Yoshihide (in Ground Zero, ISO, Filament, etc.). This cdep (in the irresistable 3" format) fits firmly into her ouvre of barely-there, barren electronic soundscapes of blips and non-blips. Is it zen art? is it conceptual bullshit? Depends on your tastes, but it seems quite lovely for those whose ears are attuned to such efforts. On the new, potentially interesting Greek label Antifrost.

album cover M. KOURIE Dreams Of M. Kourie, the (Chrome Peeler) cd 12.98
The mysteriously titled record, The Dreams Of M. Kourie, is actually the work of local dronelord Nathan Berlinguette, who manned the bass in techgrind outfit Creation Is Crucifixion, as well as exploring spaced out dronescapes with his partner Travis Ryan (of Cattle Decapitation) in the now defunct 5/5/2000. We listed the 5/5/2000 reissue recently, a collection of newly discovered tapes of old old recordings, a haunting world of dronelike nihilism and inner space exploration. With The Dreams Of M. Kourie, Berlinguette takes up where 5/5/2000 left off, setting a course for the heart of a black hole, and taking the scenic sonic route to get there. This is the sound of stargazing, a blackened landscape of warm shimmer, that almost imperceptibly shifts and contorts, each new shape even more abstract and more black than the shape before, tracing a minimal path that simultaneously drifts beneath the sea, through subterranean caverns, amidst the vacuum of space and through the impossibility of alternate universes, the pieces and parts and sounds and arrangements are not in and of themselves mysterious, there are soft rumbles, and warm chordal swells, glistening abstract melodies, drifting gauzy shimmer, but the way they are put together, the way the sounds fall into one another, subtly mix, or rest atop one another, these are the things that turn sound into emotion, these are the aspects that are impossible to explain but precisely what make this journey special. Eyes closed, laying in tall grass, atop a lonely hill, a night as clear as glass, the air warm and humid, watching a million years of starlight shift and shimmer. So nice.
Packaged in a simple two panel black sleeve, printed in metallic gold ink.
MPEG Stream: "And Woke In Spring"
MPEG Stream: "The River"

M. WARD A Wasteland Companion (Merge) cd 15.98

M. WARD A Wasteland Companion (Merge) lp 17.98

M., SACHIKO Imaginary Soundtrack (Out One Disc) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

M., SACHIKO Sine Wave Solo (Amoebic) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Frequent Otomo Yoshihide collaborator (Filament, I.S.O., Ground Zero) presents her first solo album, taking her lone instrument, the "100% Free Memory Sampler" to the outer limits of blistering sine wave manipulation. With these mere sine waves she produces a lot of variety - from tracks of piercing test tone torture to more serene, sparse blip-scapes. Impressive.

album cover M., SACHIKO / KAFFE MATTHEWS / ANDREA NEUMANN In Case of Fire Take the Stairs (Improvised Music From Japan) cd 17.98
Recorded live in Japan on St. Patrick's Day of 2002, the line-up for this electronic / improvisation performance has Kaffe Matthews on sampler / laptop, Andrea Neumann on prepared piano, and Sachiko M using sinewaves and a contact microphone. Neumann's use of the piano is rather unconventional as she performs exclusively within the piano itself, scraping and plucking the strings with metal objects and motors, avoiding the keyboard altogether. Sachiko M, who has become a ubiquitous presence in the ever-growing field of electronic improvisation, is qualititatively active in her manipulation of her raw sinewaves. But Matthews has placed herself at the center of activity, controlling the tightly looped samples culled from her collaborators and building loose structures of pulses, clicks, and rhythms within this extended performance.
RealAudio clip: "Track 3"

M., SACHIKO / TOSHIMARU NAKAMURA / OTOMO YOSHIHIDE Good Morning Good Night (Erstwhile) 2cd 21.00

album cover M.B. Evidences Volume 1 1980 (Final Industrial Music) (Vinyl On Demand) 5lp 99.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Anyone familiar with the Vinyl On Demand label is probably well aware of how utterly amazing their releases are, how well researched, gorgeously packaged, and of course how limited and difficult to track down. We managed to get three titles, all of them amazing, we only have one copy of each, and wanted to give some of our mailorder folks a shot and snagging one of these. So a brief description follows, and we only have a single copy so first come first served.
M.B. Maurizio Bianchi. Check the aQ site for tons of reviews, as we gush all about one of our favorite industrial music makers EVER. Dark drones, haunting buzz, primitive synths, busted tape machines, old turntables, delay pedals, all woven into something truly divine.
Contains all of MB's tape music from 1979 and 1980, for the first time ever on vinyl.
Five lps, housed in printed hand numbered sleeves, pressed on thick vinyl, all in a gorgeous printed, black box embossed with metallic text.
WE HAVE ONLY ONE COPY!!

album cover M.B. (BIANCHI, MAURIZIO) + NIMH Together's Symphony (Silentes) 4cd 73.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
There's not much reason to belabor the point on this one. Simply put, it's limited to 300 copies and we only have two of these boxsets kicking around. Needless to say, it's a fine example of Maurizio Bianchi's return to the glacial power electronics and sustained drone concussions that dominated his earliest experiments in the '70s and '80s. As for NIMH, that project is the work of Italian avant-guitarist Giuseppe Verticchio whose work in softened ambience has drawn comparisons to Steve Roach and Aidan Baker; and in working with Bianchi, he does offer some elegiac guitar and piano works to accompany Bianchi's hypnotic gray / black drones. If it's not out of print, it will be soon. We might be able to get a few more but it sems unlikely...
MPEG Stream: "Niddah"
MPEG Stream: "Recovered Memories"
MPEG Stream: "Back To Laudomia"

album cover M.B. / MAURIZIO BIANCHI Mectpyo Bakterium / Genocide O.T.M. (Menstrual Recordings) 2cd 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Maurizio Bianchi is one the pioneers of Italian Industrial music, transforming the psychedelic electronics of the likes of Conrad Schniztler, Cluster, Eno, Neu!, etc. into a chilling, dark theater of cancerous sounds that had become the template for the countless dark ambient / industrialists who followed. His story is a peculiar one, as he was incessantly productive throughout the late '70s and early '80s until he unexpectedly stopped in 1984. This musical cessation served to heighten the mystique around the man, as rumors and falsehoods swirled around his legacy, followed by numerous bootleg tapes and LPs of his rarities. While Bianchi has resurfaced once again with new material (some of questionable quality), this 2cd set is a collection of the classic Bianchi sound. Mectpyo Bakterium was an album originally released on LP back in 1982, and then later in 1998 through the Alga Marghen reissue campaign of his major records. The second disc is a collection of extremely rare tracks, including several that had made their way into the public domain as bootlegs.
Mectpyo Bakterium is a bleak piece of electronic expressionism, with shivering tones and slashing bursts of clinical noise meandering through minefields of grim atmospheres. As it was originally released on LP, the two main tracks of this album are each side-long excursions that mutate and fold on top of themselves, beginning at very dark, very grim launching points and ending up in an entirely different mindframe, having rotated through dour melodies, squalid noises, funeral drum machine marches, and further bleak electronics. It makes sense for this to be a worthy contemporary of TG, Cabaret Voltaire, and Whitehouse! The Mectpyo Bakterium disc also features two bonus tracks - the same featured on the 1998 cd reissue.
The second disc entitled Genocide O.T.M. culls tracks from three sources -- the Japanese bootleg Anthology 1981-1984, the acetate 7" of Genocide Of The Menses, and the Leibstandarte SS MB 2 LP. It's hard to know where that Leibstandarte SS MB track came from, as it's not credited to either of the Come Organization LPs, but the track here "Zyclombie" is a very dark, noisy construct of accreting hiss and lazer-drill droning. Bianchi in top, noise-mantra form. The tracks from the Genocide Of The Menses 7" continue in this same vein with equally impressive results. Neither of the two tracks credited as "Neuro Habitat" actually come from the album of that same name, but are woozy tape excursions with rudimentary drum machines and slow-motion noise bellowing. These tracks are pretty rough around the edges, and the sound quality could have been punched up a bit. Aside from these odd-ball cuts, the whole set is a remarkable document of just how good Bianchi had been back in the day.
We only have a handful of these which we got from Mr. Bianchi himself. It remains to be seen, if we'll be able to get more copies in!
MPEG Stream: "Sterile Regles"
MPEG Stream: "Zyclombie"
MPEG Stream: "Genocide Of The Menses 1"

album cover M.I.A. Arular (XL / Interscope) cd 15.98
Holy crap. This album rules. Ragga, hip-hop, dancehall, infused trashy electro party pop jams! Quelle mix.
A few months ago, some folks came in the store while on holiday from Germany asking if we had anything like "M.I.A.? You know this? It is all over tha place in Germany." I had to say no, not in this neck of the folktastic dronedom of San Francisco. But now it is here, XL at last bringing us the domestic release of M.I.A.'s debut album, Arular, which follows up a mix-tape on which she collaborated with Diplo and raised a lot of eyebrows -- apparently German eyebrows in particular!
Seriously though, you know you want to party!! No says you? You're too bummed out on Karl Rove taking over the whole damn place to party? Well, her lyrics are very politically leaning so you don't have to feel all guilty about having a good time. We've been spinning this non-stop ourselves, and selling it non-stop too. Lives up to the hype. ...Now on major label Interscope and thus more expensive than before.
MPEG Stream: "Pull Up The People"
MPEG Stream: "Galang"

album cover M.I.A. Arular (XL) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Holy crap. This album rules. Ragga, hip-hop, dancehall, infused trashy electro party pop jams! Quelle mix.
A few months ago, some folks came in the store while on holiday from Germany asking if we had anything like "M.I.A.? You know this? It is all over tha place in Germany." I had to say no, not in this neck of the folktastic dronedom of San Francisco. But now it is here, XL at last bringing us the domestic release of M.I.A.'s debut album, Arular, which follows up a mix-tape on which she collaborated with Diplo and raised a lot of eyebrows -- apparently German eyebrows in particular!
Seriously though, you know you want to party!! No says you? You're too bummed out on Karl Rove taking over the whole damn place to party? Well, her lyrics are very politically leaning so you don't have to feel all guilty about having a good time. We've been spinning this non-stop ourselves, and selling it non-stop too. Lives up to the hype.
MPEG Stream: "Pull Up The People"
MPEG Stream: "Galang"

album cover M.I.A. Kala (Interscope) cd 13.98
Holy shit this record is amazing!!! What a charged and dynamic follow up to one of the hottest debuts of the decade. It doesn't surprise us though, as we knew from the first time we heard M.I.A. that she had some special power inside of her. She is that rare world voice in music that we desperately need so much right now. It's incredible how she crosses lines and borders like very few other artists seem able to.
Kala is one of the few records that we sell to every kind of person and taste. Metalheads, indie rockers, pop kids, dance-heads, hip-hop aficionados, experimental music lovers.... they're all going crazy for the new M.I.A. and for great reason. It's one of the most kick ass, colorful and fully realized albums to come out in a long time.
She was denied entry to the States repeated times when making this record, so her initial plans to record the record with Timbaland were thrown out the window. But this countries' insane border policies ended up being a blessing in disguise, as it forced M.I.A. to look elsewhere for producers, so she traveled throughout Africa and India where she did lots of raw field recordings which all come to life in such exciting ways on Kala. In fact Kala is kind of like what we imagine might happen if Konono No.1 were transported to Bollywood. While we've recently been swept up by the mystical power and strength of some fierce women of the past like Selda and Betty Davis, we can't think of anyone in the modern day who better conjures up that kind of unique energy and spirit than M.I.A.
This is a record meant to be blasted LOUD. So next time you have folks over, no matter what sort of music they dig, don't worry it won't be awkward just throw on M.I.A. and every single one of them will dig it like crazy. Guaranteed.
Without a doubt a contender for record of the year!
MPEG Stream: "Bird Flu"
MPEG Stream: "World Town"
MPEG Stream: "Paper Planes"

M.I.A. Matangi (Interscope) cd 13.98

album cover M.I.A. Matangi (Interscope) lp 24.00

album cover M.I.A. Maya (331 / XL) cd 13.98
For all that's made of M.I.A.'s politics and persona, it's important not to forget that what makes her music so fucking special is how it taps into such a purely physical sensation. Her last album Kala was an absolute game changer. The kind of record that reshaped everything around it. You could almost use her name as a genre, as so many folks were inspired by it and after her debut, we began hearing so many people try their hand at the M.I.A. sound. From Santogold, Gang Gang Dance, Rainbow Arabia, Rye Rye, Bonde Do Role, Thunderheist, Buraka Som Sistema, and on and on. Her influence crossed so many cultural lines and on so many fronts, not just her sound but also her fashion, imagery and overall aesthetic. And it's easy to see why, there is something so dynamic, urgent, spirited and alive about what M.I.A. is doing.
It's so hard to follow up a record that was as close to perfect as we think an album can be, but god damn she has found a way to maybe do it. Maya blasts right out of the gate and makes it clear its going to be an uncompromising, visceral and frenetic ride. With great collaborating producers like Diplo, Switch and Blaqstarr back on board as well as bringing in dubstep sensation Rusko as well as Sleigh Bells guitar shredder Derek E. Miller. But much like Bjork, M.I.A. is a master of curating and surrounding herself with super talented producers and players, yet taking all the pieces of those elements and crafting them into something much bigger and more fully realized. The record is paced so perfectly, after an onslaught of charged, dirty and sweaty tracks she offers fresh breaths through some catchier pop minded jams and then its right back into the line of fire. Maya, is both the most angry and tender of the albums she is made so far. Because while its filled with so many unrelenting politically fueled anthems it also finds M.I.A. singing about the courage of falling in love and getting weighed down by gravity, which shows us the range she is capable of and will continue to explore.
It seems certain folks love to build people up only to knock them down. In recent months M.I.A was torn to pieces in a tacky/petty feature in the New York Times and many of the same blogs and online music critic establishments who championed her in the first place, and who are now taking cheap shots at her, personally and musically. But all that is meaningless. Truth is, M.I.A. continues to be an absolute force of nature. Creating music that really can and does unite so many different kinds of people and makes you sweat in ways that feels empowering and full of purpose. She has taken the spirit of punk, hip-hop and dance music to make a sound that is so singular and spectacular. Maya is another striking achievement from one of the most important, outspoken and brave artists of our generation.
MPEG Stream: "Born Free"
MPEG Stream: "Steppin Up"
MPEG Stream: "Lovalot"
MPEG Stream: "It Takes A Muscle"

album cover M.I.A. Maya (331 / XL) 2lp 19.98
For all that's made of M.I.A.'s politics and persona, it's important not to forget that what makes her music so fucking special is how it taps into such a purely physical sensation. Her last album Kala was an absolute game changer. The kind of record that reshaped everything around it. You could almost use her name as a genre, as so many folks were inspired by it and after her debut, we began hearing so many people try their hand at the M.I.A. sound. From Santogold, Gang Gang Dance, Rainbow Arabia, Rye Rye, Bonde Do Role, Thunderheist, Buraka Som Sistema, and on and on. Her influence crossed so many cultural lines and on so many fronts, not just her sound but also her fashion, imagery and overall aesthetic. And it's easy to see why, there is something so dynamic, urgent, spirited and alive about what M.I.A. is doing.
It's so hard to follow up a record that was as close to perfect as we think an album can be, but god damn she has found a way to maybe do it. Maya blasts right out of the gate and makes it clear its going to be an uncompromising, visceral and frenetic ride. With great collaborating producers like Diplo, Switch and Blaqstarr back on board as well as bringing in dubstep sensation Rusko as well as Sleigh Bells guitar shredder Derek E. Miller. But much like Bjork, M.I.A. is a master of curating and surrounding herself with super talented producers and players, yet taking all the pieces of those elements and crafting them into something much bigger and more fully realized. The record is paced so perfectly, after an onslaught of charged, dirty and sweaty tracks she offers fresh breaths through some catchier pop minded jams and then its right back into the line of fire. Maya, is both the most angry and tender of the albums she is made so far. Because while its filled with so many unrelenting politically fueled anthems it also finds M.I.A. singing about the courage of falling in love and getting weighed down by gravity, which shows us the range she is capable of and will continue to explore.
It seems certain folks love to build people up only to knock them down. In recent months M.I.A was torn to pieces in a tacky/petty feature in the New York Times and many of the same blogs and online music critic establishments who championed her in the first place, and who are now taking cheap shots at her, personally and musically. But all that is meaningless. Truth is, M.I.A. continues to be an absolute force of nature. Creating music that really can and does unite so many different kinds of people and makes you sweat in ways that feels empowering and full of purpose. She has taken the spirit of punk, hip-hop and dance music to make a sound that is so singular and spectacular. Maya is another striking achievement from one of the most important, outspoken and brave artists of our generation.
MPEG Stream: "Born Free"
MPEG Stream: "Steppin Up"
MPEG Stream: "Lovalot"
MPEG Stream: "It Takes A Muscle"

album cover M.I.A. Paper Planes: Homeland Security Remixes (Interscope / XL) 12" 6.98
If you are anything like some of us, you probably still haven't stopped playing M.I.A's latest album Kala. One of those records that we have listened to hundreds of times by now and it still gives us that charge of strength, splash of color and push towards fun like almost no other record can. While we love every song on the record there is no denying that Paper Planes became a runaway hit with its infectious rifle shots and perfect sampling of "Straight to Hell" by The Clash. So it makes sense that lots of folks wanted to try their hand at remixing that song, and these Homeland Security Remixes finds five very capable and varied hands doing the original justice and breathing even more life into that great song. DFA turn it into a vintage sounding disco jam, Adrock uses little kids with glorious results and Scottie B. cranks up the adrenaline even more for a B'more slammer. Diplo and Blaqstarr also turn in super good remixes of their own making this one a keeper and instant party starter!
MPEG Stream: "Paper Planes (Remix for the children by Adrock)"
MPEG Stream: "Paper Planes (Scottie B. Remix)"

M.I.M.E.O. Music In Movement Electronic Orchestra (Perdition Plastics) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The debut of Keith Rowe's (AMM) improvised electronic ensemble that includes Fennesz, Pita (Mego), Phil Durrant, Jerome Noetinger (Metamkine), Richard Barrett, Justin Bennett, Cor Fuhler, Yannis Kyriakides, Gert-Jan Prins, and Thomas Lehn is a radical investigation into powerbook digital damage balanced with cacophonous guitar, violin, and piano.

album cover M.R.K.1 Ready For Love (Planet Mu) 12" 8.98
We've long been complaining about the dearth of "grime" in the States, so we were psyched to discover that the folks at Planet Mu decided to do something about it. They've been reissuing UK grime releases for the states, but this latest batch of 12"s offers up some grime / jungle hybrids as well as their own twisted take on dubstep and grime. And it kills!
This is grime done commercial hiphop style, which is not a bad thing at all. We always talk about how grime should be all over the radio and MTV, well if that's gonna happen, it's probably gonna be M.R.K.1 aka Mark One. The first track on here is an absolute killer, like Kanye or the RZA with sped up soul samples over dizzying stuttery dubstep rhythms. The next track is slippery and slithery and grimy but weirdly convoluted and tangled up, super murky and dark, like Tricky or Portishead gone grime, and bass lines so low and heavy that even at low volume they threaten to blow your speakers.
The flipside features two groovy grimy instrumental shuffles, with alien synths, that speaker shredding low end, and wide open spaces just begging for some mad freestyle flows.

M.S.B.R. + KENGO LUCHI (Alien8 Recordings) cd 14.98
Japanese noise, three live duets plus a solo track from each artist. M.S.B.R. does musique concrete/electronics, Kengo Luchi does "death folk" with anguished vocals a la Keiji Haino. Together, it's meandering no wave folk with electronic freakouts, not for the faint of heart.

M2 14id1610s (Ant-Zen) cd 17.98
Whatever this is called M2 or Squaremeter; this is the work of Panacea remixing a handful of electronic minimalism / post-techno from the Ant-Zen label. It follows aesthetically the path Panacea had been taking on the "Brasilia" album with ping-pong oscillations of sine-waves, digital glitchery, and an erratic machine-gun drum & bass kick popping up for a split second then deferring back to piercing tones. While 89% of this album came from Ant-Zen, this really could be another release from the damaged mind of Panacea. Do you think he has tinnitus?

M2 Sinecore (Mille Plateaux) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Our first encounter with Panacea's M2 was on his remix album of the Ant-Zen catalogue, where he transformed the Ant-Zen sound into an aggressive minimalism much closer to a steroid-pumped version of Raster clan's digital clickery. Now "Sinecore", much like the remix project, is an album of clinical tension. M2's cerebral metronomic structures clang with rhythmic sinewave modulations and rigid digital tones, yet a sputtering collage of mutant flanges and dadaist arrythmia disrupts the insistency of the pure tones and clicks.

M83 "Reunion" Remixes (Mute) 12" 12.98

album cover M83 0078h (Gooom) cd 7.98
Check out the review of M83's full length Dead Cities, Red Seas & Lost Ghosts for the complete low down, but if a dreamy, drone-y fuzzy mix of the Orb, Boards Of Canada, Stereolab, New Order, and My Bloody Valentine sounds good to you, then not only should you pick up the M83 full length, you should also be aware of this 3 track ep, with one track from Dead Cities, Red Seas & Lost Ghosts, a live track, and a remix by fellow dream poppers and Gooom labelmates Cyann And Ben as well as a secret hidden track, a brief angelic wash of fuzzy synth. So nice.
MPEG Stream: "0078h"

M83 0078h (Gooom) 12" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now here on vinyl!
Check out the review of M83's full length Dead Cities, Red Seas & Lost Ghosts for the complete low down, but if a dreamy, drone-y fuzzy mix of the Orb, Boards Of Canada, Stereolab, New Order, and My Bloody Valentine sounds good to you, then not only should you pick up the M83 full length, you should also be aware of this 3 track ep, with one track from Dead Cities, Red Seas & Lost Ghosts, a live track, and a remix by fellow dream poppers and Gooom labelmates Cyann And Ben as well as a secret hidden track, a brief angelic wash of fuzzy synth. So nice.
MPEG Stream: "0078h"

album cover M83 America (Gooom) cd ep 9.98
We love M83. Here's how we described their import full length from a while back:
"A huge slab of fuzzy shoegazey electronica-flecked dream pop. We've been listening to this nonstop since it came in. Imagine the post rave swirl of the Orb, mix in the muted warmth of Boards Of Canada, the lalala Neu-worship of Stereolab, the catchy new wave of New Order, then wrap the whole thing in a thick shimmery distorted haze a la My Bloody Valentine and you'll be close. Now imagine that concoction as the soundtrack to the love scene in some super bizarre Anime. You know, the part where the girl is going into space because she can't live on earth because her tentacles keep killing cute little pandas, and her boyfriend is a giant panda, but they love each other so much her tears turn into jewels that the pandas can eat to make them invincible. It's that heartbreakingly good."
Wow, right? Well, as you can imagine we were super excited for more. And this ep just happens to have a lot more, three unreleased tracks, one of which is a massive 17 minute slab of fuzzy blissed out ambience. And a really cool video for the track "America" from their full length. Sounds great? Well take a second before you add this to your cart. M83's full length record, Dead Cities, Red Seas & Lost Ghosts, is being released domestically at the end of July with a bonus disc containing EVERYTHING on this ep, as well as two more unreleased tracks and another video! But of course that requires buying the whole album you already may own all over again. So if you haven't bought the M83 record for some crazy reason, wait until the full length domestic double disc comes out and then by all means pick it up. But if you already own the full length, and don't mind missing out on a track/video or two instead of buying it again, this is a good way to get another half hour of gorgeous bliss pop for a mere ten bucks. Up to you.
MPEG Stream: "America"
MPEG Stream: "Tsubasa"

album cover M83 Before The Dawn Heals Us (Mute ) cd 16.98
You'll be glad to know that M83 still basically sound like some strange and wonderful mix of My Bloody Valentine, the Orb, Boards Of Canada, Stereolab and New Order. And they most definitely are still the only band around making this sort of lush, fuzzed out, electronic bliss pop. But the new record takes a strange turn. Some around here think a not so advisable one. But we'll elaborate a bit and you make the call.
First, strap yourself in, and set the controls for the heart of... the eighties.
It starts with the ultra-cheesy cover art, a late night big city scape with the band name written in a thick white graffiti scrawl. If you didn't know M83 was a band you'd be forgiven for thinking that this was a Bacardi ad for some new drink.
And sonically it follows a similar time travelling path. Imagine the eighties is a big packet of Lick-Em-Aid, you know that weird colored sugar you'd eat as a kid. So after a year of listening to the first M83 record non stop, it's nice and wet, so go ahead and dip it into your packet of eighties Lick-Em-Aid and you've basically got Before The Dawn Heals Us. Where Dead Cities was almost timeless sounding in its seamless melding of eighties pop, anime soundtrack, modern electronica, nineties shoegaze and classic Krautrock, the new record is eighties through and through. Every song could be music for a montage from Gleaming The Cube or Pump Up The Volume or Back To The Future. When you close your eyes, you can almost visualize the credits rolling over garish splashes of pastel, listing all of the other songs on the 'soundtrack' by folks like Rick Springfield, Ray Parker Jr., Cyndi Lauper, etc. That said, this is still an amazing record. For every moment of cringeworthy fluff, there's three or four of utter pop brilliance. Totally alien snatches of shimmering synth, stuttering studio fuckery, the entire thing peppered with little sounds, electronic and organic, some barely noticeable, some completely defining the songs. Before The Dawn Heals Us sounds best when the band is going full bore, firing a warm beam of thick guitars and fuzzed out synths straight up into the starry sky, stretched out over a rigid framework of drum machine and pulsing bass, that gets so bombastic it almost sounds like Dimmu Borgir or Cradle Of Filth. On first listen the cheese factor was definitely too distracting, but on each listen, those bits of dated pop just sound like pieces of a glorious bigger picture. They may stick out at first but soon, you can't imagine the rest of the record without them. Which makes sense as soon as you spend some time with the record. The whole thing just sort of flows like some unearthed eighties arthouse soundtrack. A deliriously abstract, emotionally charged musical arc, with strange snippets of dialogue and spoken word moving the musical plot forward.
On its own this might not be the perfect record, but as the second part of M83's fuzzy, blissed out musical journey into the shimmery ether, it's an absolute masterpiece.
MPEG Stream: "Moon Child"
MPEG Stream: "Don't Save Us From The Flames"
MPEG Stream: "A Guitar And A Heart"

album cover M83 Before The Dawn Heals Us (Gooom / Mute) 2lp 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!!
You'll be glad to know that M83 still basically sound like some strange and wonderful mix of My Bloody Valentine, the Orb, Boards Of Canada, Stereolab and New Order. And they most definitely are still the only band around making this sort of lush, fuzzed out, electronic bliss pop. But the new record takes a strange turn. Some around here think a not so advisable one. But we'll elaborate a bit and you make the call.
First, strap yourself in, and set the controls for the heart of... the eighties.
It starts with the ultra-cheesy cover art, a late night big city scape with the band name written in a thick white graffiti scrawl. If you didn't know M83 was a band you'd be forgiven for thinking that this was a Bacardi ad for some new drink.
And sonically it follows a similar time travelling path. Imagine the eighties is a big packet of Lick-Em-Aid, you know that weird colored sugar you'd eat as a kid. So after a year of listening to the first M83 record non stop, it's nice and wet, so go ahead and dip it into your packet of eighties Lick-Em-Aid and you've basically got Before The Dawn Heals Us. Where Dead Cities was almost timeless sounding in its seamless melding of eighties pop, anime soundtrack, modern electronica, nineties shoegaze and classic Krautrock, the new record is eighties through and through. Every song could be music for a montage from Gleaming The Cube or Pump Up The Volume or Back To The Future. When you close your eyes, you can almost visualize the credits rolling over garish splashes of pastel, listing all of the other songs on the 'soundtrack' by folks like Rick Springfield, Ray Parker Jr., Cyndi Lauper, etc. That said, this is still an amazing record. For every moment of cringeworthy fluff, there's three or four of utter pop brilliance. Totally alien snatches of shimmering synth, stuttering studio fuckery, the entire thing peppered with little sounds, electronic and organic, some barely noticeable, some completely defining the songs. Before The Dawn Heals Us sounds best when the band is going full bore, firing a warm beam of thick guitars and fuzzed out synths straight up into the starry sky, stretched out over a rigid framework of drum machine and pulsing bass, that gets so bombastic it almost sounds like Dimmu Borgir or Cradle Of Filth. On first listen the cheese factor was definitely too distracting, but on each listen, those bits of dated pop just sound like pieces of a glorious bigger picture. They may stick out at first but soon, you can't imagine the rest of the record without them. Which makes sense as soon as you spend some time with the record. The whole thing just sort of flows like some unearthed eighties arthouse soundtrack. A deliriously abstract, emotionally charged musical arc, with strange snippets of dialogue and spoken word moving the musical plot forward.
On its own this might not be the perfect record, but as the second part of M83's fuzzy, blissed out musical journey into the shimmery ether, it's an absolute masterpiece.
MPEG Stream: "Moon Child"
MPEG Stream: "Don't Save Us From The Flames"
MPEG Stream: "A Guitar And A Heart"

album cover M83 Dead Cities, Red Seas & Lost Ghosts (Mute) 2cd 11.98
This was easily one of our favorite records of last year. So we're super excited that Mute has decided to re-issue it, not only at a lower price, but with an extra disc of remixes, unreleased tracks and two videos!
We hadn't even heard of this band until a handful of customers started mentioning them, so we figured we'd best check it out, and guess what? Turned out to be pretty fucking amazing. A huge slab of fuzzy shoegazey electronica-flecked dream pop. We've been listening to this nonstop since it came in. Imagine the post rave swirl of the Orb, mix in the muted warmth of Boards Of Canada, the lalala Neu-worship of Stereolab, the catchy new wave of New Order, then wrap the whole thing in a thick shimmery distorted haze a la My Bloody Valentine and you'll be close. Now imagine that concoction as the soundtrack to the love scene in some super bizarre Anime. You know, the part where the girl is going into space because she can't live on earth because her tentacles keep killing cute little pandas, and her boyfriend is a giant panda, but they love each other so much her tears turn into jewels that the pandas can eat to make them invincible. It's that heartbreakingly good. This will totally hit the spot for electro geeks, shoegazers, pop kids, and everyone in between.
MPEG Stream: "Unrecorded"
MPEG Stream: "Run Into Flowers"
MPEG Stream: "In Church"

album cover M83 Dead Cities, Red Seas & Lost Ghosts (Mute / Gooom) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on vinyl!
We hadn't even heard of this band until a handful of customers started mentioning them, so we figured we'd best check it out, and guess what? Turned out to be pretty fucking amazing. A huge slab of fuzzy shoegazey electronica-flecked dream pop. We've been listening to this nonstop since it came in. It's not really that new, but it's so good, we figured better late than never. Imagine the post rave swirl of the Orb, mix in the muted warmth of Boards Of Canada, the lalala Neu-worship of Stereolab, the catchy new wave of New Order, then wrap the whole thing in a thick shimmery distorted haze a la My Bloody Valentine and you'll be close. Now imagine that concoction as the soundtrack to the love scene in some super bizarre Anime. You know, the part where the girl is going into space because she can't live on earth because her tentacles keep killing cute little pandas, and her boyfriend is a giant panda, but they love each other so much her tears turn into jewels that the pandas can eat to make them invincible. It's that heartbreakingly good. This will totally hit the spot for electro geeks, shoegazers, pop kids, and everyone in between.
MPEG Stream: "Unrecorded"
MPEG Stream: "Run Into Flowers"
MPEG Stream: "In Church"

album cover M83 Digital Shades (Vol.1) (Mute / Goom) cd 14.98
We probably reference M83 in reviews more often than No Neck Blues Band or SUNNO))) (okay, maybe not SUNN), which makes sense since they, almost more than any other group we can think of, totally typify that gorgeously washed out synth heavy warm shimmery bliss that infuses so much of the music we love. Their sound is seeped in gauzy smears of new age-y blur and hushed layered soft focus ambience, and even on their last record, the super eighties shimmer pop of Saturdays=Youth, that shimmer was always right below the surface, adding a distinctly otherworldly vibe to the songs.
Digital Shades (Vol. 1) in not a proper album per se, more of a project, undertaken by Anthony Gonzalez, aka M83, between recording sessions, exploring a more stripped down, ambient and new age sound. Originally released as a digital download (hence the title), Digital Shades is finally available as an actual release, the first in a series.
Playing more like fragments, or rough sketches, the songs on Digital Shades are simple and space-y, often only one or two notes, a simple melody, a breathy buried vocal, stretched out into long mesmerizing streaks of sun dappled drift. You can almost imagine these as backing tracks for soon to be M83 tracks. Remember when Pet Sounds mania was happening, and that record was released in all sorts of different permutations? Well, one version contained a whole bunch of gorgeous harmony vocal backing tracks, that once removed from their songs, sounded so strange and angelic and haunting, and such is the case here. Loosed from any sort of structure, these pieces are allowed to float and hover and swirl and slowly unfurl into sprawling expanses of billowy dreamy dronemusic. Sweeping and cinematic, yet somehow still minimal and intimate. Bird song surfaces here and there, as well as some brief snippets of more traditional M83 vocalizing, but those moments are brief, leaving just long streaks of soft sound, to unfold slowly, to blossom into delicate shapes, and to glisten in the light of a thousand suns. Admittedly, Gonzalez is paying homage to Brian Eno, and that's not difficult to hear at all, even in more traditional sounding M83 recordings, and lots of these pieces also sound quite a bit like some lost Twin Peaks Angelo Badalamenti mood music. Absolutely gorgeous. Maybe too minimal and blissed out for some, but for those of you (us!) with a soft spot for delicate drone-y new ageish ambience, and soft shimmery drones, a la Eno, Harold Budd, Popol Vuh, IASOS, Ariel Kalma, and the like, this is absolute heaven.
MPEG Stream: "Waves, Waves, Waves"
MPEG Stream: "Coloring The Void"
MPEG Stream: "Sister [Part 1]"

album cover M83 Don't Save Us From The Flames (Gooom / Mute) cd ep 8.98
You probably already know if you like M83 by now. If you haven't heard them, go check out their brilliant debut Dead Cities RIGHT NOW. If you're already a fan of their fuzzed out My Bloody Valentine / Boards Of Canada dream pop bliss out then like us you can never get enough. This ep features "Don't Save Us From The Frames", probably the best track from their most recent album, Before The Dawn Heals Us -- a massively thick, multi layered psych pop confection with soaring harmony vocals and fuzzy synths all over the place. The reason to pick this up though (we'lll assume you already have the album) is the three unreleased tracks. "Until The Night Is Over" is a gorgeous eighties style ballad, with just enough fuzz and production fuckery to keep it interesting. Think Alan Parsons Project meets Air Supply meets the Flaming Lips. Then there are two remixes of "Don't Save Us...". The first is by Superpitcher, and he works some Kompakt magic, turning the original track into a stripped down, four on the floor, moody heroin house workout. The vocals soar unfettered over a simple pulsing rhythm and a relentlessly throbbing bassline. So good. Exactly how you dreamed a Gooom / Kompakt mashup should sound. The other remix is by Boom Bip, and is a shuffling, skittery IDM workout. A little like Autechre covering the Beach Boys. As always, so good!
MPEG Stream: "Don't Save Us From The Flames (Superpitcher)"
MPEG Stream: "Don't Save Us From The Flames (Boom Bip)"

album cover M83 Hurry Up, We're Dreaming (Mute) 2cd 17.98
Here it is, the long awaited new album from blissed out shoegaze eighties retro pop master M83, aka Anthony Gonzalez, whose gorgeous records have long been HUGE faves around here, so we were pretty excited about this new one, even though we had already heard one track with just a wee bit too much saxophone, but once we started playing it in the store, we knew we'd probably end up digging it a lot, although the most mentioned comparisons we could come up with were bands like Thompson Twins, Peter Gabriel, and Men At Work!! So yeah, the eighties thing is in full effect, and the opening intro, with Zola Jesus, is a primo slice of M83 blissout for sure, all soaring synths, and swirling melodies, Zola Jesus' voice a perfect match for Gonzalez' Peter Gabriel like croon, and the lush eighties slow dance psychedelia he seems able to so effortlessly conjure up.
"Midnight City" is the aforementioned song, and listening to it now, the sax is not too bad, tucked away at the end and buried in the mix, and the opening is thick and distorted and crunchy, with thick Justice / Daft Punk like synths, over a strange, but crazy hooky chirping melody, the song slipping from hazy synthy slow jam verse to distorto synth pop blowout chorus, and yeah, there's a sax solo at the end, but all our favorite eighties jams had sax solos, so why shouldn't these? And while that track was an obvious choice for a single, cuz it sounds the most like classic M83, the rest of the record definitely leans more toward the Thompson Twins / Duran Duran / Howard Jones eighties radio pop side of the spectrum, which when done right, still sounds so good, and c'mon, this is M83, so for every bit of total retro pop, is a blast of superdistorted in-the-red almost witch housey synth buzz or hazy ethereal droned out shimmerscape.
We really can't imagine anyone who LOVED M83 before to hate this, but you really have to dig the sound of the eighties, and we mean the REAL sound, not the ironic lysergic reinterpretation of the eighties, we mean tracks that sound like you might have danced to them at your eighth grade prom, or blasted it in your mom's car on the way to the mall. That all said, Gonzalez has a knack for pop songs, and he kills it here, hooks galore, the sound soaring and epic and shoegazey one second, cheesy and synthy the next, but always crazy catchy, every single track sounding like the inspiring, rabble-rousing score to the ultimate final montage in some classic eighties movie about the outsider finally getting the girl or winning the big game. We could all use a little bit of that sort of inspirational dream pop in our lives anyway, right?
MPEG Stream: "Intro (Feat. Zola Jesus)"
MPEG Stream: "Midnight City"
MPEG Stream: "Reunion"
MPEG Stream: "New Map"
MPEG Stream: "OK Pal"

album cover M83 Hurry Up, We're Dreaming (Mute) 2lp 26.00
NOW IN STOCK ON VINYL!!
The long awaited new record from blissed out shoegaze eighties retro pop master M83, aka Anthony Gonzalez, whose gorgeous records have long been HUGE faves around here, so we were pretty excited about this new one, even though we had already heard one track with just a wee bit too much saxophone, but once we started playing it in the store, we knew we'd probably end up digging it a lot although the most mentioned comparisons were bands like Thompson Twins, Peter Gabriel, Men At Work, so yeah, the eighties thing is in full effect, and the opening intro, with Zola Jesus is a primo slice of M83 blissout for sure, all soaring synths, and swirling melodies, Zola Jesus' voice a perfect match for Gonzalez' Peter Gabriel like croon, and the lush eighties promo slow dance psychedelia he seems able to so effortlessly conjure up.
"Midnight City" is the aforementioned song, and listening to it now, the sax is not too bad, tucked away at the end and buried in the mix, and the opening is thick and distorted and crunchy, with thick Justice / Daft Punk like synths, over a strange, but crazy hooky chirping melody, the song slipping from hazy synthy slow jam verse to distorto synth pop blowout chorus, and yeah, there's a sax solo at the end, but all our favorite eighties jams had sax solos, so why shouldn't these? And while that track was an obvious choice for a single, cuz it sounds the most like classic M83, the rest of the record definitely leans more toward the Thompson Twins / Duran Duran / Howard Jones eighties radio pop side of the spectrum, which when done right, still sounds so good, and c'mon, this is M83, so for every bit of total retro pop, is a blast of superdistorted in-the-red almost witch housey synth buzz or hazy ethereal droned out shimmerscape.
We really can't imagine anyone who LOVED M83 before to hate this, but you really have to dig the sound of the eighties, and we mean the REAL sound, not the ironic lysergic reinterpretation of the eighties, we mean tracks that sound like you might have danced to them at your eighth grade prom, or blasted it in your mom's car on the way to the mall. That all said, Gonzalez has a knack for pop songs, and he kills it here, hooks galore, the sound soaring and epic and shoegazey one second, cheesy and synthy the next, but always crazy catchy, every single track sounding like the inspiring, rabble-rousing score to the ultimate final montage in some classic eighties movie about the outsider finally getting the girl or winning the big game. We could all use a little bit of that sort of inspirational dream pop in our lives anyway, right?
MPEG Stream: "Intro (Feat. Zola Jesus)"
MPEG Stream: "Midnight City"
MPEG Stream: "Reunion"
MPEG Stream: "New Map"
MPEG Stream: "OK Pal"

M83 Mirror (Mute) 7" 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover M83 Run Into Flowers (Mute / Gooom) cd single 8.98
This is the single for possibly the best track on M83's breathtaking Dead Cities, Red Seas & Lost Ghosts album (about to get reissued with a bonus disc!), a hazy shimmery Stereolab meets My Bloody Valentine sun dappled, shoe gazing pop gem. Could it get any better? We definitely thought not, as exhausted as we are by the endless stream of remixes and remix albums. But what do ya know? The remixes on this single actually do twist the song into new and totally appealing shapes. Abstrakt Keal Agram turns the track into a hiccupping hip-hop-shoegaze mash up. Stuttering samples and bumping rhythms totally restructure the wispy original. The main reason to pick this up though is Jackson's Midnight Fuck remix, which takes the original and adds some simple electronica skitter, and morphs the whole thing into a Mike Inc. / Gas / Force Inc. blurry throbbing soundscape of fuzzy synths, etherial vocals, rumbling ambient murk and a propulsive 4/4 rhythm. The final track gets the remix treatment from fellow Gooomsters KG and it's the biggest blast of the bunch, a way rougher and noisier burst of distorted haze and supernovas of white noise static, with the vocals and melodies buried under a thick wash of grit and skree.
MPEG Stream: "Run Into Flowers (Midnight Fuck Remix By Jackson)"

album cover M83 s/t (Gooom) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MPEG Stream: "Night "
MPEG Stream: "Kelly"
MPEG Stream: "Facing That"

album cover M83 Saturdays = Youth (Mute) cd 14.98
Over the course of several records, M83 have virtually invented their own genre, we're not even sure what to call it, but it's some sort of gossamer, fuzzed out blissy dream pop, so much so that, the name M83 itself became an oft referenced descriptor when referring to bands of all stripes that borrowed bits of fuzz or buzz or bliss from M83's sonic palette.
The last record, Before The Dawn Heals Us, found the band shedding some of their more arty influences, much of the krautrock, some of the electronica, lots of the buzzy shoegaze, opting instead for some straight up eighties pop, replete with cheesy electronic drums, big choruses, super effected guitars, a gloriously retro chunk of sweetly dated pop, BUT, they balanced that with some seriously over the top fuzzed out bombast.
However, that record definitely hinted at what was to come, and now years later, the bombast is long gone, and if anything, the band has delved even further into our teenage years, and reinvented themselves as a band plucked right from MTV circa 1985, and we love it! This is total emo. Before there was emo. The soundtrack to hanging out in parking lots, crushes, love notes, first kisses, John Hughes movies, falling in love, break ups, mix tapes and all that stuff.
The sound of Saturday = Youth is that, the sound of Saturdays, no school, hanging out with friends, the sound of being young, your whole life ahead of you, but with every second feeling like it could be your last. So much angst, so much passion, so much hope, and so much fear. All perfectly represented by this collection of gloriously glistening sunshine-y pop and fuzzy synthy electro pop.
The record begins with melancholy piano and swoonsome synths, fluttery female vocals somewhere between Kate Bush and Elizabeth Fraser, an intro that quickly gives way to some straight up eighties style MTV pop, a la Tears For Fears, all wooshing and emotional and dramatic, but so awesome. Not sure if this would be quite as appealing to someone who hadn't grown up on this kind of stuff, but for those of us who did, it's pretty irresistible. The next song is all electronic drums, and super processed soaring female vocals, squiggly synths, electric piano, and more super dramatic soaring choruses.
Our favorite so far is probably "Graveyard Girl", with its Cranberries-esque intro, all big jangling guitars, and crooned vocals, the melody super sweet and melancholy, drifting over swooning synths and a relentless rhythm, this is perfect pop, harmonies and hooks, all filtered through that particular time. It helps that there's a video that pretty much perfectly captures the spirit of the song. With a cute gothy girl who visits the pet cemetery and leaves dog toys and kibble on gravestones, pining after the cute boy. Filmed all fuzzy and old, so it looks just like out memories feel. There's even a spoken word part in the middle, delivered by a young girl, talking about loneliness and love, it's pretty perfectly heart wrenching. And then the artwork, all fuzzed out photos of various teens, the jock, the goth girl, the cute guy, the hot girl, the nerd, the punk, all hanging out in some sun dappled park on a Saturday, killing time, being young.
The whole record is like that, so totally moving and jubilant and emotional and slightly cheesy but in a really good way. Whether they're channeling the electronic skitter of New Order, or the fluttery dramatic pop of Kate Bush, or the jangle rock bombast of the Hooters, it's the very best kind of retro. It all makes us feel either really really old, or secretly sort of young again. Or like we're in some awesome eighties teen movie. Regardless, we love it, and can't seem to stop listening to it...
MPEG Stream: "You, Appearing"
MPEG Stream: "Kim & Jessie"
MPEG Stream: "Skin Of The Night"
MPEG Stream: "Graveyard Girl"

album cover M83 Saturdays = Youth (Mute) 2lp 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on vinyl!
Over the course of several records, M83 have virtually invented their own genre, we're not even sure what to call it, but it's some sort of gossamer, fuzzed out blissy dream pop, so much so that, the name M83 itself became an oft referenced descriptor when referring to bands of all stripes that borrowed bits of fuzz or buzz or bliss from M83's sonic palette.
The last record, Before The Dawn Heals Us, found the band shedding some of their more arty influences, much of the krautrock, some of the electronica, lots of the buzzy shoegaze, opting instead for some straight up eighties pop, replete with cheesy electronic drums, big choruses, super effected guitars, a gloriously retro chunk of sweetly dated pop, BUT, they balanced that with some seriously over the top fuzzed out bombast.
However, that record definitely hinted at what was to come, and now years later, the bombast is long gone, and if anything, the band has delved even further into our teenage years, and reinvented themselves as a band plucked right from MTV circa 1985, and we love it! This is total emo. Before there was emo. The soundtrack to hanging out in parking lots, crushes, love notes, first kisses, John Hughes movies, falling in love, break ups, mix tapes and all that stuff.
The sound of Saturday = Youth is that, the sound of Saturdays, no school, hanging out with friends, the sound of being young, your whole life ahead of you, but with every second feeling like it could be your last. So much angst, so much passion, so much hope, and so much fear. All perfectly represented by this collection of gloriously glistening sunshine-y pop and fuzzy synthy electro pop.
The record begins with melancholy piano and swoonsome synths, fluttery female vocals somewhere between Kate Bush and Elizabeth Fraser, an intro that quickly gives way to some straight up eighties style MTV pop, a la Tears For Fears, all wooshing and emotional and dramatic, but so awesome. Not sure if this would be quite as appealing to someone who hadn't grown up on this kind of stuff, but for those of us who did, it's pretty irresistible. The next song is all electronic drums, and super processed soaring female vocals, squiggly synths, electric piano, and more super dramatic soaring choruses.
Our favorite so far is probably "Graveyard Girl", with its Cranberries-esque intro, all big jangling guitars, and crooned vocals, the melody super sweet and melancholy, drifting over swooning synths and a relentless rhythm, this is perfect pop, harmonies and hooks, all filtered through that particular time. It helps that there's a video that pretty much perfectly captures the spirit of the song. With a cute gothy girl who visits the pet cemetery and leaves dog toys and kibble on gravestones, pining after the cute boy. Filmed all fuzzy and old, so it looks just like out memories feel. There's even a spoken word part in the middle, delivered by a young girl, talking about loneliness and love, it's pretty perfectly heart wrenching. And then the artwork, all fuzzed out photos of various teens, the jock, the goth girl, the cute guy, the hot girl, the nerd, the punk, all hanging out in some sun dappled park on a Saturday, killing time, being young.
The whole record is like that, so totally moving and jubilant and emotional and slightly cheesy but in a really good way. Whether they're channeling the electronic skitter of New Order, or the fluttery dramatic pop of Kate Bush, or the jangle rock bombast of the Hooters, it's the very best kind of retro. It all makes us feel either really really old, or secretly sort of young again. Or like we're in some awesome eighties teen movie. Regardless, we love it, and can't seem to stop listening to it...
The vinyl also comes with a cd of the record.
MPEG Stream: "You, Appearing"
MPEG Stream: "Kim & Jessie"
MPEG Stream: "Skin Of The Night"
MPEG Stream: "Graveyard Girl"

album cover M83 Slowly-Sitting (Gooom) 10" 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
LIMITED LIMITED LIMITED!!!
OK, now that we've got that out of the way, we managed to get a dozen or so of these very limited, promotional only 10"s from AQ faves M83. And unlike the overlap between their singles and re-releases and imports, as far as we can tell these tracks are exclusive to this record. Two longish tracks of that perfect electronic bliss psych we've been freaking out over, although this time a bit heavier on the beat than the bliss (a decidedly steady techno-ish thump throughout), sounding quite a bit like New Order dipped in My Bloody Valentine. Nice.

album cover M83 Teen Angst (Mute) cd 8.98
Single number two (or is it number three?) from the recent M83 record and damn if that record doesn't sound better and better as we re-examine it single by single. A perfect warm flush of gossamer dreaminess, lush buzzing synths and breathy otherworldly vocals. You should really already have the title track by now, if you don't, for chrissakes order yourself a copy of Before The Dawn Heals Us and then come on back. So it's the two bonus tracks that are the reason to pick this up. There's the exclusive-to-this-single track "Addicted To Self Mutilation", a slow burning soundscape of falsetto harmonies, like the Beach Boys on peyote, slipping and slithering over a simple electronic shuffle and a jagged buzz-guitar drone. Hard to figure how a band can come up with sonic leftovers WAY better than most bands' main courses! The other track is a reworking of "Teen Angst", by Montag, a fellow Gooom Records sonic alchemist, who was responsible for the soaring string arrangements on both of the M83 records (and whose lastest record we'll be reviewing soon!). Montag takes the lush and fuzzy original and strips it way down, leaving just a skeletal electronic rhythm, with ghostly traces of the original synths swirling amidst the hushed vocals and mournful minor key melodies, eventually allowing the whole thing to build to an intense and chaotic rhythmic frenzy that simply blinks out, leaving residual traces of synth and skitter floating through your head.
MPEG Stream: "Addicted To Self Mutilation"
MPEG Stream: "Teen Angst (Montag Remix)"

album cover M87 Noctilucent Threnodies (Supernal) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Not to be confused with the fuzzy shoegazey bliss of AQ faves M83, M87 are a mysterious dark ambient drone outfit on the same label as Benighted Leams, Contra Ignem Fatuum, Drudkh, and Meads Of Asphodel. That alone should have you pretty psyched to see what sort of weirdness these guys conjure up. We'd be tempted to say M87 are an anomaly in Supernal's predominantly black metal roster, but some of our favorite releases on Supernal were on the ambient side of things, the weird medieval drones of Dark Ages and the crumbling pummeling SUNNO)))-like dirge of Fall Of The Grey Winged One. M87 are a much blissier affair. An outer space drift that hovers and floats, wide open expanses of shimmering static hum and glistening effervescence. The liner notes proclaim "There are no keyboards or guitar synthesizers on this disc" so we can only assume this is ALL guitar, which makes it even more impressive. Released way back in 1999, and only now finally making it to the AQ list, M87 definitely explores similar sonic territory as Fennesz, Ambarchi, Tim Hecker, Dean Roberts and the like. The opening track is a thick static blur, like standing in the middle of a busy train station, the sound of the people, and the trains and the spaces cavernous reverb building into a massive swirling whir. This dense proto industrialism surfaces elsewhere on the record, each time, adding more to the mix, buried clangs, or muted melodies, but these caustic sonic clouds are just interludes, long ones granted, drifting darkly and offering an aggressive contrast to the rest of the record's serene and beautiful soundscapes. Warm, rich, dark, dreamlike, ominous, otherworldly, each track, like some exploration of a barren alien planet, or some mysterious abandoned city, a series of abstract isolationist drones, whose textures and melodies, which once existed, have now melted, spreading out into thick pools of shimmering sound, each offering a twisting distorted reflection of the haunting world beyond.
MPEG Stream: "Mu Cephel"
MPEG Stream: "M8 (Lagoon Nebula)"
MPEG Stream: "NGC 7358"

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