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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 MANSON, CHARLES Horsefly (The Zou / Parasitic) 7" 14.98
A brand new 7" single from the infamous Charles Manson, to commemorate his 77th birthday on 11/11/11, recorded surreptitiously in his prison cell, on a smuggled in hand held recorder... a fascinating document, musical and otherwise of a man many consider a madman, but who some others consider wrongly imprisoned. Musically, Manson has a long history, most famously as a friend of Brian Wilson and the Beach Boys, and of course many have postulated that it was his frustration with his musical career that may have initiated the events that led to his incarceration.
This single is two sides of urgent, rambling, ramshackle folk, not that far removed from his other recordings, but it's definitely a glimpse into the soul of a man who has spent most of his life in prison. There aren't so many proper 'songs' here, it's more a flowing, sort of freeform folk ramble, with Manson, rambling sung spoken lyrics one second, crooning the next, slipping into crazed rants or maniacal laughter, using different voices, speaking in tongues, but for all the bits of weirdness, there's some seriously good stuff here, the opening of the B side features some super pretty guitar, and Manson's voice when it comes in, while rough and ragged, is still emotional and powerful. The majority of the record is stripped down, urgently strummed acoustic guitar, and Manson just wandering vocally, it's pretty compelling for sure, and anyone who has the other Manson records is gonna want this too.
It comes gorgeously packaged in a super deluxe full color gatefold sleeve, inside a printed two side page of liner notes, one side, a defense of Manson, the other a wild ramble signed Horse Fly, who we presume is Manson himself.
LIMITED TO 1000 COPIES!!

album cover MANSON, CHARLES Sings (ESP-Disk) cd 14.98
Poor misunderstood Charlie Manson. Visionary, musician, troubadour, murderer. Wait, one of those things he is not. Murderer. That's right, let's not forget that Manson committed no murders himself, it was his 'Family' that did 'em. Which of course insured that these recordings would be both way more infamous than they would be otherwise, but at the same time would be poison to any one who agreed to release them. Recorded a couple years before the Tate-LaBianca murders, these recordings have a rich convoluted history: it was rumored that the intended victim of the murders was in fact a record producer that rejected this record, and every producer approached to release them later recieved death threats, and it was later proven that much more succesful musicians than Manson had been targeted for assasination! Phew. You'd never know it listening to this album. In fact, in a blind listening test, you'd be hard pressed to pick this out as the work of a soon to be incarcerated cult leader / mass murderer. Reverb drenched beatniky psychedelic freekfolk, sort of hippy and trippy but really pretty great. And Manson's voice is really nice, a little rough, a little raw, but warm and rich. The tracks range from gorgeous lilting dream folk to tripped out beatnik jams, to sixties psych rock, complete with bongos, acoustic guitar, strange clattery percussion, noodly electric leads, all with lots of delay and reverb giving the whole thing a rich shimmery vibe. Not all that surprising as Manson was BIG into music. Read any of the Brian Wilson / Beach Boys bios, and you'll find the Boys spending a great deal of time hanging with Manson, who seemed to always be a fixture at big Beach Boys bashes, and threw wild parties at his desert hideaway Spahn Ranch. And indie rockers have been obsessed with Manson Sings for years, always talking it up as a lost folk gem and sometimes even covering Manson's songs (the Lemonheads do a killer (sorry) version of "Home Is Where You're Happy").
Fans of the current crop of indie hippy forest folk, like Devendra, Feathers, Wooden Wand, Fursaxa and the like should realize, if they don't already, and whether they like it or not, that they have a freak folk father figure in the form of one Charles Manson...
MPEG Stream: "Look At Your Game Girl"
MPEG Stream: "Mechanical Man"
MPEG Stream: "Home Is Where You're Happy"

album cover MANSON, CHARLES The Summer Of Hate - The '67 Sessions (Arte Lupo) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
After a few years, back in stock! Just in time for summer!
We reviewed the Charles Manson Sings disc on ESP a while back, and everyone kinda freaked out. We couldn't keep 'em in stock. Cuz beyond being a psycho, and a cult leader, and the mastermind behind a handful of gruesome killings, he was also some sort of musical visionary, a damaged folk troubador, obsessed with music, and with becoming an actual musician like his pals in the Beach Boys, his songs were dark and brooding, but strangely beautiful, haunting, intimate and personal. He had a really unique voice to, throaty and velvety smooth, like a raspier Nick Drake.
This set of songs was recorded after just getting out of a prison stretch in the '60s, almost a year before he recorded his first and only proper album, and another year before the Tate / Labianca murders that would seal his place in history forever.
The sound is rough and raw and lo-fi, but only adds to the strange power of these songs and performances. We described the recordings on Sings as "reverb drenched beatniky psychedelic freekfolk" and while there is some of that here, the sound here is much more stripped down and traditional sounding. Barebones and simple, it's all about Manson's voice and the guitar, and both sound divine. Moody and melancholy, slightly hippy, dark and thoughtful and really intense and pretty. Sure serial killer obsessives will be all over this, especially because most of the tracks have Manson going off on weird little rants after or before each song, stories, jokes, philosophies, usually delivered with a self conscious giggle, snippets of conversation with the guy recording these sessions or whoever else happens to be in the room. There's even a three minute interview included. It's definitely a bit creepy, especially knowing how everything would end up.
But the music, taken on its own, is still super powerful, some gorgeously raw chunks of raw acoustic folk. Fans of classic stuff like Nick Drake, Townes Van Zandt, Bill Fay, as well as folks into Banhart, Vetiver, Espers, Fursaxa, Wooden Wand and any of the more song oriented modern freakfolks will definitely dig this like crazy, and probably oughta pick up the ESP disc as well...
MPEG Stream: "Devil Man"
MPEG Stream: "True Love You Will Find"
MPEG Stream: "She Done Turned Me In"

album cover MANSON, JEFFREY Dozing in The Abandoned Gunnery (Recolote Music) 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.
Jeffrey Manson is a new indie folk troubadour from right here in SF. This lo-fi home recorded album is filled with rootsy, rough hewn tunes which seems very much inspired by the earnest heart baring voice of Jeff Mangum. Best listened to in the great outdoors, far from the roar of the city. Dozing In The Abandoned Gunnery was released on the new indie label Recolote Music whose roster already includes a number of other likeminded homespun Bay Area artists such as Chinatown Bakeries, Ryan Stively & His Poison Band, and Port O'Brien. They release mostly limited run cdrs in lovingly handmade packaging.
MPEG Stream: "Commanding Eye"
MPEG Stream: "Corn Husk Head"

MANSON, MARILYN Holywood (Nothing) cd 16.98
Like it or not, Marilyn Manson has become a prophet for the white teenage disenfranchised, preaching all sorts of ill-conceived / anti-establishment messages against the existence of God, the authority of family, school, or state, and anything that the right wing of mainstream America would qualify as morally upstanding. It would be another thing if Marilyn Manson the prophet could actually incite revolutionary thought or action, rather than highly theatrical shock tactics, but he doesn't. Marilyn Manson is pure entertainment, and there's no way that he could deny that.
I think it's a stretch to discuss Manson within the discourse of the Gothic, simply because in my opinion, he fails to invoke terror or horror (except in the minds of the right wing -- but what doesn't startle them?). It would be far more repulsive, abject, and grotesque if all of the things which Manson professes to worship were done within a belief system which attempted to understand the nature of God and of divine punishment. Then the damnation which he has already put upon his head would actually mean something.
Without any guiding belief system or agenda of existential questioning, Marilyn Manson is nothing but a run of the mill Relativist, which -- while antithetical to Christianity -- does not make Manson a Satanist or the Anti-Christ.
Musically is where Manson has the better chance of success -- and yeah, it's pretty catchy -- sorta like a pop grindcore version of Adam Ant. Lead single "Disposable Teens" is a carbon copy of "Beautiful People". But no, it's certainly not scary.

MANSON, MARILYN Mechanical Animals (Nothing) cd 15.98
I really wonder how much the goth subculture will be altered by this album, as very little of the doom & gloom found on previous Marilyn Manson releases is present. Nonetheless, his / their new visual aesthetics of anthropomorphic plasticity (which is not too far from a Photoshop version of Matthew Barney's weird prosthetic fusions with goats, sheep, fish, etc...) recall the electro glam posturing of Gary Numan and are matched by the new wave electro on the album.

album cover MANTECA Ritmo Y Sabor (EM) lp 24.00
Our hands down favorite reissue label for far-flung exotica, Japan's EM Records, not only has a new amazing release, but has also finally made the big leap to vinyl!! (Actually, they'd done a few lps before, but this release is vinyl ONLY). And what better choice for a vinyl reissue than this rare mid-'70s slab of Afro-Cuban percussive funk madness by Cuban master "bongosero", Lazaro Pla, or as he was better known to the world, Manteca! Eight relentlessly heavy bass-driven grooves featuring Manteca's organic percussive excursions that range from almost modernist compositions of repetitively shifting layers of driving rhythms to deep salsa jams and afro-cuban FUNK. Imagine Tussle with a Cuban rhythm section or Konono No. 1 with a limber funky bass player, or even one of the best Beastie Boys instrumentals from back in the day. Having performed with many legendary Cuban combos including Ernesto Lecuona's Cuban Boys, Manteca's recorded output as leader and featured soloist have been quite rare. Beautiful and dazzling with a no-frills production that acknowledges the traditional roots of Cuban music but with a forward thinking progressive edge. So Awesome! And DJs, get on it, you've got your new secret weapon right here.
MPEG Stream: "Afro Funky"
MPEG Stream: "Abacua"
MPEG Stream: "Gozando El Timbal"

MANTERA Same Here (Invisible) cd 14.98
The prolific Mick Harris (Scorn, Painkiller) and an Italian guy (different from the Overload Lady one) as a collaborator...

album cover MANTLE SOUND CORE Green Stasis (Ecstasy & Afterglow) cassette 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We love getting to hear new sounds when they seem to appear from out of nowhere. Such is the case with this, the debut release from Mantle Sound Core, the project of continental drifter Mark Shvartsman, a onetime SF resident now making his home in Santa Cruz when he's not trekking across the states with, quite literally, an ARSENAL or machines. Having recently witnessed Mantle Sound Core in action in one of the most unlikely of venues - a mansion in San Francisco's uber elegant Twin Peaks neighborhood with an unbelievable window view of the the city at night - we can safely say we have NEVER seen anything like it before. Watching Shvartsman and his setup - numerous synths, drum machines galore, multiple mixers, maybe about 30 cassette players, and a killer lightshow - brought to mind many of electronic music's great visionaries, including everyone from Klaus Schulze to Aphex Twin to Boards of Canada. At the same time, MSC will no doubt appeal to fans of recent electro maestros like Umberto, Zombi, Etienne Jaumet, and stuff making the rounds on Honest Jon's. Unlike many of these artists, however, MSC doesn't exist within any sort of network that will lead to instant recognition from a certain fanbase. Instead, Shvartsman appears to be on an entirely different path altogether. He even went as far as to make a film in Death Valley with a handful of collaborators, which he then created a live soundtrack for. With this in mind, one can easily detect the cinematic nature of the music. The recordings here are a compilation of live performance from MSC's West Coast Spring tour and previous ambient studio recordings. The colossal journey that is this tape begins with a vaguely Italian horror styled intro with creeping industrial ambience lurking above majestic synth swells. Throughout there are strong melodies that help to set this apart from being an exercise in mere droniness. At times the feeling is somewhat ominous, but always wondrous and beautiful. Buried rhythms churn below the synthed out glory, with distant vocals occasionally coming in to add yet another dimension. There are also some extended workouts of Jeck-ian ambience that are dreamy and a perfect comedown for the more harrowing moments. Elsewhere krauty percolations keep things moving forward before hushed atmospheres take things into the sunset. Wow.
As is often the case, these tapes are limited - as in, like, 25 copies, so act now before it's too late. We feel this is just the beginning for Shvartsman and his wholly unique vision, and we can't wait to see what the future holds.

album cover MANTLES s/t (Siltbreeze) lp 14.98
Long awaited full length debut from these local purveyors of druggy jangly psych pop after two super limited and now out of print ep jams, this new one though is by far the best sounding and most fully realized of the three. Falling somewhere beteen the current crop of lo-fi garage pop weirdos, and more classic space jammers, the Mantles create blissed out grooves, wrapped in tons of hazy reverb, the drums are a simple pound, the vocals a weary shadow, the guitars though, they drive these songs, they're thick, and crunchy, sometimes angular and jagged, sometimes shimmery and melodic, there's some warm whirring organ here and there, a classic rock vibe infuses the whole thing, the Velvets of course, the Doors (in the way the Shjips channel the Doors), as well as eighties New Zealand pop, nineties college rock slouch and jangle a la Sebadoh, catchy and groovy and psychedelic, not fucked up or far out, just propuslive and intense, and as the record progresses, the songs seem to get more and more ragged, often erupting into full on garage psych jams. These guys play all the time with bands like Thee Oh Sees, Ty Segall and those sorts of cats, so odds are if you dig that stuff, you'll dig these guys too.
Comes with a printed lyric sheet and a digital download card.

album cover MANTLES, THE Burden Walk With Me (Dulc-I-Tone) 7" 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MANTLES, THE Long Enough To Leave (Slumberland) cd 13.98
Full length number two from these beloved SF psychedelic jangle poppers, and like their debut on Siltbreeze, Long Enough To Leave is another gorgeously fuzzy retro-pop garage-psych throwback, which sounds even more like some lost popsike reissue this time around, the group seemingly finding the perfect home on local pop label Slumberland. Unlike the more fuzzed out crunch of local outfits like Thee Oh Sees and Ty Segall, the Mantles seem more aligned with modern jangle poppers like Woods or The Babies, and so so so reminiscent of classic jangle poppers on labels like Sarah and Flying Nun, as well as the Swell Maps and the Velvet Underground, a little bit lo-fi but still strangely warm and lushly layered, all dreamily druggy and laid back, their arrangements stripped down and minimal, every song warm and fuzzy, shimmery, summery and softly psychedelic, hooks galore, but those hooks tucked away, and employed subtly, the vibe more tranced out and hypnotic, the catchiness surfacing more and more with each repeated listen, eventually transforming their jangly hypno-pop into pure perfect pop gems, like "Brown Balloon", which over the course of 3:34 lodges itself in your head permanently, the catchiest part a single little guitar lick, that is the key to unlocking just how goddamn catchy every other part of the song truly is. "Bad Design" too, which right out of the gate delivers some classic pop catchiness, which somehow only gets more and more catchy over the next two minutes.
Repeated listens yields still more hooks, and reveals Long Enough To Leave as a fuzzy, psychedelic jangle pop (soon to be) classic!
MPEG Stream: "Marbled Birds"
MPEG Stream: "Hello"
MPEG Stream: "Long Enough To Leave"
MPEG Stream: "Reason's Run"

album cover MANTLES, THE Long Enough To Leave (Slumberland) lp 14.98
Full length number two from these beloved SF psychedelic jangle poppers, and like their debut on Siltbreeze, Long Enough To Leave is another gorgeously fuzzy retro-pop garage-psych throwback, which sounds even more like some lost popsike reissue this time around, the group seemingly finding the perfect home on local pop label Slumberland. Unlike the more fuzzed out crunch of local outfits like Thee Oh Sees and Ty Segall, the Mantles seem more aligned with modern jangle poppers like Woods or The Babies, and so so so reminiscent of classic jangle poppers on labels like Sarah and Flying Nun, as well as the Swell Maps and the Velvet Underground, a little bit lo-fi but still strangely warm and lushly layered, all dreamily druggy and laid back, their arrangements stripped down and minimal, every song warm and fuzzy, shimmery, summery and softly psychedelic, hooks galore, but those hooks tucked away, and employed subtly, the vibe more tranced out and hypnotic, the catchiness surfacing more and more with each repeated listen, eventually transforming their jangly hypno-pop into pure perfect pop gems, like "Brown Balloon", which over the course of 3:34 lodges itself in your head permanently, the catchiest part a single little guitar lick, that is the key to unlocking just how goddamn catchy every other part of the song truly is. "Bad Design" too, which right out of the gate delivers some classic pop catchiness, which somehow only gets more and more catchy over the next two minutes.
Repeated listens yields still more hooks, and reveals Long Enough To Leave as a fuzzy, psychedelic jangle pop (soon to be) classic!
MPEG Stream: "Marbled Birds"
MPEG Stream: "Hello"
MPEG Stream: "Long Enough To Leave"
MPEG Stream: "Reason's Run"

album cover MANTLES, THE Pink Information (Mexican Summer) 12" 26.00
Latest from the Mexican Summer label, in their ongoing campaign to seemingly release at least one record by every one of the coolest bands around these days, which has been a pretty serious success so far (barring the always inordinately OUCH-worthy Mexican Summer pricetag), and continues to be, with this, a brand new ep from SF power pop drone rockers The Mantles, who with the opening track, "Cascades", a brief two minute blast of some seriously perfect pop, render the aforementioned pricetag a non issue, cuz, you NEED this track, and if there was ever a $26 jam, this is it. Easy, the shortest, sharpest, catchiest track the Mantles have produced, it's still got some of that Velvet Underground swagger, but it's doused in power pop perfection, a crazy killer main melody, some sweet "ooooooh" background vocals, propulsive drumming, all wrapped in a dreamy haze, we'd be surprised if you didn't find yourself playing that one track over and over and over. But once you've got that out of your system, you can dig a bit deeper, the very Wipers sounding "Situations", all dour and minor key, the sun dappled hypnorock of "Lily Never Married, sounding a bit like a slightly more upbeat Spacemen 3, "Summer Read" all fuzzy and retro, with another cool tangly guitar melody, the sound crunchy and raw and urgent, a little Swell Maps, and still a lots Velvets, and finally, "Waiting Out The Storm", a brooding dirgey slowpop gem, all minimal drumming, and super distorted low slung riffage, laconic vocals, laid back and woozy and druggy, think Loop or Spacemen 3 again, but even slower and more washed out and lysergic, the sort of jam that live could get stretched out forEVER... Rad stuff. Way recommended. But remember, it's on Mexican Summer, so it's limited and odds are it will be gone in a flash...

album cover MANTLES, THE Raspberry Thighs (SDZ) 7" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Freshly back from Europe, these SF locals offer up another couple short sharp blasts of their jangly dreamy retro pop, the first release on French label SDZ. The A side is a woozy, washed out, laid back bit of hazy sixties style murk pop, woozy organ laid over crunchy guitars, shuffling rhythms, the vocals dreamy and way down in the mix, a Velvetsy bit of druggy jangle and crunch, the sort of song you'll find yourself playing over and over and over.
The B side, while still sunshiney and jangly, is a bit darker, the guitars are a bit more buzzy, the vibe a bit broodier, sounds like the Wipers, or maybe some lost Flying Nun NZ pop band, all angular crunch, sung/spoken vox, low slung, everything blurred and buzzy, the whole sound lo-fi and fantastically muddy and murky, with an awesome, mid-song, psychedelic guitar squall, that returns at the end for a final blow out, the sort of inspired freakout that should have gone on for another 10 minutes (maybe live they stretch it way out).
Regardless, two great new jams from one of our favorite local pop combos, which should tide you over until their upcoming Slumberland full length.
MPEG Stream: "Raspberry Thighs"

album cover MANTLES, THE Trust (Mt. St. Mtn.) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second 7" from local San Francisco power pop group The Mantles, who will soon have their debut full length released on Siltbreeze. Not sure why this is called Trust, as that title is not mentioned anywhere, and the songs are "Don't Lie" on the A-side and "Secret Heart" on the B-side. But this is a band that likes to play with a bit of mystery, often sounding like they're from the seventies or eighties. Garnering comparisons to The Clean, or Big Star, they have also been called San Francisco's answer to The Crystal Stilts, which is apt as they seem to be mining similar retro sounds, although with the singing less mournful than you find on the Stilts releases. Engineered by Jason Quever from The Papercuts, this 7" is sure to please folks into the current wave of garage-pop bands on Woodsist, Slumberland, In The Red and of course Siltbreeze.

MANTRONIK, KURTIS I Sing the Body Electro (Oxygen) cd 14.98
The genius behind Mantronix is back with kick-ass beats and breaks--bringing together the disjointed electro he helped pioneer with the sonds of new school hip-hop and electronica.

MANTRONIX King of the Beats (Warlock Records) 2cd 23.00

MANTRONIX King Of The Beats (Warlock) 2lp 24.00

MANTRONIX Mantronix: The Album (Warlock) cd 13.98

album cover MANTRONIX That's My Beat (Soul Jazz) cd 21.00
Compiled by legendary musician / producer / remixer Kurtis Mantronik, this is a collection of tracks from the late '70s and early '80s, all of which he considers not only super influential on his own work, but also typical of the groundbreaking dance / hip hop / electro / disco / house music being made in New York at this time. If you're a fan of ESG or any of the music on the two "Disco not Disco" comps, you're gonna love this too. It's a fantastic collection of tracks covering everyone from Art of Noise to Yellow Magic Orchestra, Visage, Yello and T-La Rock. More than easily standing up to today's scrutiny, none of the tracks sound dated in a bad way at all. Another great comp from Soul Jazz, the London store/label that brought us the In the Beginning There Was Rhythm comp, the 100-400% Dynamite collections, etc. Highly recommended!
RealAudio clip: FUNKY 4 PLUS 1 "That's the Joint"
RealAudio clip: YELLOW MAGIC ORCHESTRA "Computer Games"
RealAudio clip: VISAGE "Pleasure Boys"

album cover MAOGOJIATA s/t (self-released) cd ep 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With a name that's quite a mouthful, this new SF band bursts forth with more than an earful of complex pop smarts. Imagine a right-on blend of Archer Prewitt, Thingy and Built To Spill (recently though, they were witnessed in kick-ass live mode adding a considerable dose of angstful energy much like BTS' Doug Martsch's old band Tree People)! Piqued your interest? Indeed! Making smooth and swift shifts from incredibly pretty lilting melodies to intricate mathy rhythm terrain and back again, the four individuals craftily flesh out the Maogojiata sound. Buoyant acoustic and crunchy electric guitars weave around the tight rhythm section's twists and turns while vocals swoop from high emotive wail like that of New Pornographers' Carl Newman to a soft, boyishness reminiscent of Sea & Cake's Sam Prekop. A very refreshing debut!
MPEG Stream: "The Spark"
MPEG Stream: "1983"

album cover MAOW The Unforgiving Sounds Of... (Mint) cd 16.98
Attention Neko Case fans!!!
After a couple of tour drumming stints with her Vancouver pals Cub got her feet wet and got her music wheel spinning, Ms Case launched her own ass-kickin' girl trio with two other awesome ladies C.C. Hammond and Tobey Black. This was years before The Boyfriends! Hammond, Black and Case were originally known as Meow, but there was apparently another band who'd already laid claim to that moniker, so Maow it was! Kept their fans in stitches... no, not from their fierce kick-boxing skills but moreso from their hilarious rough'n'tumble stage banter and garb, unforgettable press photos, and blisteringly catchy garage pop tunes. Released in 1996 on Mint Records, The Unforgiving Sounds Of Maow was their only album, and a fleetingly short one at that - clocking in 14 songs in just over twenty minutes! A little bit country and a little bit rock'n'roll, but there ain't no chance of these naughty hellions being mistaken for Donny and Marie. You definitely don't wanna miss "Ms Lefevre"! Come and get it, fans and funseekers!
Psst, we've also just gotten in a few other new and new-to-us titles on this fine Vancouver indie label by The Awkward Stage, Buttless Chaps and Immaculate Machine!
MPEG Stream: "Ms Lefevre"
MPEG Stream: "Mean Mean Man"

MAOZ, EYAL Edom (Tzadik) cd 15.98

MAP OF WYOMING Trouble Is (Blue Rose) cd 11.98

MAPFUMO, THOMAS Chimurenga Forever: Best of Thomas Mapfumo (Hemisphere) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
From Zimbabwe.

album cover MAPFUMO, THOMAS & THE ACID BAND Hokoyo! (Water) cd 15.98
Known as the Lion of Zimbabwe, Thomas Mapfuno is one of the most popular African musicians and next to Fela Kuti, one of the most politically outspoken. Leading a string of bands from the sixties to the eighties, Mapfumo is probably best known for creating and popularizing a form of African music called "Chimurenga" (meaning "struggle") that took its roots from the traditional rural Shona music of his upbringing but fusing it to Western rock instrumentation and styles. This mainly involved transcribing the sounds of the mbira to the electric guitar and singing in the Shona language instead of English. This also helped to disguise the inflammatory anti-government sentiments of his songs, but not for long. Wrongly imprisoned and his music banned from state controlled radio, the government couldn't stop his music being played in the discos and there was enough protest to warrant his eventual release. Having helped oust the government with the installation of free elections, Mapfumo helped Mugabe come to power only to later sing out against him and be forced to flee to America where he currently lives.
Hokoyo! (Watch Out!) from 1979, recorded with the Acid Band for this one time release, was Mapfumo's first outing musically and introduced the Chimurenga style after recording music for years influenced by Western pop music. It's also what made the government censor his music and throw him into the prison camps without charge. The Chimurenga vibe is definitely laid back, having more in common with Jamaican reggae than Kuti's Afro-funk extrapolations. Not as forceful as much political music can be, but like Brazil's Tropicalia movement, the power is in its popularity and giving the people their own voice!
MPEG Stream: "Hokoyo"
MPEG Stream: "Chengeta Va Bereki"

album cover MAPFUMO, THOMAS & THE BLACKS UNLIMITED Gwindingwi Rine Shumba (Water) cd 15.98
Known as the Lion of Zimbabwe, Thomas Mapfuno is one of the most popular African musicians and next to Fela Kuti, one of the most politically outspoken. Leading a string of bands from the sixties to the eighties, Mapfumo is probably best known for creating and popularizing a form of African music called "Chimurenga" (meaning "struggle") that took its roots from the traditional rural Shona music of his upbringing but fusing it to Western rock instrumentation and styles. This mainly involved transcribing the sounds of the mbira to the electric guitar and singing in the Shona language instead of English. This also helped to disguise the inflammatory anti-government sentiments of his songs, but not for long. Wrongly imprisoned and his music banned from state controlled radio, the government couldn't stop his music being played in the discos and there was enough protest to warrant his eventual release. Having helped oust the government with the installation of free elections, Mapfumo helped Mugabe come to power only to later sing out against him and be forced to flee to America where he currently lives.
Gwindingwi Rine Shumba ("Lion In The Bush") from 1980 was released the same year that Free Elections took place and it's with the band that Mapfumo has remained with the longest. The first song "Shumba" is the stunner with a melancholy amplified mbira sound. The Chimurenga feel is definitely laid back, having more in common with Jamaican reggae than Kuti's Afro-funk extrapolations. Not as forceful as much political music can be, but like Brazil's Tropicalia movement, the power is in its popularity and giving the people their own voice!
MPEG Stream: "Shumba"
MPEG Stream: "Zimbabwe Yevatema"

album cover MAPS & DIAGRAMS Get Lost (Time Released Sound) cd 14.98
We're really so excited to finally welcome local label Time Released Sound to the aQuarius family. We've yet to list anything, in part because their releases are so limited, but also, because they sell out so quickly. Every single release, every single copy is an incredible work of art. Each one hand crafted, individually assembled, numbered and hand stamped, letter pressed and printed, the packaging thematically linked to the sound within, with photographs, or old records, strange little knick knacks, clock hands, piano keys, they're really incredible, an absolute labor of love, with most of the limited versions taking hours to assemble, and the fact that Time Released Sound is just one man, makes it all the more impressive. So from here on out, we'll get a limited number of each release, they're quite limited already usually around 70-100 copies. And odds are we won't be able to get more than 10-15, but trust us, they're worth it, sonically beautifully, and visually stunning. There will be regular non-art editions of some of the releases, much less limited, and thus less expensive, but if you're after one of the limited editions, you'll want to act fast.
The art edition of this one sold out to quick for us to get copies, but it's the first Time Released Sound release to get an actual proper cd release, which is a good thing too, cuz this stuff is way to gorgeous to be only heard by a handful of folks. A hazy droney drift, equal parts haunting ambience, mysterious field recordings, and abstract synth shimmer, these soundscapes are lush smoldering expanses of hypnotic sound, dreamily layered loops, judiciously applied effects, all woven into totally mesmerizing drones and sweetly melodic cinematic miniatures, from the soundtracky synth shimmer of "Below Sea Level" to the hazy, ethereal ambience of "Floating Sculptures", Maps And Diagrams, creates an otherworld of sound, a world of water, dominated by the sea, the sounds of water seep into many of the tracks here, a distant drizzle, the sound of a far away shore, but the music itself is evocative and lovely, simple melodies draped over lush landscapes, as much about texture and tone, mood and meaning as notes and chords, these blurred abstract drifts seem to hover ghostlike, before taking shape, only to fade into the ether once again. Dreamy and darkly divine, WAY recommended for all the aQ-ers into lush, mysterious ambience, and dreamily melodic dronemusic, fans of Jasper TX, Machinefabriek and other crafters of soundworlds hushed and haunting.
LIMITED TO 300 COPIES!
MPEG Stream: "Unordinary People"
MPEG Stream: "Below Sea Level"
MPEG Stream: "Floating Sculptures"

album cover MAPS AND DIAGRAMS In Circles [Deluxe] (Time Released Sound) cd 52.00
Of all the releases on local label Time Released Sound, Get Lost by Maps And Diagrams, holds a special place in our hearts, as it was the first TRS release we were able to get enough of to actually review. And besides that, it was a gorgeous collection of hazy droney drift, the perfect first release, deftly delivering a sound that would essentially define the label's sonic mission statement, pastoral, dreamlike, woozy and washed out, electronic flecked folkiness and moody droney ambience. So here we are two years later, and Time Released Sound delivers their second Maps And Diagrams record, In Circles, which delves into similar sonic terrain, another sprawling bit of gauze-y dreaminess, soft focus clouds of swirling synths and whirring organs, blurred melodies, and smeared streaks of abstract shimmer, all sculpted into heady, heavenly swaths of ethereal pop ambience, glistening, crystalline shimmer, all infused with a lush, organic vibe. Some of the tracks here are all chiming guitars, gristled electronics and mysterious field recordings, others glistening swirls of slow shifting chordal shimmer, and still others are woozy loopscapes wreathed in a fuzzy patina of Caretaker like faded thrum. At least one track features vocals, and is thus transformed into a haunting drone-folk ballad, underpinned by a softly roiling bed of swoonsome strings and record crackle static. But really, every song here is mysteriously and heart wrenchingly fantastic!
The packaging, as always, is top notch, the standard version housed in a digipack and limited to 200 copies, while the deluxe version, limited to just 70 copies, is packaged in a hand altered black digipack, which is collaged, punched, and most strikingly, inlaid inside and our with ornate silkscreened Spanish real cork wallpaper. There's a printed and hand punched insert, everything inside a hand stamped, hand punched, inked and diagrammed translucent envelope, and each one also includes a 75 year old page of hand drawn diagrams and text. Wow!
MPEG Stream: "Talavera"
MPEG Stream: "Bosque"
MPEG Stream: "Valargo"
MPEG Stream: "Ten Black Cards"

album cover MAPS AND DIAGRAMS In Circles [Standard] (Time Released Sound) cd 14.98
Of all the releases on local label Time Released Sound, Get Lost by Maps And Diagrams, holds a special place in our hearts, as it was the first TRS release we were able to get enough of to actually review. And besides that, it was a gorgeous collection of hazy droney drift, the perfect first release, deftly delivering a sound that would essentially define the label's sonic mission statement, pastoral, dreamlike, woozy and washed out, electronic flecked folkiness and moody droney ambience. So here we are two years later, and Time Released Sound delivers their second Maps And Diagrams record, In Circles, which delves into similar sonic terrain, another sprawling bit of gauze-y dreaminess, soft focus clouds of swirling synths and whirring organs, blurred melodies, and smeared streaks of abstract shimmer, all sculpted into heady, heavenly swaths of ethereal pop ambience, glistening, crystalline shimmer, all infused with a lush, organic vibe. Some of the tracks here are all chiming guitars, gristled electronics and mysterious field recordings, others glistening swirls of slow shifting chordal shimmer, and still others are woozy loopscapes wreathed in a fuzzy patina of Caretaker like faded thrum. At least one track features vocals, and is thus transformed into a haunting drone-folk ballad, underpinned by a softly roiling bed of swoonsome strings and record crackle static. But really, every song here is mysteriously and heart wrenchingly fantastic!
The packaging, as always, is top notch, the standard version housed in a digipack and limited to 200 copies, while the deluxe version, limited to just 70 copies, is packaged in a hand altered black digipack, which is collaged, punched, and most strikingly, inlaid inside and our with ornate silkscreened Spanish real cork wallpaper. There's a printed and hand punched insert, everything inside a hand stamped, hand punched, inked and diagrammed translucent envelope, and each one also includes a 75 year old page of hand drawn diagrams and text. Wow!
MPEG Stream: "Talavera"
MPEG Stream: "Bosque"
MPEG Stream: "Valargo"
MPEG Stream: "Ten Black Cards"

MAPSTATION Distance Told Me Things To Be Said (Scape) cd 16.98

MAPSTATION Sleep, Engine Sleep (Staubgold) cd 13.98
Mapstation is the work of Stefan Schneider - better known for his work in To Rococo Rot. Using a lot of gurgling electronics and sampled live instrumentation, Mapstation sounds like a rock band trying to pull off what Oval does live, but realizing their mistake half way through the process and turning back to the laptop. Mellow almost noirish electronica melodies that aren't too far from the early Tarwater albums. But, if you've never heard To Rococo Rot's stunning albums, we suggest you start with them first instead of Mapstation.

album cover MAQUILADORA WITH KAWABATA MAKOTO Kiss Over (Acid Mothers Temple) 2cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We previously heard from San Diego indie rural-psychsters Maquiladora on the Acid Mothers Temple n' friends 3cd compilation Do Whatever You Want a while back. Now here's a Japanese import cd featuring them jamming with the Acid Mothers Temple's number one guru, guitarist Kawabata Makoto (and also ex-AMTer Cotton Casino). Over these two discs is sprawlingly spread a lot of lovely, drifting, droning, gentle, largely instrumental cosmic bliss with a slight desert-sunset, country-psych feel (hints of Maquiladora's rootsy roots come through with some plantive home-on-the-range harmonica that appears alongside the less rustic instrumentation of analog synth, glissando guitar, Hammond organ, piano, vibraphone, etc.). Maybe it's due to Makoto's usual magic, but this is surely good enough that now we'll definitely have to check out Maquiladora's own couple of previous records! Real nice, mellow, moody.
MPEG Stream: "Sound Is Over"
MPEG Stream: "UFO Goozu"

album cover MAR The Silence (Ring Road) cd 7.00
**SALE **SALE* *SALE**
Although they didn't start out that way, for this album, the musical entity that goes by the name Mar has become a mini super group of glistening glacial proportions. Its central figure is one Mr. Kyle Reidy originally from Arkansas, but its guest membership here includes Jimmy Lavalle of The Album Leaf and Mum's Samuli Kosminen. Recorded at Syrland Studios in Iceland (that would be Sigur Ros' studio!), The Silence is a drowsy drifting affair with whispery male vocals that not unsurprisingly nestles in perfectly with the Lavalle and Kosminen's main projects. Reidy mines the aching emotional depths with such a delicate touch countered with a grand regality that has become the trademark of Icelandic bands -- articulating both the monumental and the minute, the mighty and the frail in single sweeping elegant gestures. Guess it goes without saying that we'd highly recommend this to fans of Mum and The Album Leaf (and probably Sigur Ros too)... and/or folks who like their music to seek out the heartstrings in a most shimmery fashion. Lovely!
MPEG Stream: "Silence"
MPEG Stream: "Bows"

MARAH Kids In Philly (Artemis) cd 15.98

album cover MARANATA Royal Hex (The Tapeworm) cassette 9.98
One of two new tapes on this week's list from UK tape label The Tapeworm, this one might be the heaviest / noisiest thing we've heard on that imprint yet, a live freeform freakout from Norwegian free-noise duo Maranata, a sax/guitar/electronics combo here joined by a couple extra hands, belonging to the drummer from Japan's Nisennenmondai, so you're in for a dense barrage of free jazz / free noise chaos. Sounding like vintage Japanese psych, fused to Zorn's double quartet Spy Vs. Spy, or Borbetomagus jamming with Lightning Bolt, this is furious droned out heaviness, wild tangles of guitar, crazed chaotic drums, and the sax, which sounds less like a sax, and more like a burst of sci-fi laser blurts, the sound grinding, and blown out, the group slipping easily from loose improv, to frenzied blasting, to creeping, almost doomlike plod, this is heady, wild, psychedelic stuff. Borderline white noise at times, but displaying loads of texture and nuance, this is some intense freaked out shit! Extreme free music obsessives will dig big time. And folks thinking about dipping their toes into the world of free jazz/rock weirdness/wildness, this would definitely not be a bad place to start. Exhausting and exhilarating.

MARANHA, DAVID Piano Suspenso (Sonoris) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A single, one hour and twelve minute track by Portuguese composer David Maranha, performed live in New York in 1998. Using only a grand piano, four electric motors and a violin bow, Maranha "excites" the strings from within the piano to produce a beautiful, continuous drone that subtly shifts in emphasized overtones. The motors -- small, garden variety, electric motors -- are placed on the ends of microphone stands with what appear to be small brushes affixed to their business ends and set over the strings. Maranha adjusts the dynamics and pitches by the amount of pressure the motors apply to the strings and slowly moving the locations of the motors to the strings. On top of this Maranha adds various bowing techniques to augment the overall color. All in all this is an excellent cd, reminiscent of Coleclough & Chalk's "Sumac" or the works of Troum and other dronologists. Highly recommended.

MARATHON MAN / THE PARALLAX VIEW (MICAHEL SMALL) OST (Film Score Monthly) cd 17.98

album cover MARAVICH s/t (self-released) cassette 3.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
First we've heard from these drifting ambient drone dudes from Ohio, but we're definitely digging it. Ultra minimal swells of sound. Dark and shimmery, distant melodic fragments glistening, everything a lugubrious creep. Haunting and mysterious, but soft focus and delicate. There's a definitely Stars Of The Lid vibe, the sort of endless expanses of rolling oceanic swells, as well as a bit of Growing at their most blissed out and dreamlike.
The sound of Maravich is an active ambience, with reverbed guitars shimmering over metallic buzz, throbbing and pulsing, smeared with bits of delay, creating subtle rhythms, and constantly shifting textures. If they had a drummer, you could almost imagine some of these tracks, turning into lopingly propulsive post rock grooves, but instead, they remain in the realm of drift and shimmer, the two guitars reflecting off the other, creating lush harmonies and plenty of ethereal Fripp and Eno like interplay. So nice.

album cover MARAX 1. The Pleasure In Grieving (Crucial Blast) 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.
Our friend Adam who runs the super cool Crucial Blast label, has, for over 6 years now, been quietly (and not so quietly) putting out some of the coolest shit around. From crusty Finnish metal to droning electronica to sparse folk to brutal power electronics. This new series of cd-r's, limited to 100 copies and nicely packaged in oversized DVD cases will only be available via Aquarius records (unless you get them directly from Crucial Blast). So don't blow it...
Marax, named for an asthma medication, is the long running experimental electronic project of one Eric Crowe. For Crucial Blast, Crowe decided to do an expansive project focused on death and dying. 12 cd-rs released monthly for a year. LIMITED TO ONLY 25 COPIES each and hand numbered. This is volume one in the series and is very dark and grim. A gritty, noisy and completely intense drone record. One of the best we've heard in a while actually. Very reminscent of Organum, Lustmord and that sort of thing. Funereal washes of chest-rattling low end and ear-scraping grit and dreamy (as in bad dreams) walls of monstrous thrum. Really great. And I'm sure if you want, we can get Adam at Crucial Blast to hook you up with all 12. But let us know quick.
RealAudio clip: "The Pleasure In Grieving 1"
RealAudio clip: "The Pleasure In Grieving 2"

album cover MARAX 2. Pass Away Into Heaven (Crucial Blast) 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.
Our friend Adam who runs the super cool Crucial Blast label, has, for over 6 years now, been quietly (and not so quietly) putting out some of the coolest shit around. From crusty Finnish metal to droning electronica to sparse folk to brutal power electronics. This new series of cd-r's, limited to 100 copies and nicely packaged in oversized DVD cases will only be available via Aquarius records (unless you get them directly from Crucial Blast). So don't blow it...
This is volume two in Marax's 'For The Love Of Death' series of super limited cd-r's (LIMITED TO 25) thematically focused on death and dying. Where the first volume was slow brning drones ala Lustmord or Organum, volume two takes that drone and adds even more grit and static, with the resulting sound, much more akin to turnatablist Philip Jeck. But where Jeck's gritty soundscapes are dreamy and pastoral, Marax uses the antiquated sound to invoke memories of the long dead and times best forgotten. A dark and doomy trip down memory lane. Kind of like an Organum wax cylinder played on a decrepit old gramaphone with occasional anguished howls in the distance. Melodies surface but soon deteriorate into a wash of grit and grime. When the vocals come in it sort of sounds like Burzum played at 15 r.p.m. transmitted through tin can and twines. So fucked up and creepy and great. And as I said before, I'm sure if you want, we can get Adam at Crucial Blast to hook you up with all 12. But let us know quick.
RealAudio clip: "Pass Away Into Heaven 2"
RealAudio clip: "Pass Away Into Heaven 3"

album cover MARAX 3. Taphophile (Crucial Blast) 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.
As we mentioned on the last list, our friend Adam runs the super cool Crucial Blast label, and has, for over 6 years now, been quietly (and not so quietly) putting out some of the coolest shit around. From crusty Finnish metal to droning electronica to sparse folk to brutal power electronics. This new series of cd-r's, limited to 100 copies and nicely packaged in oversized DVD cases will only be available via Aquarius records (unless you get them directly from Crucial Blast). So don't blow it...
This is volume THREE in Marax's 'For The Love Of Death' series of super limited cd-r's (LIMITED TO 25) thematically focused on death and dying. Where the first volume was slow burning drones ala Lustmord or Organum, and the second volume was griity and granular like a Philip Jeck record, Voulme three pulls it back a little toward a much more ambient excursion. Distant rumbles like passing traffic heard from underwater, with barely audible digital skitter and analog hiss, and occasional far-away feedback. Super minimal, but quite nice. This one would definitely appeal to fans of Bernhard Gunter and John Hudak.
As we mentioned before, I'm sure we can get Adam at Crucial Blast to hook you up with all 12. But let us know quick.
RealAudio clip: "Strange How The Dead Bleed Part 2"
RealAudio clip: "Suttee Part 2"

album cover MARAX 4. The Dead Don't Care (Crucial Blast) 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.
As we mentioned on the last list, our friend Adam runs the super cool Crucial Blast label, and has, for over 6 years now, been quietly (and not so quietly) putting out some of the coolest shit around. From crusty Finnish metal to droning electronica to sparse folk to brutal power electronics. This new series of cd-r's, limited to 100 copies and nicely packaged in oversized DVD cases will only be available via Aquarius records (unless you get them directly from Crucial Blast). So don't blow it...
This is volume FOUR in Marax's 'For The Love Of Death' series of super limited cd-r's (LIMITED TO 25) thematically focused on death and dying. Volume four is quite similar to volume three, with distant rumbles and faraway shimmers, gently panning from speaker to speaker, a hypnotic slow motion pulse, that is joined for the last ten minutes by what sounds like a train crossing signal way off in the distance. Another hyper minimal and very appealing installment in this awesome series (all this one clocks in at a quite short 16 minutes, good thing it's only 5.98).
As we mentioned before, I'm sure we can get Adam at Crucial Blast to hook you up with all 12. But let us know quick.
RealAudio clip: "Distant But Deafening Screams"
RealAudio clip: "The Fires Burn Cold"

album cover MARBLE, MATT An Image And Its Dilution (Onomato) cd-r 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Recorded in New Orleans in 2005, the week the Hurricane hit, this is an intense and super moving field recording from musician, composer and sound artist Matt Marble. Plenty of street sounds, musicians, bicycle bells, voices over loud speakers, whipping wind, foot steps, drums, rushing water, a 21 minute wander through the streets on NOLA, finishing with a strange coda of long high end drones laid over the rumble of cars and the whir of the storm. Very haunting and emotional.
The other two shorter tracks, feature an interview with a Gulf Coast family, radio playing in the background, and various family drama playing out, and a street singer doing an Otis Redding classic and engaging his captive audience.
It's all beautifully recorded, and not only sonically appealing, but a riveting brief glimpse into lives touched by tragedy.
Packaged in cool hand assembled sleeves, hand stamped, with a photocopied insert, and a phot pasted to the front. Originally limited to 90 copies, this is obviously WAY sold out, and these are thus the last copies ever...
MPEG Stream: "One"

album cover MARBLE, MATT Chiasmata (Onomato) 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.
Yet another new release from one of our new favorite cd-r labels, Portland's Onomato, run by the guys in Ghosting!
Matt Marble is a composer, a researcher, a student of Speech And Hearing Science, and he's also the co-editor for sound art magazine FO A RM. He spends much of his time composing for large ensembles and "non-musicians". Chiasmata, like many of his works, was created using processed field recordings and hand built instruments.
The first track begins with 5 minutes of upper register shimmer, like rainfall transformed into bells, a ringing chiming high end drone, that gradually dissipates into an ultra minimal low end drift, before breaking down even further, into a barely audible, seemingly unaltered field recording, insects, leaves, wind. The second track, part two, begins where the first track ended, a microscopic world of insectoid scrape and skitter, distant chimes, all manner of found sound. Eventually, a subtle drone begins to materialize, a barely their uneven buzzing, soon some sort of looped vocal moan appears, and suddenly for the last few minutes, the sound builds to its most active, a warm thick drone, wrapped around a dense clatter of rattle and chime before just as abruptly, it disappears. Nice!
Packaged in hand printed covers with a full color photo affixed to each, photocopied insert and all housed in a heavy vinyl sleeve.
LIMITED TO 90 COPIES, WE GOT ABOUT 20. ONCE THEY'RE GONE THEY ARE GONE FOR GOOD.
MPEG Stream: "Chiasmata 1"
MPEG Stream: "Chiasmata 2"

album cover MARBLEBOG Csendhajnal (Turanian Honor) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
MARBLEBOG!! BACK IN STOCK!!
What's in a name? Well, when the name of your band is Marblebog, and the name of your record is Csendhajnal, pretty much everything is in the name. We were sold before we'd even laid ears on it. But we're happy to report, the dark sorrowful sounds within more than live up to the bizarre monicker.
Marblebog specialize in that super fuzzy mournful black metal, midtempos and blurry hypnotic guitars, every track a slowly swinging seasick waltz, so completely droning and mesmerizing. The metal buried within churning clouds of thick murky ambience. The guitars not always sharp and jagged and buzzing, but sometimes just distant grumbles and whirs, buried beneath dense swirls of swooshing Tangerine Dream synths, while the drums sort of plod along waaaaaaaay back in the murk. And the vocals, woah, some of the most anguished, tortured, howling, damned-soul sort of howls we've ever heard, think Weakling, Silencer, Bethlehem, Sterbend, a near hysterical shrieking. But in Marblebog the vocals sound almost out of place, making them that much more harrowing and depressive. Imagine a lonely overgrown graveyard, weeds, flowers, ivy tangled in the bars of the wrought iron gates, the sky a dim grey, overcast, pregnant with the possibility of storm, the sound is not wind or birds or passing cars, instead it's a depressive dirge, not harsh or super aggressive, not even really buzzing, more a thick blanket of grey fuzz smothering everything in gorgeously miserable murkiness, then right in the middle of the graveyard, a mysterious figure is pushing his way through the dirt, a rotting creature of the night, crawling up from the grave, emitting a fowl hellish shriek of utter and absolute terror, while thick tendrils of graveyard mist swirl up around him, the vocals a glaring and harrowing blight on the otherwise peaceful (yet still dark and depressing) world of the dead.
The vocal-less tracks on Csendhajnal are downright lovely, slow, meandering synthscapes, of low end melodic miserablism, and slow drifting dark shimmer, like a more ambient Skepticism or Burzum, some haunting, otherworldly new age dooooom. But even the more properly metal tracks here are imbued with the same sort of new age dreaminess and slow motion, end of the world doominess. So awesome.
This disc collects the debut cd (from back in 2003) from this Hungarian horde and tacks on a whole bunch of killer extra tracks including the Nostalgic Moods In Grimwoods demo from 2002, the Arhat promo from 2002, and the rehearsal track "Hatefullmoon" from 2003, most of which were released as super limited tapes and/or splits. Killer cover art too!!!
SUPER LIMITED! 555 copies, each disc hand numbered!
MPEG Stream: "The Breath Of Emptiness"
MPEG Stream: "A Broken Circle"
MPEG Stream: "Eternal Silence Within"

album cover MARBLEBOG Forestheart (Autopsy Kitchen) cd 13.98
Since we first heard the name Marblebog, we somehow just knew this obscure Hungarian horde would be a fast favorite, before we had even heard a note of music, and man were we right. The last record, 2004's Csendhajnal, now unfortunately out of print, was a huge hit at AQ, the perfect balance of swirling synthy ambience, and mournful melancholy Burzumic buzz, so we had been anxiously awaiting the reissue of 2005's Forestheart ever since, and now it's finally here.
This duo from Hungary mix traditional Hungarian folk, modern grim black buzz, and blissed out ambience into epic swaths of blurry blackness, woven from loping minor key guitars, simple mostly midtempo drumming, strangled croaked vocals, and while the parts might sound similar to black metal obsessives, it's not just the parts, it's how they're played, and recorded and arranged, the mood and the timbre, the sound and the feeling as much as the actual riffs.
And while the riffs are of course amazing, it's the feel more than anything that make Marblebog so special. Everything is dripping with such sadness and sorrow, not just minor key, but whole arrangements and progressions perfectly assembled to evoke strange feelings, heartbreak and woe, death and destruction, so mournful and melancholy, sweeping swells of buzzing sound, with incredible dynamics, and bits of melody that swoop in out of nowhere and are immediately swallowed up again.
The appropriately titled "Opening" is a brief stretch of swirling krautrocky synth, peppered with haunting animal like FX and creepy scrapes and groans, all drenched in reverb and delay, hovering beneath a pale moonlit sky. This intro opens up into the sort of title track "I Am The Forestheart", a glorious blast of melancholy blackness, with a main riff as catchy as it is dark and depressive. Part way through the band shift gear, and slow down into a strummed folky interlude, a jig like melody, Jew's harp, the sound of wind and rain, a haunting spare drift.
There are three more longish tracks, all channeling the same forest spirit, looped cyclical black buzz, suffused with hypnotic drones and unlikely little melodic flourishes, everything muted and murky and dreamlike, often breaking down into simple acoustic guitar drifts, before picking back up again. The harrowing over the top vocals of the first records are now much more settled into the background, more a part of the music, almost like another layer of buzzing drone, but still just as harrowing and anguished.
The final track is a 13+ minute ambient soundscape of shimmering synths, and mad scientist lab FX, burbling and gurgling beneath, dreamy washes of high end drift, strange muted percussion, some seriously Goblin like keyboard creep, and eventually some awesome lurching downtuned guitar, not so much crushing and heavy as creepy and thick, cyclical and hypnotic, a gorgeous lurching dream doom.
MPEG Stream: "I Am The Forestheart"
MPEG Stream: "A Tempest Never Calming Down"
MPEG Stream: "Closing"

album cover MARBLEBOG Forestheart (Autopsy Kitchen) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Since we first heard the name Marblebog, we somehow just knew this obscure Hungarian horde would be a fast favorite, before we had even heard a note of music, and man were we right. The last record, 2004's Csendhajnal, now unfortunately out of print, was a huge hit at AQ, the perfect balance of swirling synthy ambience, and mournful melancholy Burzumic buzz, so we had been anxiously awaiting the reissue of 2005's Forestheart ever since, and now it's finally here.
This duo from Hungary mix traditional Hungarian folk, modern grim black buzz, and blissed out ambience into epic swaths of blurry blackness, woven from loping minor key guitars, simple mostly midtempo drumming, strangled croaked vocals, and while the parts might sound similar to black metal obsessives, it's not just the parts, it's how they're played, and recorded and arranged, the mood and the timbre, the sound and the feeling as much as the actual riffs.
And while the riffs are of course amazing, it's the feel more than anything that make Marblebog so special. Everything is dripping with such sadness and sorrow, not just minor key, but whole arrangements and progressions perfectly assembled to evoke strange feelings, heartbreak and woe, death and destruction, so mournful and melancholy, sweeping swells of buzzing sound, with incredible dynamics, and bits of melody that swoop in out of nowhere and are immediately swallowed up again.
The appropriately titled "Opening" is a brief stretch of swirling krautrocky synth, peppered with haunting animal like FX and creepy scrapes and groans, all drenched in reverb and delay, hovering beneath a pale moonlit sky. This intro opens up into the sort of title track "I Am The Forestheart", a glorious blast of melancholy blackness, with a main riff as catchy as it is dark and depressive. Part way through the band shift gear, and slow down into a strummed folky interlude, a jig like melody, Jew's harp, the sound of wind and rain, a haunting spare drift.
There are three more longish tracks, all channeling the same forest spirit, looped cyclical black buzz, suffused with hypnotic drones and unlikely little melodic flourishes, everything muted and murky and dreamlike, often breaking down into simple acoustic guitar drifts, before picking back up again. The harrowing over the top vocals of the first records are now much more settled into the background, more a part of the music, almost like another layer of buzzing drone, but still just as harrowing and anguished.
The final track is a 13+ minute ambient soundscape of shimmering synths, and mad scientist lab FX, burbling and gurgling beneath, dreamy washes of high end drift, strange muted percussion, some seriously Goblin like keyboard creep, and eventually some awesome lurching downtuned guitar, not so much crushing and heavy as creepy and thick, cyclical and hypnotic, a gorgeous lurching dream doom.
MPEG Stream: "I Am The Forestheart"
MPEG Stream: "A Tempest Never Calming Down"
MPEG Stream: "Closing"

MARBLEBOG Wind Of Moors (Tour De Garde) cd 11.98
Finally available again, the gorgeous all ambient second album from Hungary's Marblebog, who on other records (which we gushed about on past aQ lists) combined bits of ambient drone with their mournful black buzz, but for Wind Of Moors, they jettisoned all traces of metal completely, and in their place, crafted a gorgeous slow moving world of drifting melancholy ambience. Very krautrocky, and quite reminiscent of Klaus Schulze, Popol Vuh and the like, the opening track is soft and sun dappled, gentle muted bongos, beneath a constant low level raga like buzz, soft synth swells, shimmering streaks of ethereal whir, a gorgeous laid back sprawl of nearly new age mesmer.
The next track is even lighter and dreamier, chords smeared into shadows as they drift by, chords suspended in soft swirls of sound, the notes, floating weightless, a breathless whisper of a song.
The third track has a bit of muted propulsion, a gentle heartbeat like pulse, beneath some thick, but still soft, buzz, a gorgeous minor key melody played out in high end tones, draped over the droning blurred raga below, so completely entrancing and hypnotic. Slightly ominous, dark clouds drifting across a steel blue sky, but still, the vibe is more like a forest just before the storm, hauntingly calm but still slightly uneasy.
The final track is the darkest of the bunch, a creeping sonic fog, layered melodies, gauzy and shimmering, slowly drifting, casting dark shadows, filling the speakers with dead leaves and cold rain. A chilling, but mysteriously lovely bit of dreamlike sound.
MPEG Stream: "Waves Of Inner Seas"
MPEG Stream: "Gateless Gate Of Nothingness"

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