[ aquarius records new arrivals list #467 ]
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Some items in our catalogs may be out of print or currently unavailable. All prices subject to change (we only change our prices when our costs change). We will always try to inform you of updated prices. Email our mailorder department for availability status. If you have general non-mailorder questions, email the store.



aQuarius recOrds
New Arrivals #467
30th January 2015



Beloved Customers and Friends:

Hey good people! How's your week been? Ours just became super awesome 'cause the mysterious Wikkid guy unexpectedly dropped into the shop this evening, and brought us 3 new releases!! (See the "New In Stock, Not Yet Reviewed" section below for some details.) They're all double cds. Cheap too. You'll have to wait 'til the next list for our reviews of those, but never fear, there's plenty of equally (almost) 'wikkid' stuff on THIS list...

You know, we've been trying to do somewhat shorter lists of late - shorter reviews too when we can manage it - just to make things easier on everybody, but this list actually ended up with more stuff on it than our last one, and that's even with some things we had planned to review not showing up in time on account of the big ol' snowstorm some of you folks back East are familiar with.

We've got three awesome Records Of The Week: the long-awaited return of Bay Area post-punk ladies ERASE ERRATA, a great compilation of '80s UK electronic pop from the Color Tapes collective, called "COLD WAVES OF COLOR", and also the murky, cosmic 'dark metal' weirdness of Russia's MONDSAAL.

Furthermore, the rest of this week's Highlights are also many and varied, we won't go through 'em all but will quickly mention a few - as if to go with the Erase Errata in a one-two punch, there's the new SLEATER-KINNEY.

Possibly worst band name of the list award goes to ACID BABY JESUS, but this Greek groop's catchy heavy psych is actually pretty great.

Our own JIM HAYNES, commemorating an accident with a table saw that he fortunately (mostly) survived, has a new cassette called "Scarlet"...

Also... there's two crucial GUIDED BY VOICES vinyl reissues, a new APHEX TWIN ep, some great hauntology from ROBIN THE FOG aka HOWLROUND, a bonus-track-havin' vinyl version of the collection of Skullflower-related noise rock project JFK, and a new Carlton Melton side project called NIGHT FLIGHTS... among quite a few other really cool things, so please give the whole list a good once or twice over (or thrice, can't hurt). At the very end, you'll find our review of the latest from Tasmanian doomsters THE WIZAR'D, including a little mini-interview we did with the band!

Oh, not reviewed this list, but also in that "New In Stock" section - some of you might be excited about the new live OM album on Outer Battery.

So delve on in... but before you do, on a serious/sad/scary note - local folks, you probably know about this already, that a couple nights ago there was a terrible, 4-alarm fire in a building just a couple blocks from Aquarius, at 22nd and Mission, killing one person, injuring several others, and displacing dozens of people - including one musician friend of ours - from their homes. Anyone who wants to do something to help out, there's a fire relief fund that's been set up, you can get more information and donate here: http://www.gofundme.com/l1hrw8.

Stay safe, people! And enjoy your weekend and Superbowls and whatnot - and y'know, we're open all weekend (even during the Superbowl thing) so please come on by. Thanks as ever for reading our list and buying music and stuff from us!!

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And as always, thanks for reading the list, passing it on to all your friends who love weird music, shopping at our store, turning -us- on to all sort of great stuff, and helping us spread the word and get all this great music to the people who love it. YOU!! And as always, please realize that we work really hard on the list, so if you find out about stuff through us, please try to buy your records from us. That way we can keep on doing what we do, and we'll always be here with our ears to the ground, and with cds full of metalcore pitbulls, death metal parrots, gamelan playing elephants, recordings of glaciers cracking, ice melting, zamboni's, life support systems, drag races, audience applause, and of course self flagellating Norwegian dwarves, moaning telephone wires, recorded exorcisms, acapella straight edge metalcore, high school battles of the bands, movie theater organ music, Christian psychedelic folk, Bhangra Black Sabbath as well as all the metal, indie rock, electronica, punk rock, reggae, dub, sixties psych, krautrock, classic rock, country and anything else your heart may desire. So thanks. A bunch!

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----* Records Of The Week :
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album cover ERASE ERRATA Lost Weekend (Under The Sun) lp 15.98
We didn't realize how much we had been missing this beloved Bay Area post-punk trio. It's been over EIGHT years since their last album, but the moment Lost Weekend came ringing out our speakers, we were again enveloped into the band's familiar warm & urgent sounds, and after just a few listens we could feel these songs digging deeper and deeper into our brains/hearts/souls in a way we knew wasn't going to stop.
While the previous Erase Errata albums that we love so much were marked with more of a herky-jerky and angular disposition, this is a different and even more potent beast. The songs and playing are more assured, a slow burn is thrown into the mix, and the riffs are as heavy and chunky as they are punchy and catchy. The darker elements of their sound that came to the surface on Night Time, their last lp all those years ago, is present here with even more of a hypnotic and propelling glow.
It goes without saying that a lot has happened in the 8 years since their last release. The face of San Francisco has changed, as has much of the lives of the three members of Erase Errata. While not all the members of the band live in the Bay anymore, there is something forever San Francisco about their sound and energy. The band's vocalist/guitar shredder Jenny Hoyston moved to Texas but the legacy she left in the city working and booking shows at El Rio makes us remember a more inspired and hopeful time in the city. The band's drummer, Bianca Sparta, became a proud mama, and it's no accident that the record's title Lost Weekend is the name of our all-time favorite video store of the same name, which is located right across the street from aQ, as Bianca worked their for years.
On this record the band taps into a psychedelic groove that's both swirling, steady, direct, and deep cutting, but with room to twirl and freak out. They continue to show how they are masters of musical economy as there is not a wasted note or second on the album, yet it feels like the most expansive and wide reaching set of songs they have created yet. We've been listening to Lost Weekend alongside classic albums by bands like Wire, The Fall, The Ex, Sonic Youth, and Siouxsie & The Banshees and the quality and space those bands were able to tap into so very much resonates on this album too. It's kind of crazy how much this record has grabbed a hold of us, as we find ourselves listening to it over and over and over and still not getting sick of a single second. Much like Deerhoof, another of our favorite all-time bands that began during what is a very special era for many of us in the city, the second you hear an Erase Errata song you know it's them. It goes beyond just their distinct playing, tuning, and style and into those intangible qualities like spirit, soul, and electric energy. They have kept the potent intensity of what we love about punk rock but have always found a way to transcend the limitations of genre and create music that rings with relentless and purposeful intention.

album cover MONDSAAL Eight Revelations (Winter Solace) cd 11.98
Shambling from the darkness of Saint Petersburg's deepest wooded overgrowth into the even darker darkness of Saint Petersburg's dankest dampest cave (we presume), comes Mondsaal! An entirely new prospect to us, this bizarre disc of murky, woozy Russian cosmic hatefulness arrived seemingly out of nowhere, but we're finding ourselves pretty damn smitten by its lurching weirdness. The esteemed Encyclopaedia Metallum describes Mondsaal as "dark/black metal", and we have to say "dark metal" is a pretty great way to describe these weirdos. Aesthetically it's sort of black metal. There's Burzum-esque midpaced plodding, there's otherworldly synthesizer strings draped over almost everything, but there's also a thick murkiness to their sound that feels more reminiscent of Swedish crypt-dwelling death metal or the warm bloodletting anesthesia of funeral doom bands like Skepticism or Until Death Overtakes Me. Even the mid-range vocal growls lean more towards the death than the black, and the blast beats (on the rare occasion that they do decide to show up) are eerily slow and shambolic. It's a sound that's strange, sorrowful, damaged, ugly, but weirdly warm & enveloping all at the same time. The constant droning of soft synth pads and the squonking of dissonant horns (yes, that's right, there's horns) stand in stark contrast to the naked writhing ugliness of everything else that's happening, and the result is pretty psychedelic & spacey (in a bit of a similar way to the Dunnock/Intergalactic Holocaust split we reviewed on the last list!). The whole affair closes out with a hazy ritualistic rainy desertscape ambient piece, leaving the impression that you've just passed through some living slow motion morphine nightmare. It's a pretty entrancing experience - either hideously beautiful or beautifully hideous, we're not sure yet, but either way: very very recommended.
MPEG Stream: "Mysterious Drop"
MPEG Stream: "Minutes Of Hell"
MPEG Stream: "Crystal Song"

album cover V/A Cold Waves Of Color (Color Tapes / Lion) cd 15.98
Do you like run away drum machines? Dubby echo? Danceable DIY '80s underground electronics? Homebrewed minimal electro pop? The Vox Populi! anthology we made a Record Of The Week last year? All the many cool synthwave reissues on Dark Entries? Then please give THIS your attention, you won't be sorry.
The Color Tapes label - later known as Color Discs for the vinyl editions - was the cottage industry of UK art-rock synthesist Gary Ramon, who with the music documented on this collection, sort of comes across like a new wave doppleganger of Cleaners From Venus. And there actually was a split cassette release between Cleaners From Venus and Ramon's band Modern Art (who later morphed into psychrockers Sun Dial) from 1986 or so. Here was a prolific songwriter of coldly sequenced and somewhat quirky minimal wave albums, mostly all of which were released on cassette with a small audience that radiated outward from the coastal village of Waltham, England. He, along with a loose collective, recorded in a handful of interchangeable projects - Modern Art, Mystery Plane, and WeR7 being three with the largest discographies, each with at least a dozen albums recorded in a six to eight year period. The former two projects later warranted vinyl anthologies from Vinyl On Demand; and it seems that the interest in this material blossomed from there.
Ramon and his cohorts were a talented bunch, following the rabbit-hole of darkly minded electronica. Think Factory, Sheffield, Industrial Records, Depeche Mode, Soft Cell, and all of those Wire side-projects and you'll be able to triangulate the sound of Color Tapes. There was a knack for the pop-hook and the death-disco backbeat present this material that makes all of this material age very well. The opening track to the comp is from Berserk In The Hayfields, with its clamorous electro-bongo fills girded to a taut techno pulse sounds very prescient of the Belgian EBM scene some five or six years later. Live Of Angels and The Lord were two non-Ramon projects and both peddled in weird-science blorp and effects-happy guitars above spry programming. But the strongest material is through the streamlined step sequences and deft rhythms that showcase Ramon's engineering prowess. The vinyl edition of this is almost all gone and out of print (we only have a few), but please note there are two bonus tracks on the cd not found on the wax.
MPEG Stream: BERSERK IN A HAYFIELD "Tease"
MPEG Stream: MODERN ART "Alternative Universe"
MPEG Stream: STEREO MACHINES AND KINESIS "Excerpt From Cassette Number 10"

album cover V/A Cold Waves Of Color ( Color Tapes) lp 26.00
Do you like run away drum machines? Dubby echo? Danceable DIY '80s underground electronics? Homebrewed minimal electro pop? The Vox Populi! anthology we made a Record Of The Week last year? All the many cool synthwave reissues on Dark Entries? Then please give THIS your attention, you won't be sorry.
The Color Tapes label - later known as Color Discs for the vinyl editions - was the cottage industry of UK art-rock synthesist Gary Ramon, who with the music documented on this collection, sort of comes across like a new wave doppleganger of Cleaners From Venus. And there actually was a split cassette release between Cleaners From Venus and Ramon's band Modern Art (who later morphed into psychrockers Sun Dial) from 1986 or so. Here was a prolific songwriter of coldly sequenced and somewhat quirky minimal wave albums, mostly all of which were released on cassette with a small audience that radiated outward from the coastal village of Waltham, England. He, along with a loose collective, recorded in a handful of interchangeable projects - Modern Art, Mystery Plane, and WeR7 being three with the largest discographies, each with at least a dozen albums recorded in a six to eight year period. The former two projects later warranted vinyl anthologies from Vinyl On Demand; and it seems that the interest in this material blossomed from there.
Ramon and his cohorts were a talented bunch, following the rabbit-hole of darkly minded electronica. Think Factory, Sheffield, Industrial Records, Depeche Mode, Soft Cell, and all of those Wire side-projects and you'll be able to triangulate the sound of Color Tapes. There was a knack for the pop-hook and the death-disco backbeat present this material that makes all of this material age very well. The opening track to the comp is from Berserk In The Hayfields, with its clamorous electro-bongo fills girded to a taut techno pulse sounds very prescient of the Belgian EBM scene some five or six years later. Live Of Angels and The Lord were two non-Ramon projects and both peddled in weird-science blorp and effects-happy guitars above spry programming. But the strongest material is through the streamlined step sequences and deft rhythms that showcase Ramon's engineering prowess. The vinyl edition of this is almost all gone and out of print (we only have a few), but please note there are two bonus tracks on the cd not found on the wax.
MPEG Stream: BERSERK IN A HAYFIELD "Tease"
MPEG Stream: MODERN ART "Alternative Universe"
MPEG Stream: STEREO MACHINES AND KINESIS "Excerpt From Cassette Number 10"

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----* Highlights :
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album cover ACID BABY JESUS Selected Recordings (Slovenly) cd 11.98
Not sure what we think about their name, could go either way on it. But sweet Acid Baby Jesus, the MUSIC of this modern-day garage psych combo from Athens, Greece we're totally sold on, for sure. With lots of Hammond organ, fuzz guitar, and distorted, sometimes chant-like vocals, plus a mix of other instruments old and new (synths, gong, tampura...), this Greek groop kicks out the jams with both the "heavy" and "jangle" meters nicely cranked up and throbbing. It's the sort of headnoddingly catchy, ceremonial-sounding, droned-out psych stomp that can trace its DNA back through "We Will Fall" by The Stooges, and maybe further even to ancient times, sounds like. Woozy, druggy, grooving stuff that reminds us of everything from Spacemen 3 to Lungfish to the Psychic Ills to The Fall to Wooden Shjips to King Gizzard And The Lizard Wizard to the Sun City Girls... so yeah, recommended! Their Canadian pals Demon's Claws would also be a good reference point.
And if their own songs weren't cool enough, they also do a killer cover here of Afro-fuzz monster "Troublemaker" by Zambian '70s rockers Chrissy Zebby Tembo & The Ngozi Family, and if that means anything to you, it means Acid Baby Jesus probably are a band you'll really dig!
MPEG Stream: "Row By Row"
MPEG Stream: "Ayahuaska Blues (Unmanned Drone)"
MPEG Stream: "Vegetable"

album cover ACID BABY JESUS Selected Recordings (Slovenly) lp 14.98
Not sure what we think about their name, could go either way on it. But sweet Acid Baby Jesus, the MUSIC of this modern-day garage psych combo from Athens, Greece we're totally sold on, for sure. With lots of Hammond organ, fuzz guitar, and distorted, sometimes chant-like vocals, plus a mix of other instruments old and new (synths, gong, tampura...), this Greek groop kicks out the jams with both the "heavy" and "jangle" meters nicely cranked up and throbbing. It's the sort of headnoddingly catchy, ceremonial-sounding, droned-out psych stomp that can trace its DNA back through "We Will Fall" by The Stooges, and maybe further even to ancient times, sounds like. Woozy, druggy, grooving stuff that reminds us of everything from Spacemen 3 to Lungfish to the Psychic Ills to The Fall to Wooden Shjips to King Gizzard And The Lizard Wizard to the Sun City Girls... so yeah, recommended! Their Canadian pals Demon's Claws would also be a good reference point.
And if their own songs weren't cool enough, they also do a killer cover here of Afro-fuzz monster "Troublemaker" by Zambian '70s rockers Chrissy Zebby Tembo & The Ngozi Family, and if that means anything to you, it means Acid Baby Jesus probably are a band you'll really dig!
MPEG Stream: "Row By Row"
MPEG Stream: "Ayahuaska Blues (Unmanned Drone)"
MPEG Stream: "Vegetable"

album cover ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. Have You Seen The Other Side Of The Sky? (Nod And Smile ) 2lp 41.00
NOW ISSUED ON VINYL! Hand numbered, limited to 500 copies. Here's our droll review of the original cd version, now out of print, that Ace Fu put out back in '06:
Y'know, if we somehow kept EVERY Acid Mothers Temple (or AMT related) release in stock, we'd have to move to a bigger store! Perhaps we'd be forced to annex the bead shop next door (that would be cool) and then somehow fit several miles of additional shelving in there. One could peruse the endless aisles of this expanded, comprehensive Acid Mothers Temple section on foot, but that would be tiring. Probably it would be a better idea if we installed a moving sidewalk, or invested in a fleet of those motorized, upright Segway scooters for customers to use. Each equipped with a very large basket, of course. But that's not going to happen anytime soon. In the meantime, we'll have to be realistic and simply maintain a small selection of our AMT faves, and of course stock their new releases as they (ahem) trickle in. Such as this one!
Have You Seen The Other Side Of The Sky? is the follow-up to AMT's excellent Gong-tribute Iao Chant From The Cosmic Inferno, but unlike that fairly focused record this is more of a psychedelic smorgasbord of all the usual, unusual AMT ingredients - spacey shortwave transmissions, one-legged flute freakery, acoustic folk balladry a la Ghost, goofy song titles, droning fake ragas, throat singing, heavy fuzzed-out mayhem, and more... all good stuff we like! Well, except for the goofy song titles ("Asimo's Naked Breakfast: Rice and Shrine"? "I Wanna Be Your Bicycle Saddle"?).
There's six diverse tracks here, including a killer half-hour epic, that all really deliver on the established AMT aesthetic. Fans will be pleased. And even though our building plans for an Acid Mothers Temple dedicated wing of Aquarius Records remain a pipe dream, we'll certainly make space for this particular AMT release in our crowded racks for the foreseeable future, it's a good one!
MPEG Stream: "Interplanetary Love"
MPEG Stream: "Attack From Planet Hattifatteners"

album cover AFRIKAN SCIENCES Circuitous (Pan) cd 17.98
We're still in the first month of the year but we think we'll be hard pressed to find an electronic album in 2015 that's as expansive, rewarding, and wide reaching as this debut from Afrikan Sciences. Channeling Afro-soul and spiritual jazz, this is an album that takes a left-field approach in creating rhythms and beats that reach outer and higher dimensions. We love how Flying Lotus ended up on Warp records, but think of what it might sound like if Flying Lotus covered some of Warp's earliest shining stars like Squarepusher, Aphex Twin, and Plaid - or if those abovementioned outfits were raised on Alice Coltrane, Herbie Hancock, and Sun Ra, and you start to get an idea of the kind of territory that is explored on Circuitous.
You can tell that Eric Douglass Porter (aka Afrikan Sciences) is someone who puts deep care and thought into what he creates as we can feel the true sense of an album and not merely a collection of sounds & songs. The record works its way into a groove and then slowly starts to shift into more psychedelic and darker dimensions. We even hear traces of Third Eye Foundation on one of the album's standout tracks "Feel", and the record taps into alien/sci-fi soundscapes while still maintaining an inviting warmth. Highly recommended!
MPEG Stream: "Two In The Chamber"
MPEG Stream: "Transient Authority"

album cover AFRIKAN SCIENCES Circuitous (Pan) 2lp 30.00
We're still in the first month of the year but we think we'll be hard pressed to find an electronic album in 2015 that's as expansive, rewarding, and wide reaching as this debut from Afrikan Sciences. Channeling Afro-soul and spiritual jazz, this is an album that takes a left-field approach in creating rhythms and beats that reach outer and higher dimensions. We love how Flying Lotus ended up on Warp records, but think of what it might sound like if Flying Lotus covered some of Warp's earliest shining stars like Squarepusher, Aphex Twin, and Plaid - or if those abovementioned outfits were raised on Alice Coltrane, Herbie Hancock, and Sun Ra, and you start to get an idea of the kind of territory that is explored on Circuitous.
You can tell that Eric Douglass Porter (aka Afrikan Sciences) is someone who puts deep care and thought into what he creates as we can feel the true sense of an album and not merely a collection of sounds & songs. The record works its way into a groove and then slowly starts to shift into more psychedelic and darker dimensions. We even hear traces of Third Eye Foundation on one of the album's standout tracks "Feel", and the record taps into alien/sci-fi soundscapes while still maintaining an inviting warmth. Highly recommended!
MPEG Stream: "Two In The Chamber"
MPEG Stream: "Transient Authority"

album cover ANENZEPHALIA Kaltwelt (Tesco) cd 19.98
An abundance of decaying noise has long weighed heavy on Anenezephalia's poetics of despair, blight, and horror, culminating in some of our favorite death-industrial albums that continue to terrify us years after their original release. On Kaltwelt, Anenzephalia returns with another monstrous electronic sermon of hellfire and brimstone, delivered in B. Moloch's signature of dehumanized coldness over nihilist industrial arrangements. The ideals and aesthetics for Anenzephalia are that of the classic industrial agenda, when Throbbing Gristle would hold up a mirror of death for the rest of society to see or when SPK would subject their audience to a barrage of squalid tone, autopsy footage, and porn or when Lustmord would open the gates of hell to allow the suffocating sound of damnation to reverberate throughout his subterranean drones. Anenzephalia may have come years after B. Moloch's influences, but his work is no less effective; and in many ways, the obsessive continuation of that aesthetic has honed his work into an even more potent language. A sinister atmosphere hangs about the entire album with B. Moloch's vocals appearing on about half the tracks, at times appearing as a detached Charon character, clinically describing the horrors of the world to his passengers and other as a consummate naysayer, condemning anything and anybody to a life of misery and disease. "Bodies Of Gold" girds a caustic, claustrophobic noise onto a squelchy, deconstructed rhythm that could almost reflect the brooding, blackened dub of Raime, but B. Moloch dispenses with any fantasies of dancing to a track like this thanks to his grimly mechanize, distorted monotone vocals. The intensity of the dread and discomfort is increased on "Mind Kalvary" through the robotic churn of Schnitzler meets Andromeda Strain step sequences. As bleak and hypnotic as ever.
MPEG Stream: "Aes"
MPEG Stream: "Bodies Of Gold"
MPEG Stream: "Mind Kalvary"

album cover APHEX TWIN Computer Controlled Acoustic Instruments Pt 2 (EP) (Warp) cd ep 13.98
The internet spoke and Computer Controlled Acoustic Instruments Part 1 has been christened as a collection of tracks for prepared piano and electrically driven acoustic pieces on Drukqs - the 2001 album which preceded a 14 year silence from Richard James. Whether James agrees with that historical connection or if he just wanted to apply that suffix to this long EP / short album is any one's guess. That said, it would be delightful to entertain the notion that James had spent all that time away from the recorded world, perfecting the art or robotics with this album being an IDM symphony composed on Pierre Bastien like automatons. Whirring machines clacking at a piano, tapping on a drum kit, and stringed instruments getting struck, strummed, and abraded. But in all likelihood, this is a sample based construction, even if James did play and collect everything, and then feed them into his sequencers and rhythm programs with little in the way of DSP manipulation. These tracks are intricate constructions of archetypal Aphex rhythms and grooves, with the instrumentation swapped out on the arrangements. Some of the tracks like "Disk Prep Calrec2 Barn Dance [slo]" have an urban gamelan feel of 23 Skidoo, and others like "Diskhat1" march jauntily along like Alarm Will Call's re-constitutions of Aphex tracks, albeit with a much funkier drummer. That was always the failing of Alarm Will Call - the inability to ground the groove; and perhaps that's where James figured he could do it better. Or maybe he's just been listening to the aforementioned Bastien alternated with Herbie Hancock. Not a bad combination at all, we think.
MPEG Stream: "Diskhat1"
MPEG Stream: "Diskprept4"
MPEG Stream: "Diskprept1"

album cover APHEX TWIN Computer Controlled Acoustic Instruments Pt 2 (EP) (Warp) 12" 17.98
The internet spoke and Computer Controlled Acoustic Instruments Part 1 has been christened as a collection of tracks for prepared piano and electrically driven acoustic pieces on Drukqs - the 2001 album which preceded a 14 year silence from Richard James. Whether James agrees with that historical connection or if he just wanted to apply that suffix to this long EP / short album is any one's guess. That said, it would be delightful to entertain the notion that James had spent all that time away from the recorded world, perfecting the art or robotics with this album being an IDM symphony composed on Pierre Bastien like automatons. Whirring machines clacking at a piano, tapping on a drum kit, and stringed instruments getting struck, strummed, and abraded. But in all likelihood, this is a sample based construction, even if James did play and collect everything, and then feed them into his sequencers and rhythm programs with little in the way of DSP manipulation. These tracks are intricate constructions of archetypal Aphex rhythms and grooves, with the instrumentation swapped out on the arrangements. Some of the tracks like "Disk Prep Calrec2 Barn Dance [slo]" have an urban gamelan feel of 23 Skidoo, and others like "Diskhat1" march jauntily along like Alarm Will Call's re-constitutions of Aphex tracks, albeit with a much funkier drummer. That was always the failing of Alarm Will Call - the inability to ground the groove; and perhaps that's where James figured he could do it better. Or maybe he's just been listening to the aforementioned Bastien alternated with Herbie Hancock. Not a bad combination at all, we think.
MPEG Stream: "Diskhat1"
MPEG Stream: "Diskprept4"
MPEG Stream: "Diskprept1"

album cover BODUF SONGS Stench Of Exist (The Flenser) cd 13.98
The latest from psychedelic folk troubadour Matthew Sweet, aka Boduf Songs, is a gorgeously intimate, stripped down and haunting songsuite, a collection of hushed, blackened torchsong and achingly melancholic minimalism, on the surface, a sound much more polished and mainstream than previous releases, but this more assured songsmithery, built from an impossibly lush sonic palette of muted organ thrum, electronic pulsations, layered chordal swells, and most importantly, Sweet's delicate, about to crack, whispery vocals, drifting atop a constantly shifting sprawl of starlit moodiness and crystalline shimmer.
And while much of Stench of Exist is still spent in the shadows, a drowsy, druggy, dreamy psych folk that unfolds languorously, laced with mysterious electronic filigree, and wreathed in occasional symphonic billows, some of the record truly surprises, shifting dramatically toward a sound that touches on other groups as disparate as Iron & Wine, the Editors or the National, just check out "Thwart By Thwart" which transforms the minimal into maximal, tribal drumming, wreathed in warm, lush guitar strum, reverbed piano, even handclaps, and warm, softly crooned vocals, a lush, brooding murk, that does in fact sound a bit like a darker, more propulsive Iron & Wine, but unlike I&W, the sound if flecked with mysterious samples, and field recordings, all building to a pretty epic, and almost Godspeed like coda, gloomy and gothic, and darkly dramatic.
Other mysterious moments in a record rife with them, is the strange glitched out electronica of "Head Of Hollow-Fill And Mountain Top Removal", a warped sprawl of industrial murk, peppered with swells of staticky electronic noise, buried melodies and dubbed out FX, a softly roiling noisescape wound around a robotic processed voice, sounding almost like a blackened industrial Radiohead. Or the ambient drone of "Grows In The Small World Of Nerve", a lowercase drift of distant, barely there dreaminess, beneath a skyful of rain, and snippets of conversation, all smeared into an indistinct blur of soft psych shimmer. Or even the swampy cosmic dirge of "Modern Orbita", that again, positions Boduf Songs for some long overdue commercial appreciation, but as if fully conscious of that potential, the otherwise beautifully brooding ballad, a darkly motorik downer psych gem, dusky and deserty, sounding a bit like Earth and Scenic and Sixteen Horsepower, is pocked with strange spaced out swirls, and more druggy dubbiness, which only serves to shine a woozy black light on the twisted loveliness of the rest of the track.
It's that balance that makes Stench Of Exist so stunning, the sound constantly shifting between hushed, harrowing, super personal, bedroom-folk psychedelia, and experimental electronic soundscapery, muted downer pop and drifting dronemusic, the record's finest moments occur when those various sounds bleed and blur into each other. Simple folk tunes are transformed by skeletal programmed rhythms, or swirls of spacey effects, and alternately, pure mad-scientist sonic experimentation is grounded by dour, delicate melodies, and hushed, introspective poppiness. Many of the tracks here begin life as dark, folk flecked, psych pop, but eventually are reimagined as something much more ominous and even malevolent, a whispery, cinematic soundworld of heaving strings and prismatic melody, stately and morose. While fields of effected guitars, unfurling into spiraling sprawls of alien ambience and rainswept atmospheres, all as a crystalline frame for Sweet's heartfelt croon and delicate star dusted balladry.
Fans of King Dude, Iron & Wine, Woven Hand, Townes Van Zandt (if he were raised on industrial music and psychedelia), Sixteen Horsepower, and even Magnetic Fields (check out "The Rotted Names"), will find much to love here for sure. As will anyone into dark, lysergic, gloom-folk melancholia, twisted drum-machine-driven threnodies, and gorgeously grim psychedelia.
MPEG Stream: "My Continuing Battle With Material Reality"
MPEG Stream: "Thwart By Thwart"

album cover BODUF SONGS Stench Of Exist (The Flenser) lp 17.98
The latest from psychedelic folk troubadour Matthew Sweet, aka Boduf Songs, is a gorgeously intimate, stripped down and haunting songsuite, a collection of hushed, blackened torchsong and achingly melancholic minimalism, on the surface, a sound much more polished and mainstream than previous releases, but this more assured songsmithery, built from an impossibly lush sonic palette of muted organ thrum, electronic pulsations, layered chordal swells, and most importantly, Sweet's delicate, about to crack, whispery vocals, drifting atop a constantly shifting sprawl of starlit moodiness and crystalline shimmer.
And while much of Stench of Exist is still spent in the shadows, a drowsy, druggy, dreamy psych folk that unfolds languorously, laced with mysterious electronic filigree, and wreathed in occasional symphonic billows, some of the record truly surprises, shifting dramatically toward a sound that touches on other groups as disparate as Iron & Wine, the Editors or the National, just check out "Thwart By Thwart" which transforms the minimal into maximal, tribal drumming, wreathed in warm, lush guitar strum, reverbed piano, even handclaps, and warm, softly crooned vocals, a lush, brooding murk, that does in fact sound a bit like a darker, more propulsive Iron & Wine, but unlike I&W, the sound if flecked with mysterious samples, and field recordings, all building to a pretty epic, and almost Godspeed like coda, gloomy and gothic, and darkly dramatic.
Other mysterious moments in a record rife with them, is the strange glitched out electronica of "Head Of Hollow-Fill And Mountain Top Removal", a warped sprawl of industrial murk, peppered with swells of staticky electronic noise, buried melodies and dubbed out FX, a softly roiling noisescape wound around a robotic processed voice, sounding almost like a blackened industrial Radiohead. Or the ambient drone of "Grows In The Small World Of Nerve", a lowercase drift of distant, barely there dreaminess, beneath a skyful of rain, and snippets of conversation, all smeared into an indistinct blur of soft psych shimmer. Or even the swampy cosmic dirge of "Modern Orbita", that again, positions Boduf Songs for some long overdue commercial appreciation, but as if fully conscious of that potential, the otherwise beautifully brooding ballad, a darkly motorik downer psych gem, dusky and deserty, sounding a bit like Earth and Scenic and Sixteen Horsepower, is pocked with strange spaced out swirls, and more druggy dubbiness, which only serves to shine a woozy black light on the twisted loveliness of the rest of the track.
It's that balance that makes Stench Of Exist so stunning, the sound constantly shifting between hushed, harrowing, super personal, bedroom-folk psychedelia, and experimental electronic soundscapery, muted downer pop and drifting dronemusic, the record's finest moments occur when those various sounds bleed and blur into each other. Simple folk tunes are transformed by skeletal programmed rhythms, or swirls of spacey effects, and alternately, pure mad-scientist sonic experimentation is grounded by dour, delicate melodies, and hushed, introspective poppiness. Many of the tracks here begin life as dark, folk flecked, psych pop, but eventually are reimagined as something much more ominous and even malevolent, a whispery, cinematic soundworld of heaving strings and prismatic melody, stately and morose. While fields of effected guitars, unfurling into spiraling sprawls of alien ambience and rainswept atmospheres, all as a crystalline frame for Sweet's heartfelt croon and delicate star dusted balladry.
Fans of King Dude, Iron & Wine, Woven Hand, Townes Van Zandt (if he were raised on industrial music and psychedelia), Sixteen Horsepower, and even Magnetic Fields (check out "The Rotted Names"), will find much to love here for sure. As will anyone into dark, lysergic, gloom-folk melancholia, twisted drum-machine-driven threnodies, and gorgeously grim psychedelia.

album cover BROUGHTON'S RULES Anechoic Horizon (Relapse) cd 14.98
Hail! It's the return of '90s math rock revivalists Broughton's Rules. This Pittsburgh, PA quartet have the pedigree all right, with ex-members of Don Caballero and Blunderbuss in their ranks. We loved (and sold a ton of) their debut a couple of years ago, Bounty Hunter 1853, and if you liked that, you'll like this! They seem to be entirely instrumental on this one, with eight songs that are moody, majestic, and melodic. Mathy, too, of course - we bet there is a lot of careful counting going in the heads of the musicians as they play these compositions. But it's not too tricky to listen to, quite the opposite, it's almost soothing, and in fact they go in for gorgeous spacey post-rock atmospherics as much as they do hectic tangle. The heavy parts are HEAVY, and there are lots of effective loud-soft moves, with precise chiming guitars and big thumping time keeping.
All in all, another deliciously, deliriously impressive effort from these guys, that we can file with all our old faves of the math/post rock persuasion like Rodan, Bastro, Polvo, A Minor Forest, Butterglove, et. al. Dunno if we said it before, but Broughton's Rules RULES.
MPEG Stream: "Reversers"
MPEG Stream: "Anechoic Horizon"
MPEG Stream: "Shadows And Light"

album cover BROUGHTON'S RULES Anechoic Horizon (Relapse) lp 21.00
Hail! It's the return of '90s math rock revivalists Broughton's Rules. This Pittsburgh, PA quartet have the pedigree all right, with ex-members of Don Caballero and Blunderbuss in their ranks. We loved (and sold a ton of) their debut a couple of years ago, Bounty Hunter 1853, and if you liked that, you'll like this! They seem to be entirely instrumental on this one, with eight songs that are moody, majestic, and melodic. Mathy, too, of course - we bet there is a lot of careful counting going in the heads of the musicians as they play these compositions. But it's not too tricky to listen to, quite the opposite, it's almost soothing, and in fact they go in for gorgeous spacey post-rock atmospherics as much as they do hectic tangle. The heavy parts are HEAVY, and there are lots of effective loud-soft moves, with precise chiming guitars and big thumping time keeping.
All in all, another deliciously, deliriously impressive effort from these guys, that we can file with all our old faves of the math/post rock persuasion like Rodan, Bastro, Polvo, A Minor Forest, Butterglove, et. al. Dunno if we said it before, but Broughton's Rules RULES.
MPEG Stream: "Reversers"
MPEG Stream: "Anechoic Horizon"
MPEG Stream: "Shadows And Light"

album cover BULL TONGUE REVIEW No. 1 (self-released) magazine 6.00
"A Quarterly Journal of Post-Rock Cultural Pluralism". In other words, a xeroxed, stapled zine from the fevered rock crit mind of editor Byron Coley, continuing the column of reviews Coley & Thurston Moore did for Arthur magazine, Bull Tongue. But for this zine, a lot of other folks have been invited to chip in with reviews too. Yup, these 46 pages are ALL reviews, and not just of music, either. One guy reviews his own 52nd birthday!
There's critiques (loosely put, like the birthday one, some are just excuses for amusing creative writing) of books, movies, live shows, restaurants, furniture, towns, all sorts of things. But of course plenty of crazy underground records and cds get covered too.
Besides Byron and Thurston, the all-star cast of contributors includes: Joe Carducci, Alan Bishop, Sharon Cheslow, Dylan Nyoukis, Gary Panter, Bruce Russell, Chris Stigliano, Brian Turner, Naomi Yang, Lisa Carver, Mats Gustafsson, Marc Masters, Hisham Mayet, Phil McMullen, and a whole bunch of other cool cats. Oh, we should mention Steve Albini, his piece here being the first part of a two part review of a fancy restaurant in Chicago, but he doesn't even get to the restaurant in the first part, it's all about his attitude towards rich people, and also about a friend and former coworker of his who ended up founding Groupon. Interestin'. As is the whole issue, a good mix of the high and low, of serious cultural commentary and just for laffs stuff.

album cover GUIDED BY VOICES Bee Thousand (Scat) lp 17.98
Once again this legendary slab of lo-fi indie rock is available again on vinyl. The umpteenth iteration for sure, but honestly, if for some reason you don't own this record already, or missed out on previous vinyl issues, do NOT snooze, cuz this really is one of THEE greatest indie rock records EVER, and most probably the finest moment from a band whose career is littered with finest moments.
And while we love LOTS of GBV albums (and singles and EPs and…), if forced to pick THE ONE record that best exemplifies what made Guided By Voices so special, it would have to be Bee Thousand. Originally released in 1994, Bee Thousand perfectly captured both sides of GBV, the frustratingly experimental fragmentary side, with short 30 second bursts of pop brilliance that burnt out before making it out of the first verse, exhausting in under a minute, the sort of hooks other bands would kill for and would most likely repeat 50 times in a song if they had come up with it themselves, and classic pop songsmithery, with gorgeously hooky, jangly pop gems, cobbled together from bits of the Beatles and the Kinks and other pop stalwarts, all filtered through GBV frontman Bob Pollard's non-sequitur flecked lyrcal flights of fancy and a distinctly drunken desire to ROCK! It's impossible to describe exactly what makes this record so great. The songs sure, but also the way they are recorded, and the sequencing, and the way some songs are butted up right against each other, and some songs just cut off and trample all over the end of another songs. It's absolutely perfect. One of those rare records where the spaces between songs and the random bits of sonic detritus are jus as catchy as the songs themselves. Sort of like the way you would find yourself humming the drum fills in Nirvana songs, GBV records were a single dense collection of sounds and songs and parts and pauses and chunks of rock and pop assembled in a seemingly haphazard arrangement, but really, on closer inspection, it couldn't be any other way, and most certainly couldn't be played by any other band. The first ten minutes of Bee Thousand is possibly the finest opening salvo in musical history. "Hardcore UFO's", "Buzzards And Dreadful Crows", "Tractor Rape Chain", "The Goldheart Mountaintop Queen Directory". A 1-2-3-4 punch! And while the record is basically solid, no filler to be found, there are a handful of POP CLASSICS scattered throughout: "Echoes Myron", "Goldstar For Robot Boy","Awful Bliss", "I Am A Scientist" and more... This record is definitely one of the best (if not THEE best) indie rock records of all time. Fuck Slanted And Enchanted. Sure that's a great record, but it's often irony-heavy and too cool. Bee Thousand is just a regular bunch of beer drinking yokels from Ohio who love pop music, love to rock and somehow struck gold. And somehow, even all these years later, Be Thousand still sounds as fresh and exciting, and bafflingly and confusionally next level weirdo pop bats hit bonkers as it did the first time we heard it.
MPEG Stream: "Hardcore UFO's"
MPEG Stream: "Buzzards And Dreadful Crows"
MPEG Stream: "Gold Star For Robot Boy"
MPEG Stream: "Awful Bliss"

album cover GUIDED BY VOICES King Shit & The Golden Boys (Scat) lp 15.98
Originally released in 1995, as part of the Guided By Voices Box, which also contained a handful of other old albums (including Devil Between My Toes, Sandbox, Self-Inflicted Aerial Nostalgia and Same Place The Fly Got Smashed) King Shit And The Golden Boys is made up of tracks from intentionally unreleased records (Learning To Hunt, Back To Saturn X Radio Report), some of which eventually made it onto singles or into the later GBV suitcase boxes, as well as a bunch of tracks that were recorded for and subsequently left off of Bee Thousand (which went through a bunch of different iterations, each with unique material that ended up not being on the final version, some of those are here), so the sound on King Shit is not that far removed from Bee Thousand (obviously) or the two previous (and also awesome) albums Propeller and Vampire On Titus. Lo-fi for sure, but GBV mastermind Bob Pollard was already demonstrating that his castoffs were better than what most bands could conjure up doing their very goddamn best. And it's true, the second half of King Shit, pretty much any/all of these could have ended up on the Bee Thousand we know and love and even some of those earlier tracks, are so impossible catchy, and this was 20 years ago, and let's remember, somehow Pollard and company have STILL not run out of songs. Good songs, hell GREAT songs. But these near misses will definitely have GBV nuts freaking out. If you never managed to nab one of the boxes, this is well worth your time, and it makes sense that it's being reissued with Bee Thousand (found elsewhere on this week's list), cuz it's essentially a B1000 companion, and really, there's not much of a stronger recommendation than MORE Bee Thousand. All hail GBV!
MPEG Stream: "We've Got Airplanes"
MPEG Stream: "Crunch Pillow"
MPEG Stream: "Don't Stop Now"
MPEG Stream: "Greenface"
MPEG Stream: "Deathtrot And Warlock Riding A Rooster"

album cover HANGING GARDENS, THE s/t (Eye Vybe) cassette 8.98
First we've heard from this Chicago heavy psych crew, and for fans of blown out acid drenched sonic destruction, this will definitely hit the spot. After a brief bit of Spanish sounding guitar, the group, gradual unfurl a seriously ominous sprawl of rumbling chords, pounding drums, reverb drenched shred, loose and free, and gradually taking shape, eventually locking into a sort of downtuned kraut-sludge groove, loping and mesmeric, the rhythm section minimal and spare, but solid as shit, while the guitars arc and swirl, occasionally splintering into little shreddy squalls. The vocals are doused in FX, and drift over the top, sort of wasted and spectral, the sound not your typical slow build to a freak out, instead, it stays pretty stead, total droned out psychedelic hypnorock of the highest order. A few of the tracks ramp up the tempo a bit, certain moments definitely tap into the Hawkwind continuum, tracks like "Truth In Lies", sounds like a more metallic psych rock version of Neu!, while "Toronto Jeff's Dark Revival" sounds like a meaner, more slithery Doors, swagger and spacey, dark and brooding, the tape finishing off with some serious proto-metal style heaviness in the form of "Burning Witches", with wild tribal drumming, thick, tarpit riffage, swirling FX, and tons of mud and murk, the vocals surprisingly clean, giving the song an Uncle Acid vibe, the second half of the track (d)evoking into an endless shredtastic, howled vox, downer rock, heavy psych outro that we sort of wish would go on forEVER.
LIMITED TO 100 COPIES!!!!
MPEG Stream: "Toronto Jeff's Dark Revival"
MPEG Stream: "Burning Witches"
MPEG Stream: "...and you weren't there"

album cover HAYNES, JIM Scarlet (Helen Scarsdale) cassette 7.98
Right before Christmas 2014, our own Jim Haynes walked into the shop with a hunk of gauze and metal attached to one his fingers, as he had an unfortunate encounter with a table saw which lopped off the tip of his finger in the process. Jump forward a couple of months and he offers forth Scarlet - a nasty, violent piece of scabbed pulses and blasted electric corrosion. While he had finished the album earlier than this incident, the rupture of that event -- torn flesh, greasy machinery, pending sepsis, healing through cauterization - are all the inner workings of the aptly named Scarlet. The source material, it has to be said, is not that of the machine shop but the exploded-view amplification of micro-rhythms from the cheapest of strobe-lights and cooling fans; and back at the end of the summer 2014, Haynes made a lone performance of this body of work, opening for Tim Hecker here in San Francisco. The blister-popped strobes and accumulated tumult made for a much more theatrical, and dare we say, more expressive performance than that of the much beloved Tim Hecker. Scarlet it turns out is the reworkings and reconfigurations of all of the recorded variations that Haynes crafted upto that Hecker show. It's just as deliciously caustic and nervously turbulent as that performance, girded on the rhythmic, noise-pulse interlacing of those electromagnetic devices. The opening "Cerise Cerise" quicksteps from weird angular blurts into a brutal, shrill torrent of noise, like some fucked-up meeting of Factrix and Mika Vainio. The dead-tone "Alizarin" buzzes with blackened drone and brooding mesmer as an viscous, ocean sized acid-bath of bad intentions. Even as the rhythmic clatter subsides on this track, the claustrophobic intensity persists. The psychoid grit of "Venal" erupts with those rhythms in a latticework of out-of-phased patterns and gasped/gnarled loops. And so it goes for Scarlet, barrage after barrage of blown-out abstractions, supercharged locomotive grindings, irradiated hauntings as melody, and the sound of the computerized parts of a cyborg extracting itself from its human host, leaving behind all that sinew, muscle, and bone. Super fucking limited, of course.
MPEG Stream: "Alizarin"
MPEG Stream: "Acrid"
MPEG Stream: "Kazankak"
MPEG Stream: "Pfennig M."

album cover HOOKWORMS The Hum (Domino) cd 14.98
The return of these UK psych rockers, and much like their previous record, Pearl Mystic, their sound continues to be a high energy fusion of spaced out psych drift, and furious, pounding Stooges like swagger. In fact the opener explodes out of the gate, drenched in organs, the guitars seriously blown out, the vocals too, a ragged, raspy yowl, that near song's end disappears into a weird melty swirl of FX. But then straight from there, the band lurch into some super laid back, druggy, dreamy, Moon Duo style kraut-garage groovery, motorik rhythm section, the vocals a bit more subdued, some cool fragmented guitar melodies, more organ drones, the song soon building to something with a lot more heft, not exploding per se, but cranked up, epic and soaring, and peppered with some seriously dense squalls of guitarnoise.
And hell, that's just the first two track, the rest of the record is just as varied, from stretches of lysergic kosmische ambience ("IV"), to kinetic sixties style garage psych, all shimmy and shake ("Radio Tokyo"), to fuzzed out shoegaze pop, that almost sounds like Wooden Shjips meets Drive Like Jehu ("Beginners"). Pretty much every track here rules, but our favorite might be the smoldering "Off Screen", a moody sprawl of washed out slowcore drift, wreathed in drone-y guitar crumble, one big crescendo part way through, but less heavy psych and more like one of those Mogwai moments, before settling back down into a hazy slowburn extended fade out that eventually sheds sounds until it's nothing but a hushed, reverberating field of lush layered guitar drone. Awesome.
MPEG Stream: "The Impasse"
MPEG Stream: "On Leaving"

album cover HOOKWORMS The Hum (Domino) lp 26.00
The return of these UK psych rockers, and much like their previous record, Pearl Mystic, their sound continues to be a high energy fusion of spaced out psych drift, and furious, pounding Stooges like swagger. In fact the opener explodes out of the gate, drenched in organs, the guitars seriously blown out, the vocals too, a ragged, raspy yowl, that near song's end disappears into a weird melty swirl of FX. But then straight from there, the band lurch into some super laid back, druggy, dreamy, Moon Duo style kraut-garage groovery, motorik rhythm section, the vocals a bit more subdued, some cool fragmented guitar melodies, more organ drones, the song soon building to something with a lot more heft, not exploding per se, but cranked up, epic and soaring, and peppered with some seriously dense squalls of guitarnoise.
And hell, that's just the first two track, the rest of the record is just as varied, from stretches of lysergic kosmische ambience ("IV"), to kinetic sixties style garage psych, all shimmy and shake ("Radio Tokyo"), to fuzzed out shoegaze pop, that almost sounds like Wooden Shjips meets Drive Like Jehu ("Beginners"). Pretty much every track here rules, but our favorite might be the smoldering "Off Screen", a moody sprawl of washed out slowcore drift, wreathed in drone-y guitar crumble, one big crescendo part way through, but less heavy psych and more like one of those Mogwai moments, before settling back down into a hazy slowburn extended fade out that eventually sheds sounds until it's nothing but a hushed, reverberating field of lush layered guitar drone. Awesome.
MPEG Stream: "The Impasse"
MPEG Stream: "On Leaving"

album cover HOT SNAKES Audit In Progress (Swami) lp 15.98
REPRESSED! Been unavailable for a while, now it's back on wax, here's what we said back in 2004 when it was an aQ Record Of The Week (and five dollars cheaper)...
Hot Snakes' second release on Swami Records is finger lickin' good! Yow! Rick and John (both ex-Drive Like Jehu) have enlisted a new drummer, Mario Rubalcaba (ex-pro-skateboarder and ex-Clickitat Ikatowi) since former drummer Jason left for the Burning Brides. Hot Snakes also now feature San Diego rock luminary Gar Wood (Beehive and the Barracudas) on bass. Man this band totally kicks ass!!! What else can we say? Imagine the Godlike Drive Like Jehu, but stripped down to its garage rock bare bones, but sacrificing none of the fury or intensity or musical chops. Raw and catchy and makes you want to just jump up and down and bang your head and wiggle like crazy. The recording of Audit In Progress awesomely captures their fired-up energy and offers an accurate taste of their live show. I saw them recently here in San Francisco - all types of new HS fans and older Jehu fans were going totally bananas. This album and their live show will kick you in your face and you'll be begging for more! Plus it's always nice when bands actually produce their own artwork instead of just stealing someone else's, or hiring some crappy graphic designer. Rick Froberg, HS's singer/illustrator/animator is an incredibly talented and respected artist in addition to being a wicked rock frontman. The last Hot Snakes record was so perfect who would have thought the ante could be upped. But upped it has been...It's been upped...well, you know what we're saying. This record rules! And this band just keeps getting better and better. Buy this now!
MPEG Stream: "Braintrust"
MPEG Stream: "Hi-Lites"

album cover HOWLROUND (AKA ROBIN THE FOG) Secret Songs Of Savamala (The Fog Signals) lp 16.98
The first we heard from British sound artist Robin The Fog (here going by the name Howlround) was the stunning and mysterious lp The Ghosts Of Bush, which was sourced entirely from audio recorded in an abandoned building in the UK. It had been the home of the BBC's world service for seventy years, now left derelict, but somehow alive with strange sounds, captured and decontextualized into a haunting world of creaks and whirs, of shifting textures and buried melodies.
For Secret Songs Of Savamala, Robin set up in an abandoned house in Belgrade, with a flooded basement, the structure itself the palette, with open beams struck, surfaces rubbed and scraped, the sounds outside the house causing walls to vibrate, doors and windows to rattle, with some deft recording, and what sounds like some sort of haunting vocalizations, the sounds are whipped up into some sort of primitive ritualism, at times barely there, at others, nearly psychedelic, small soft cacophonies, that ebb and flow, dripping water, the clang of metal on metal, but more often than not, everything blurred and smeared into dreamlike soundscapes, lush and layered, rife with miniature sound events, all woven into languorous drifts, tape hiss and warble woven into the natural sounds, giving even the most mundane moments a woozy, hazy, faded feel, with other moments transformed into almost dublike trippiness.
Heady and hypnotic, this is some fantastic, and fantastically hypnotic deep listening, that we can get enough of. But it will have to hold us over until we get the OTHER new Robin The Fog record, that one sourced entirely from a squeaky iron gate!
LIMITED TO 300 COPIES!!
MPEG Stream: "Tajne Pesme"
MPEG Stream: "Neizvezhban"

album cover JELLYFISH Split Milk (Omnivore) 2cd 19.98
THIS FAVE, REISSUED AGAIN ON CD, NOW IN A REMASTERED DELUXE EDITION WITH A WHOLE EXTRA SECOND DISC WITH 28 BONUS TRACKS!! And new essay in the cd booklet, plus track-by-track commentary from the band. Whoo-hoo! Here's our rave review from a while back of the ordinary edition, awesome enough to begin with:
We are definitely masters of hyperbole. We admit it. So many of our reviews boldly proclaim records to be "the best ever" or "the most retarded ever" or the ever popular "most fucked ever". The thing is, at least from where we're sitting, there CAN be more than one "best ever", and there ARE many "most fucked" records ever... why not? It depends on your mood, what you're doing, where you are, stereo or headphones, car or computer, happy or sad, depressed or romantic, and hell, it could be as simple as a whim. Sometimes, you feel like listening to a specific record, and for that 40 minutes, it is without a doubt, THE BEST RECORD EVER. Now, granted, some 'best records ever' are all time top 10's, while some are favorite records of the summer, and others are favorite make out records, or whatever, but all of them are awesome. For us to make that sort of proclamation, a record has to completely rule, totally kick our ass, and get the shit played out of it! But sometimes, it's not hyperbole. Sometimes a record ABSOLUTELY IS, one of the best pop records EVER MADE. Like Jellyfish's Spilt Milk, their second album, originally released back in 1993..
It still pretty much destroys every other pop record around. Jellyfish started out as a bellbottomed, paisley psychedelic retro combo, but quickly blossomed into a completely amazing, heavy rock power pop supergroup. Not in the sense of being made up of members of other famous bands, but in the sense that they were an absolutely super amazing rock group!!! Jellyfish took the over the top bombast and incredible harmonies of Queen, the perfect summery pop of the Beach Boys and mixed in their own off kilter approach to power pop. Incredibly intricate and complex arrangements, but done so deftly as to never take away from the inherent catchiness of the songs. The guitars are huge, crunchy and heavy, like a super charged Brian May, the drumming is incredible, heavy hitting, super creative, and as catchy on their own as any of the guitar parts or vocal lines. In fact, the one time we saw Jellyfish live, vocalist / drummer Andy Sturmer managed to sing all of these incredible harmonies WHILE playing incredible drum parts, on a STAND UP kit!! Totally blew our mind. A look at the cover and the incredible arrangement of instruments in the studio gives an idea of how epic and amazing this record sounds, gongs, timpani, strings, piano, organ, acoustic guitar, harp, xylophone and more and more and on an on.
Some of the songs are delicate and sweet, soft and shimmery, some are bombastic and heavy, some are sweet simple lullabies, others are incredibly complicated slabs of ultra complex prog pop, but every song on here is a stone cold classic. If there were any justice in the world this record would have been HUGE, and Jellyfish would be playing arenas and making music videos and still making even more incredible records. But sadly, the world wasn't ready for this kind of intelligent, heavy, proggy power pop and the band hung it up soon after. But what a way to go. Just listen to the sound samples and see if you aren't immediately kicking yourself for waiting more than a decade [or two] to dig in to this utter pop brilliance.
MPEG Stream: "The Ghost At Number One"
MPEG Stream: "Joining A Fan Club"
MPEG Stream: "All Is Forgiven"
MPEG Stream: "New Mistake"

album cover JFK La Bas 1987-1992 (Fourth Dimension / Dripping Dust) 2lp 30.00
NOW ON VINYL, WITH BONUS TRACKS!
Anthony Di Franco is probably best known as a one time member of UK noise institution Skullflower, but outside of SF he was involved in and responsible for a whole bunch of other amazing projects, he was the man behind the industrial / power electronics / black drone of Ax (whose recent Metal Forest career retrospective we recently made Record Of The Week) as well as the power electronics / noise assault of Ethnic Acid, he was a member of Skullflower offshoot Ramleh as well as one half of industrial noise duo Novatron. As if that weren't enough, he also recorded as JfK, a 'group' conceived by Di Franco, to create "a total music, absorbing all possibilities", and while we're not sure he necessarily achieved anything quite that grand, what he did do is whip up some seriously kick ass psychedelic dirgery, and twisted post industrial noise rock that KILLS.
This collection gathers up a 1992 single originally released on Fourth Dimension and a clutch of rare and unreleased tracks, and delivers what will likely be some folks first exposure to Di Franco's JfK project, which one might expect to be caustic and noisy and harsh, but in fact is way more song based, sounding at times like UK space rockers Loop, and others, like some obscure home brewed bit of NZ style 4 track noise pop, and at others like a slightly dialed down Godflesh.
Opening with "Big Fat Sin", Di Franco sets the template with primitive programmed drums, jagged crunchy guitars, woozy effected layers, buried loops, shards of feedback, tense and intense, cleaned up a little, it could be some bit of late eighties gloom pop, but here it's presented in all its noisy glory, rough around the edges, loping and lumbering, crumbling distortion, it's pretty great, but even that hardly prepares you for the tranced out space-psych dirge of "Omen" which lays down a simple motorik rhythm, wraps it in a noisy chugging riff, wreathed everything in reverb and echo, then the vocals, an FX drenched croon, the 'group' locked into a groove that's total space rock trance-out, Loop for sure, but even fans of modern day outfits like Moon Duo and White Hills will find lots to like here, although the sound here is much more raw and rough. "Aktion In A 10/6" lays down a weird robotic beat, and then adds an almost metallic riff, but instead of sounding 'heavy' or 'metal', it's like Stooges at 16rpm, a slithery creep, laced with weird bits of percussion, the whole thing swaggery and snarly and surprisingly rocking.
But it's not all caveman riffage and space rock dirge, "Will To Love" is a wild concoction of detuned guitars, warped percussion, squealing feedback, which gives way to a swirling murk of buried vocals, and low end thrum, disembodied samples, a warped tangle that eventually erupts into some full on noise. Then there's "Avernus", which is like JfK via the Dead C, a crooned minimal bit of pop, wreathed in a cascade of impossibly distorted guitar crumble, and clouds of staticky hiss, or "Black Tower" which is all keening melody, and weirdly wistful poppiness, driven by some fierce fuzz bass, and some occluded noise rock jangle, or "Teenage Fantasy", which is a slo-mo creepy crawly dirge, driven by a buried tarpit rhythm, and wreathed in wild squalls of guitars and strange voices, effects and crumbling layers of sound, noisy for sure, but also hauntingly hypnotic.
The last two tracks are from the aforementioned 7", the A side a blast of propulsive psychedelic space rock, that fuses Godflesh like programmed beats to corrosive guitar buzz, and a darkly gloomy Jesus And Mary Chain style vibe, while the B side, a longer version of one of the unreleased tracks is like a super charged near metallic noise rock Moon Duo, which is most definitely a good thing.
Fans of post industrial heavy psych space outs (and who's not????) NEED this! We're so psyched Di Franco's various past projects are getting some long overdue love, and as much as we love that Ax reissue, this JfK record has been getting pretty much nonstop play since we got it in...
This limited vinyl edition also sports two non-cd tracks, "Necropolis" and "Waterfall" - the origins of which escape us at this time and place. Nonetheless, a REQUIRED anthology!
MPEG Stream: "Big Fat Sin"
MPEG Stream: "Omen"
MPEG Stream: "Aktion In A 10/6"
MPEG Stream: "Teeange Fantasy"

album cover LIAISONS DANGEREUSES s/t (Soul Sheriff) cd 16.98
This mysterious European minimal industrial album from the very early '80s was reissued on Hit Thing like eight years ago, now it's back again via Soul Sheriff, and just as welcome as ever. We have cds now, the lps sold out but should be back eventually...
Liaisons Dangereuses were primarily two individuals, Beate Bartel (who in later years went on to form Malaria!) and Chris Haas (a founding member of DAF). They were accompanied on vocals by Krishna Goineau who sang in French, German and Spanish (a few customers have mistaken his flamboyant delivery for that of Falco). Very much akin to Einsturzende Neubauten, The Normal, Suicide and DAF. Edgy, dark and throbbing, the programmed nailgun-like beats are punctuated by Goineau's impassioned singing/speaking, some high pitched female backing vocals, squidgy electronic belches, an occasional saxophone run, and much metallic clanks and thuds. It was all mixed at Conny Plank's studio. The one track here that may be familiar is their dance 'hit' "Los Ninos Del Parque", however LD's impact goes beyond this one song. Indeed they were/are highly regarded and very influential in techno, house and yes, electroclash circles. Fans of present-day electro, EBM, post punk and no wave should definitely check this out as it's the real deal - solidly kicking ass on many of the current crop. May leave you reeling.
MPEG Stream: "Etre assis ou danser"
MPEG Stream: "El macho y la nena"

album cover NAKED ISLAND s/t (Peak Oil) lp 17.98
Quite the dreamdate here between two beloved Aquarius Records artists! Half of Naked Island is the one and only Brian Pyle - the Northern Californian denizen responsible for Ensemble Economique, Starving Weirdos, and RV Paintings; and the other half is the beguiling Felicia Atkinson - better known as Je Suis Le Petit Chevalier. The two have crafted freefloating abstractions that deftly walk the line between ephemeral songwriting and hallucinatory dronescaping in their respective projects; and this project maintains that aesthetic course with a few choice surprises thrown in the mix! The A-side features a narcoleptic Atkinson repeating whispered phrases in French amidst the coronas and nebulas of synth expansiveness before a muted techno thump begins to congeal all of the forms into a structured diffusion of propulsive rhythms cruising through their conjoined gaseousness. One could harken back to some of those early Pete Namlook recordings. We're knocking the cobwebs out of our brains to recall which one might be most fitting - perhaps From Within (with Richie Hawtin) or Fires Of Ork (with Biosphere). No matter. This is a great track that begs us to ask that these two continue this collaboration! The B-side girds on rhythm as well but is much more understated through the sampled breakbeat with washes of expansive synth, goth-y guitar drone, and oceanic drift slowly burying that rhythm under ripples of delay that may be the aggregate of Pyle's vocals. Very cool stuff. Also, we should note that the sleeve comes with a very cool lenticular artwork. Fucking trippy!
MPEG Stream: "Deep, Transcendent Waves Of Golden Light"
MPEG Stream: "Play It As It Lays"

album cover NIGHT FLIGHTS Night Flights Vol. 1 (Agitated) lp 17.98
First release from this groop of kosmische synth-float dream-space drifters, who normally spend their time kicking up more of a sonic ruckus in local space rock combo Carlton Melton, but in Night Flights, all of that rock is ejected through the airlock, and left to drift weightlessly amongst the stars! This new 12" perhaps the soundtrack to that transition. Equal parts Cluster, Eno, Tangerine Dream, this is all abstract, ambient bliss out. Psychedelic new age for the new age, long tones float and shimmer, melodies unfurl lazily, expanding and then drifting apart, textures shift in slow motion, thick billowing clouds of sound roil softly over a hushed backdrop of barely there thrum, it's chilled out and gloriously laid back, the music from some long ago planetarium show, a show presented in slow motion, the various planets and stars swirling slowly, the contrails making all manner of prismatic patters that ebb and flow, pulse and fade. Imagine the trippiest parts of Carlton Melton (of which there are plenty), but then slow them down, and stretch them way out, let them drift skyward, spreading out across the stars like some weird sonic filter, channeling the strange broadcasts from the furthest reaches into chiming guitar shimmer and swoonsome chordal whooshes, moody murky synthiness and tripped out atmospheric dronemusic, everything blurred and smeared into a fantastically mesmerizing slab of gloriously free form minimal space music, that should hit the spot for both psych nerds and drone lovers alike.
LIMITED TO 500 COPIES, on clear yellow vinyl. Includes download code too.
MPEG Stream: "Night Flight"

album cover NIGHTSATAN ...And The Loops Of Doom (Svart) lp+dvd 30.00
NOW ON VINYL! We listed the cd version last year, now they've done vinyl, which like the cd also comes with a dvd of the crazy movie for which the album is the soundtrack. Personally, we think the vinyl lp should have been packaged with a laserdisc of the movie instead, but that probably wasn't practical (or even considered). Anyway...
Finland's self-proclaimed Undisputed Kings of Lasermetal are back! Note that 'Lasermetal' as a genre exists ONLY in connection to Nightsatan, and is definitely NOT actually metal, though these guys do look pretty metal - you've got one guy, Inhalator II, wearing all sorts of studded gear, including studded headband; another guy, Wolf-Rami, who has a scary skull face inside his motorcycle helmet; and a third, Mazathoth, who wears a Boba Fett style helmet, and a cape, and has antlers inexplicably growing out of his back. But they're an instrumental synth trio, not metal in the slightest, except conceptually perhaps.
If you recall, we made Nightsatan's debut album Midnight Laser Warrior an aQuarius Record Of The Week a few years back, blown away by their brand of "crazy, futuristic, electro prog", a soundtracky, synth-heavy sound inspired by John Carpenter and Tangerine Dream, not unlike Zombi or Umberto, but taking that into a ridiculously fantastical Finnish realm of over-the-topness. Well, with this new release they somehow go even FURTHER over the top, 'cause instead of just sounding like a soundtrack, it IS a soundtrack, to a real movie that's included here on its own dvd disc packaged with the lp. And the movie stars Nightsatan, playing themselves, as surreal sci-fi superheroes wandering a futuristic wasteland encountering (and slaying, or having sex with) strange characters. It's an homage of sorts to Italian '80s post-apocalyptic exploitation cinema, complete with dialog dubbed in Italian (English subtitles are provided). It comes across like a mix of Mad Max and Jodorowsky's Holy Mountain, truly bizarre and absurd, full of gory special FX and nudity. Sex, violence, and synthesizers! Basically, an extended, insane music video for Nightsatan. It's a professional production, including some impressive special effects (it's worth watching the 'making of' bonus feature to see how they did it - 'cuz we didn't think they had deserts in Finland), with a plot involving, yes, 'loops of doom' - we can't explain it but it does sort of make sense. it's really a bit disturbing at moments, and twistedly funny too, and of course the music is pretty rad, and you can enjoy it alone on the soundtrack, which is twice as long as the movie, consisting of 14 tracks, 48 minutes of Nightsatan's retro-futuristic synth-splorations, droning and glistening, often underlaid with propulsive beats via Inhalator II's 'laserdrums'. Mood-wise it ranges from sinister suspensefulness, to exciting electro-rock, to maudlin, melodic 'love theme' moments.
Fans of Umberto, Trans Am, Blizaro, Emeralds, all ought to dig - imagine a mix of all those, but with an added element of pure Finnish WTF?-ness. It's hard to believe that Nightsatan are NOT one of the so-called NWOFHM bands put together by the guys in Circle, like Steel Mammoth. But nope, they're just friends, apparently this sort of thing just what they do in Finland these days. Ah, Finland. Ah, Nightsatan!
MPEG Stream: "Theme From Loops Of Doom"
MPEG Stream: "Secret Of The Mystery"
MPEG Stream: "Battle Knights"

album cover OUTCAST s/t (Heavy Chains Records & Tapes) cd ep 9.98
Pleased are we that so many cool metal bands lately have been taking inspiration from the great New Wave Of British Heavy Metal (NWOBHM) bands of yore, like ferinstance, LA's Night Demon, whose new full-length we'll hopefully review soon. But beyond most, THIS outfit from Melbourne, Australia sound so much like the real deal, circa 1980 or so, it's uncanny. Sheer perfection. They're actually such vinyl-hunting metal collector nerds that along with the various usual NWOBHM obscurities (Trespass, for one), Outcast claim to be majorly influenced by '80s Swedish bands like 220 Volt and Gotham City, which is basically the same thing anyway. They've got the sound, they've got the spirit (including a bit of a street-level punk vibe), and most importantly, they've got the songs! This self-titled cd ep, originally released as a cassette, features four tracks, all of 'em killer.
With song titles like "Spiraling Down" and "No Tomorrow", the singer really does sound like an outcast, and a proud one, delivering a great performance, his voice melodic but just rough enough. Rough enough to sound tough, but also impassioned, especially on the disc's third track, the seven and a half minute "Dreamers Wake", all majestically chugging riffage and heartfelt vocal lamentations. Truly epic. Kinda reminds us of NWOBHM'ers Dark Star. That's the show stopper here, the piece de resistance, but the more basic headbanging pleasures of a rockin' cut like "Cold Blooded" are also quite worthy & well done.
Can't wait to hear more from 'em someday, but then again many of the best NWOBHM releases were from bands that only ever did just a single or ep... Definitely mega recommended for fans of High Spirits, Iron Dogs, Space Vacation, Lord Fist, Convent Guilt, and any band Roxxcalibur ever covered.
MPEG Stream: "Spiraling Down"
MPEG Stream: "Dreamers Wake"

album cover PADE, ELSE MARIE Electronic Works 1958-1995 (Important) 2cd 23.00
The Danish composer Else Marie Pade's compositions of scintillating electronic minimalism and sprawled musique concrete were born nearly sixty years ago, but it wasn't until 2000 or so, when she reached the age of 74 that any of her work was actually published. Her history is an intriguing one, as she was an active participant in the Danish resistance during WWII, was arrested for her acts of sedition, and began composing in her head during her imprisonment. After the war and upon her early career as a radio producer, she discovered Pierre Schaeffer's ideas for musique concrete; and in 1952, she travelled to Paris to study with him. By the mid '60s, she had spent several summers at Darmstadt studying with Stockhausen. Her first compositions began in the early '50s and she continued to work up until the '70s when her personal life dictated that she put music aside. Throughout the '80s and '90s, Pade had all but disappeared from the public eye, with Denmark holding little regard for avantgarde composition even if were by a pioneering Dane; but by the turn of century, the academic imprint Dacapo collected Pade's work for the first time. Slowly, her work was being rediscovered, eventually leading to her breakthrough album Svaevninger with Jakob Kirkegaard.
This anthology mostly centers on the earliest works of Pade's career, though the vocabulary she has developed over the decades is remarkably consistent - sinewy lines of electronic tone, perpetually fluctuating granular synthesis, and eerie clusters of melody. The "Faust Suite" from 1962 is a suitably brooding piece of electric miasma dotted sporadically with echo-delay patterned snippets of narration from the Goethe classic. Pade was not interested in creating a radio-play out of the text, instead focusing on an impressionist mood engineering of internal friction, angst, and emptiness. "Syv Cirkler" from 1958 marks the earliest work from this anthology, as a commission from the 1958 Expo whereby she crafted a celestial work of ringing tone colors and satellite-chirp sequencing that's very ahead of its time. The 1995 piece "Illustrationer" is remarkably similar to all of the work she had done earlier on, though she does layer prepared piano and aqueous field recordings into the digitally rendered work. The anthology concludes with "Glasperlespil" - a composition of stately loops and monochromatic passage with enough poetic austerity that inspired Stockhausen to include the piece in his lectures about electronic music from the '70s onward. A fantastic, enterprising collection! (NB. also available as a rather more expensive triple vinyl lp set, we'll have those back in next week.)
MPEG Stream: "Faust & Mefisto"
MPEG Stream: "Rejsen Til Bloksbjerg Og Valborgsnat"
MPEG Stream: "Syv Cirkler"

album cover PALLBEARER 2010 Demo (20 Buck Spin) 12" 15.98
Before the Pitchfork hype and before the Billboard Top 100 inclusions, there was this lone 2010 epicus doomicus demo-cus from Arkansas' lords of heartwrenching true melo-doom. Originally released as a limited cd-r and a few months later on cassette, this mournful slab is finally getting the luscious vinyl treatment it so desperately deserves. As a band, Pallbearer came out of the gate pretty fully formed, so anyone familiar with their two full lengths will know what to expect here: three tracks of monolithic doom metal, equal parts pummeling & soaring, equal parts Electric Wizard & Warning. The vocals a ghostly lament, the guitars is a perpetual state of crunchy decay, the drums a funereal plod. Of the three tracks included, two were actually re-recorded for their debut Sorrow & Extinction, and the third is a totally doomed out, ultra melancholic rendition of Billie Holiday's "Gloomy Sunday". Cool! The sound quality is perhaps a little more raw than the enveloping warmth of their more recent recordings, but is still plenty listenable, and certainly sounds more heavy & full than your average metal demo. Definitely an essential insight into the origins of this band, if only to see how confident and assured they were in their sound right from the get go!

album cover PIG HEART TRANSPLANT For Mass Consumption (Iron Lung) lp 15.98
NOW AVAILABLE ON VINYL!!! Here's what we said about the cd version that came out via 20 Buck Spin last fall:
Latest slab of pummeling, punishing industrial power violence from this local one man band, who also just so happens to be 1/2 of another band we love, Iron Lung, but unlike Iron Lung, BHT, aka Jon Kortland, creates twisted blurts of caustic noise, grinding, distorted power electronics, and brutal metallic churn. This latest is split into 28 tracks, each 44 seconds long, each a sonic stunner, from skull cleaving blown out crush to sculpted static over stuttering jack hammer rhythms, it's a hard sound to swallow, difficult listening for sure, and it's likely most metalheads might find this a bit too brutal, and too abrasive, and probably not metal enough, which is saying a lot, but for folks into twisted avant noise, industrial and power electronics, outfits like Ramleh and Skullflower, Whitehouse and Swans, Brighter Death Now and Bastard Noise, PHT definitely fits somewhere amongst all their equally sonically twisted brethren!
Some tracks are strangely atmospheric, others purely rhythmic, the sounds themselves blown out and in-the-red, plenty of sonic gristle, crumbling feedback, hiss and hum and skree and squalls of feedback, metallic clang and clatter, with sounds often exploding into wild gouts of white noise, but just as often evolving into murky pulsations. Heady, heavy and hypnotic, the vocals a wild bellow, the only really link to the group's punk/metal roots, otherwise, the sounds is more experimental, and avant, and even with the vocals, the vibe is more like some lost industrial outfit from the eighties or nineties. There are plenty of surprise too though, moments of unlikely melody and beauty ("1970"), gorgeous bits of grey ambient drift ("Scum"), and a bunch of tracks that almost play out more like some warped variant of minimal techno, all skeletal crunch, and stuttery throb, and yet, it all somehow works together as this bizarre, noise drenched hydra-headed, 28 part psychedelic, power electronic noise-crust epic. And it KILLS.
Awesome orange and black minimal cover art too.
MPEG Stream: "Drug"
MPEG Stream: "Film"
MPEG Stream: "Gift"
MPEG Stream: "Dull"
MPEG Stream: "Copy"
MPEG Stream: "1970"

album cover PSYCHOMANIA OST (Trunk) cd 16.98
Yay, once again finally back in print! A longtime fave film/soundtrack and former Record Of The Week... Our original review:
When I found out we were getting this record, I (Allan) just about flipped. Psychomania!? THE Psychomania?!? The soundtrack - never before released, as it turns out - to the creepy British zombie biker horror flick that has haunted my nightmares for years and years, ever since I saw it on TV, unsupervised by my parents I have to assume, when I was a little kid in the early '70s! Actually for a long time growing up I never knew it was an actual film, I kinda thought all these weird freaky mental images of maniac hippie bikers with British accents were my own imaginings from some bad dream but then as a teenager I found out the truth about my childhood trauma when I ran across the Psychomania VHS tape at a local video shop - "Hey! That's the film I must have seen!" Perhaps you've seen it too, maybe even under similar circumstances (several people I've described it to have had long-buried memories come to the surface, and in fact one of the people who contributed liner notes mentions a similar experience to mine!).
As near as I can remember/surmise, it was about a gang of bikers who commit suicide and come back from the dead to terrorize innocents. Hence the cover tag line "Seven Suicides - and they roared back as The Living Dead!" But I also think that maybe someone gets turned into a frog? Or the bikers worship a frog, maybe? (Their must be a significant frog in the film, anyway, 'cause I remember one and there's a track called "The Frog" on here -- also the studio musicians on this soundtrack are billed as a band called Frog!)... Definitely some weird witchy LSD biker 'sploitation happenin's. A unique formula for a grade-Z flick to be sure. Released in 1972, this film about a cult has itself become a cult film, resulting a last in this release of composer John Cameron's soundtrack music.
While I can't really comment on the merits of the film (I still haven't seen it again since way back when, and while I'm tempted to find it and rent it now, I doubt it could compare to that initial experience!), it turns out that the soundtrack is KILLER. Yes indeedy. From the first track to the last, exploitation film scores don't get much better. It's got it all -- total Morricone/Goblin/Carpenter horror flick spookiness, interludes of suitably weird dialogue from the film (someone's mother telling him she's worried the police will arrest him and his delinquent friends gets the response: "the word, mother, is fuzz...the word, mother, is busted"), and lashings of evil acid rock/funk to further pander to and/or corrupt the long-haired kids to whom this must have been marketed. Repeatedly, you'll hear the band (that'd be "Frog") vamping on a simple but effective fuzz riff, presented slightly differently on every occasion. You can't argue with it, it's good. Oh, and let's not forget the folk-pop biker ballad "Riding Free" as sung by Harvey Andrews. Then it's back to the scary music and effects (was that a croaking frog?).
John Cameron explains in his liner notes that this was recorded before synths were in common use, so "every trick was used: Musser vibes through phase and wah-wah pedals, phased bowed bass, drumsticks inside a grand piano, electric harpsichord through a compressor, Hammond organ fed through a phase unit and Leslie speakers, and wordless solo voice." Thus, experimental ominous psychedelic bizarroid film music that gets our highest recommendation. And everyone we've played it for has been equally enthused. (We wouldn't make this Record Of The Week *just* 'cause of some repressed childhood memory...) Rev up your bikes and ride for the FROG.
MPEG Stream: "Secret Of The Locked Room"
MPEG Stream: "Motorcycle Mayhem"
MPEG Stream: "Riding Free"
MPEG Stream: "One By One"
MPEG Stream: "The Trap"

album cover SIGMARSSON, SIGTRYGGUR BERG So Long (Helen Scarsdale) cd 13.98
What a strange and wonderful trip it has been for Sigtryggur Berg Sigmarsson! Despite a journey that currently extends into its third decade, Sigmarsson's course as an artist has never lost its youthful charm, emotional resonance, and Scandinavian grandeur. Since 1994, he has been the crux for the Iceland outfit Stilluppsteypa. Once, a damaged art-punk trio of drunken Dada noise, Stilluppsteypa effortlessly reinvented itself into one of the more adventurous of glitched, fizzed, and digitally abraded outfits right before the paranoiac lapse of Y2K, only the shed those clothes for taciturn sound design of radiophonic drone and polar spelunking which earned them more than their fair share of exemplary dronological recordings often joined by the esteemed BJ Nilsen. Dotted throughout Stilluppsteypa's catalogue of recordings, you will find a few recordings from Sigmarsson on his own, occasionally reflecting a similar aesthetic course to Stilluppsteypa; but often veering even further towards austere minimalism and colder than cold electronics. The ice that is in Sigmarsson's veins belies some of the summery poetry that he has affixed to his solo work. His early masterpiece Ship ripples with sepulchral organ tones and rumbling frequencies that were in many ways the personal soundtrack for Sigmarsson's excursions of floating in the sea around Rejkyavik, while staring at the sun daydreaming about clouds, girls, booze, etc. What could be better? So Long is an album that began around the same time as Ship, in the form of extracts of luminously dark organ drones whose pools of sound never made their way on to any other recording. Slowly over the years, Sigmarsson began shaping those lumps of aural clay into a somber wanderings of soft noise, gorgeous hypno-mesmerism, radiant black drone, and elegantly subtle melodies buried under six feet of snow. Until, the next Thomas Koner record, we can delight in the heavy drones from Sigtryggur Berg Sigmarsson!
MPEG Stream: "Eight Hour Delay"
MPEG Stream: "The Trip"

album cover SLEATER-KINNEY No Cities To Love (Sub Pop) cd 12.98
Our lips were sealed... Several months ago a former aQ employee and friend of the store told us a little secret. He knew that Sleater-Kinney were in San Francisco working on a brand new album. For some of us S-K fanatics this news brought squeals of disbelief & excitement but we promised to keep it like a secret. Fast forward a few months and the reissues of Sleater-Kinney's back catalog on vinyl hit along with a deluxe box set which included a 7" of a new song. The cat was finally out of the bag, as one of the most beloved bands of the '90s and '00s were making a big comeback.
As much as we love and hold the band near to our hearts, we had some fears and reservations. They seemed to go out and break up at such a perfect time and we always get worried about bands we love tainting such a perfect legacy. Our fears were instantly put aside when this new album came to light, as it's filled with everything we love about the band without being a rehash, repeat or a lesser version of what they did before. In fact it feels like one of the most alive and engaging albums of their career. While not quite as heavy as their erstwhile swansong The Woods (2005), it still taps into the huge sound they were exploring on that record while infusing it with the more punchy, poppy, and melodic elements of an older S-K fave, 1999's The Hot Rock.
There's an expression that comes up a lot, "more than the sum of their parts," and it couldn't be more fitting and true with regard to the three players in S-K. Since the band shut down shop they have all kept making records (The Corin Tucker Band, Wild Flag, etc.) but none of those endeavors was able to reach anywhere near the impact or power of what they do when they come together as Sleater-Kinney. While the band is often lazily referenced as merely coming from the riot grrl scene, S-K always had aspirations and a vision that looked at larger possibilities of any scene or movement. Over the course of their career they became a band that were truly monsters of rock in a way that we could fully get behind. Their live shows are legendary, and that high octane energy is present and pushed to the front on this new album. These are songs that make you wanna raise your fist, sing and scream along, and believe in the power of punk & rock n' roll. Like the heirs to everyone from The Who to Patti Smith to The Clash to Sonic Youth, Sleater Kinney show that when they are together the only thing they know how to do is make music that matters.
Note: available as cd, regular lp, or deluxe fancy lp with bonus extra 12" with 2 more songs (while they last)!
MPEG Stream: "Price Tag"
MPEG Stream: "Fangless"
MPEG Stream: "No Cities To Love"

album cover SLEATER-KINNEY No Cities To Love (Sub Pop) 2lp 35.00
Our lips were sealed... Several months ago a former aQ employee and friend of the store told us a little secret. He knew that Sleater-Kinney were in San Francisco working on a brand new album. For some of us S-K fanatics this news brought squeals of disbelief & excitement but we promised to keep it like a secret. Fast forward a few months and the reissues of Sleater-Kinney's back catalog on vinyl hit along with a deluxe box set which included a 7" of a new song. The cat was finally out of the bag, as one of the most beloved bands of the '90s and '00s were making a big comeback.
As much as we love and hold the band near to our hearts, we had some fears and reservations. They seemed to go out and break up at such a perfect time and we always get worried about bands we love tainting such a perfect legacy. Our fears were instantly put aside when this new album came to light, as it's filled with everything we love about the band without being a rehash, repeat or a lesser version of what they did before. In fact it feels like one of the most alive and engaging albums of their career. While not quite as heavy as their erstwhile swansong The Woods (2005), it still taps into the huge sound they were exploring on that record while infusing it with the more punchy, poppy, and melodic elements of an older S-K fave, 1999's The Hot Rock.
There's an expression that comes up a lot, "more than the sum of their parts," and it couldn't be more fitting and true with regard to the three players in S-K. Since the band shut down shop they have all kept making records (The Corin Tucker Band, Wild Flag, etc.) but none of those endeavors was able to reach anywhere near the impact or power of what they do when they come together as Sleater-Kinney. While the band is often lazily referenced as merely coming from the riot grrl scene, S-K always had aspirations and a vision that looked at larger possibilities of any scene or movement. Over the course of their career they became a band that were truly monsters of rock in a way that we could fully get behind. Their live shows are legendary, and that high octane energy is present and pushed to the front on this new album. These are songs that make you wanna raise your fist, sing and scream along, and believe in the power of punk & rock n' roll. Like the heirs to everyone from The Who to Patti Smith to The Clash to Sonic Youth, Sleater Kinney show that when they are together the only thing they know how to do is make music that matters.
Note: available as cd, regular lp, or deluxe fancy lp with bonus extra 12" with 2 more songs (while they last)!
MPEG Stream: "Price Tag"
MPEG Stream: "Fangless"
MPEG Stream: "No Cities To Love"

album cover SPIDER TRIO Woodland Theater (self-released) cd-r 10.98
Every few years, we get a few offerings from Jeffrey Taylor's vangarde contortionism of freeform guitar wizardry outside of the esoteric contortionism of the Climax Golden Twins. And here, we have his dynamic The Spider Trio, which finds Taylor working alongside notable Seattle free jazz / improv saxophonist Wally Shoup and journeyman percussionist Dave Abramson, who has played with Master Musicians Of Bukkake, Grails, and the aforementioned CGT. These sessions typically highlight Shoup's blurting tumble, bright trills, and moments of volatile, almost-Brotzmann like muscularity on the sax, but the interplay with Taylor's avant-hillbilly / swaggering-boogie riffs make for the best moments on this live recording from the Woodland Theater, a suitably disheveled Seattle venue. It comes together with a Actuel / ESP vibe that would have made Volcanic Tongue quake, if they were still around to quake. Pro-duplicated cd-r in an edition of 100 copies for what that's worth.
MPEG Stream: "Track 01"
MPEG Stream: "Track 03"
MPEG Stream: "Track 08"

album cover TUMA, SCOTT Hard Again / The River (Scissor Tail) 2lp 26.00
The first two solo albums from Scott Tuma of Souled American, previously cd-only and long out of print, now released for the first time on vinyl together as a gatefold double lp! Hard Again (2001) was a Record Of The Week here when it first came out, here's the big raving rave review Andee wrote:
You know how you can go on at length about this and that, but when you prepare to talk about that one thing you totally love, you find yourself completely tongue tied. I kind of feel like that about this record. The minute we put this on, I knew this was it. One of my favorite records of the year, easy. Maybe one of my favorite records period.
Scott Tuma is probably not a household name to most of you, except those of you, who like me, were obsessed with Souled American, since that's where he spent most of the eighties, helping create those molasses slow, rickety bluegrass song-skeletons that we here at AQ love so much. And his time spent in Souled American shows here, on his first 'solo' record. But unlike the stoned and unsteady lurch of SA, 'Hard Again' is all crystalline shimmer, with Tuma's guitar, guiding us unsteadily through soundscapes of tape hiss and skittering snares, moaning chords and weeping melodies.
Take a little John Fahey, Jim O'Rourke's Bad Timing, Souled American, maybe some spacey Brian Eno, play it back on a ancient tape machine, and listen to these understated and completely gorgeous guitarscapes, warbling notes, shimmering harmonics and tape hiss and ambient noise all over. Some of the tracks take the Souled American sound and stretch it to its breaking point. Notes versus space, and the space always wins. But the space is never complete, each note rings out, reverberating into the next, creating a delicate latticework of notes and overtones. On one of the tracks a drummer chimes in, but takes a completely new direction with his kit, sounding as if pebbles and sand were being scattered on the snare, with rattles and sizzles scattered between the notes of the lush guitar. Probably the closest 'Hard Again' gets to an actual song is song 5. Wintery and glistening, with carnival melodies played unsteadily and gently, evoking late afternoon strolls through abandoned carnival midways, light blanket of snow on the ground, while the entire scene is hazy seen through the veil of snowflakes filling the sky. This record is just one long lush walk through a cloudy landscape of foggy daydreams and wistful memories. Similar to the way Philip Jeck takes turntables and crafts old fashioned film strip flashbacks of days gone by, Tuma, takes the guitar, and paints vivid images, faded by the passing of time, the snow on the ground, the water in the basement and the rays of the sun, and evidence by clicks and whirrs and hum, which only add another layer to this already rich document.
So so beautiful.
And then Tuma's follow-up to that, The River 1 2 3 4 (2003) got a bit of a rave here too, as you might expect, we'll just recap a bit of it:
Wheezing chords underpin purposeful notes gently plucked and left to hang momentarily in the warm air, before drifting gently out of earshot. Melodies slowly reveal themselves from a smattering of notes introduced slowly and sporadically somehow knowing that they will all eventually fall snugly into place. Lush, slowly shifting drones with barely-there melodies suspended within like insects in amber. Warm blankets of sound, woven simply, but perfect in their simplicity. Completely mesmerizing and so soothing. Like Phill Niblock composing for Palace, or Godspeed backing up John Fahey, or Philip Jeck and a handful of country 78's. Simply amazing.
MPEG Stream: "Beautiful Dreamer"
MPEG Stream: "Your N Baby"
MPEG Stream: "Drums Midway"
MPEG Stream: "The River 1"
MPEG Stream: "The River 2"

album cover V/A EEC Punk Rock Mountain: A Sarah Bootleg (Mpls Ltd.) lp 12.98
From the wide-swath obscurity curators at the MPLS label - who recently brought us the fabulous Claude Lombard reissue - comes this first time on vinyl reissue of a great compilation of live British indie-pop that originally appeared on the wonderful Sarah Records label. Sarah Records was the warm, greatly missed heart of British indie jangle and C86 pop of the late eighties and nineties, and were the precursor advocates of the sort of blithe sophisticated pop to which bands like Saint Etienne, Belle & Sebastian, The Aislers Set, and The Pains Of Being Pure At Heart would offer their gentle allegiance.
A dual purpose memorial of sorts, these are rare live tracks originally released on cassette by Sarah Records in 1992, to commemorate one of the stalwart British eighties clubs, EEC Punk Rock Mountain, which shuttered its doors to many forlorn tears in 1987. These live tracks were recorded across six concerts performed in 1991 at various clubs around the world, Hamburg, Paris, Leeds, Athens, Seattle, and Tokyo by bands who had played at EEC Punk Rock Mountain regularly: The Orchids, St. Christopher, Gentle Despite, The Wake, The Field Mice, and Heavenly. A sweet reminder of a bygone era of warm DIY scrappiness and generosity from one of the most consistent scene-building labels of its day.

album cover VEIL OF LIGHT III (Belaten) lp 26.00
Not so sure how to peg the title of this album, which is actually three horizontal lines that some have transcribed on the internet as a squiggly version of a Greek epsilon. Oh, what funny characters can be found in the nether regions of the various fonts of the world! Typographical challenges aside, this album marks the debut album for the Swiss gothgaze outfit Veil Of Light. All of the gloomy references to Joy Division, Lycia, Death In June, and Swans are present for Veil Of Light in these skeletal songs of militant march and funereal mood. The album's languid melodies are crafted almost entirely through reverb drenched synths which cling to the persistent snap of a drum machine that is pushed way forward in the mix. Vocals, guitars, and bass are all intermittently dropped within these songs though these instruments are blurred not so much by effect but in how soft these are in comparison to the drum machine's danse macabre. For all of the '80s goth ghosts haunting these songs, Veil Of Light's slippery sheen of black clad digitalia and somber electronics slip between the current crop of electro-mopists (e.g. Tropic Of Cancer, Lust For Youth, and most everything on Posh Isolation) and the whole witch house thing whose sparkle peaked a couple years back. It looks that this is already sold out at the source, we should note.
MPEG Stream: "Dust"
MPEG Stream: "Pale Eyes"
MPEG Stream: "Shoulder"

album cover VOID MANES s/t (self-released) cassette 6.98
This is the first we've heard from these LA murk merchants (except, their Melvins remix a while back, come to think of it), two gloriously psychedelic sidelong trawls through all manner of constantly mutating sound, woven into some sort of zoner-drone sonic travelogue, sheets of fractured avant gloom-wave, slip easily from almost witch house sounding electro to creepy goth pop to tripped out moody, broody ambience, beat and rhythms surface throughout, but tend to be more suggested that propulsive, textural than actually rhythmic, giving the vibe a pulse, and a throb, which just as often is bled out, leaving just woozy shimmers and disembodied drifts. The sound is caustic and crunchy one second, swirling and spacey the next, with fields of bleep and bloop blossoming into glorious cascades of crumbling electronics and blackly burnished pulsating waves. Hints of fractured drum machines dissipate into far-out swaths of kosmische drift. Very much dreamlike, but sinister and shadowy, and almost cinematic, pocked with bursts of grinding crunch and splattery white noise, but that noisiness is deftly sculpted into jagged shapes, which are much more easily woven into Void Manes general more miserablist moodscaping. Delightfully dark stuff, haunting and harrowing, and very much reminiscent, to these ears at least, of a much more abstract, soft psych, gloom-pysch version of some other aQ faves, German Army.
MPEG Stream: "Lares"

album cover WHIRR / NOTHING split (Run For Cover) 12" 17.98
At indie rock's dreamiest summit two titans of neo-shoegaze convene! One our very own hometown heroes Whirr, and the other Philadelphia's Nothing, both of whom we've raved about at great length in lists past! (In fact, Nothing's Guilty Of Everything was this particular aQer's fave album of 2014!) Seeing as these guys both deal in a pretty similar brand of hazy yet heavy, morphine-drenched shoegaze, and even share members, it seems a split was somewhat inevitable, but instead of simply phoning in some half-cooked studio outtakes or cover song fillers both bands deliver material easily amongst the best of their respective careers. Whirr especially sound revitalized here, their tracks have a newfound uptempo energy not often seen on their more downcast older material, sounding like a punched-up Slowdive aiming straight for the heart of early to mid '90s 120 Minutes, the driving rhythms at perfect odds with the bleary eyed anesthetized vocals. Nothing's contribution is a little chunkier in contrast, a little less shoegaze and a little more Hum-style soaring '90s alt-rock, but still with those breathy ghostly vocals to infuse the songs with a nameless, formless melancholic haze. And as always they masterfully bridge the gaps between hooky and spacious, heavy and melodic, bittersweet and plain rockin'. Highly recommended for baggy-teed stoned out gazers everywhere, and a great introduction to these two fantastic bands for anyone not familiar. And really a great place to start in general for anyone looking to investigate this whole new shoegaze renaissance the kids are all raving about.

album cover WIRE, THE #372 February 2015 magazine 9.98
Mica Levi on the cover; also, John Carpenter (cool! looking forward to his Lost Themes album on Sacred Bones, dropping next week!!), a piece on hiphop mixtapes, the Red Bull Music Academy, and more, including the usual vast section of reviews, etc.

album cover WIZAR'D, THE Ancient Tome Of Arcane Knowledge (Barbarian Wrath) cd 10.98
Of the many wonderful Wizards in the world, Electric Wizard, Glitter Wizard, The Lizard Wizard (pals with King Gizzard), etc., we've always been especially partial to The Wizar'd, they of the oddly-placed apostrophe in the name. This eccentric outfit from the antipodal island of Tasmania plays old school doom metal, sorta coming across like an idiosyncratic DIY blend of Black Sabbath (natch) and US epic metal legends Manilla Road, who are another obvious big influence. We've always dug everything from The Wizar'd, and have to say that with Ancient Tome Of Arcane Knowledge they're catchier than ever. If you liked their last album, Pathways Into Darkness, which we raved about, you'll bow down to this too. And those of you yet to experience The Wizar'd, but who, say, like Uncle Acid and Satan's Satyrs and Salem's Pot, give this a shot... 'Tis plodding gothic doom rockin', with majestic riffery, some sweet lead guitar, and, the make-or-break factor for most folks we figure, flamboyant 'clean' vocals so extremely gnarled and nasal you might imagine the singer as just a big nose - it's freaky and weird and works for us, though some might think otherwise. Definitely part of the Manilla Road comparison. All in all, amazingly hummable considering how 'wretched' The Wizar'd general vibe is. Heck, portions of "Far Away Castles", for instance, are almost psychedelically blissful.
This actually came out on vinyl over a year ago, sorry we never listed it, but finally we have the cd version, and it's got EIGHT bonus tracks anyway, all from a live show on Friday September the 13th, 2013, including songs from this album and Pathways both, along with a couple older Wizar'd faves.
**SPECIAL MINI-INTERVIEW ADDENDUM**
Since we got these (along with the awesome Outcast ep also reviewed this week) directly from the cool underground heavy metal label run by Wizar'd frontman Ol' Rusty Vintage Wizard Master, he was nice enough to do a little Q&A for us, we asked about a few things we'd been wondering, like...
AQ: So, what's the deal with the apostrophe??!
Ol' Rusty: The apostrophe is there to differentiate between stage wizards and those who possess true magickal abilities.
AQ: How would you describe the "progression" of the band over the years?
Ol' Rusty: The sound has ventured in a more dark heavy metal direction, which I believe is the true essence of doom metal. Doom metal is heavy metal. Life is death.
AQ: Can you say something about the 'scene' in Tasmania? What's it like being in a band there?
Ol' Rusty: Tasmania has limited opportunities to play live in a satisfactory manner, there is only really one venue in Hobart where we play. Most of the other bands in Hobart play in styles that do not interest me, modern stuff, boring technical death metal, etc.
AQ: Speaking of the metal scene in Tasmania, we've gotta ask, you ever encounter Striborg??
Ol' Rusty: I've seen Striborg play twice at two events put on by MONA (look that up if you haven't heard of it, pretty interesting stuff) and both times it was absolutely horrible, the guy was sitting on a wooden chair playing guitar to pre-recorded drum and vocal tracks...
AQ: We know you've got some other projects, like Tarot ('70 Uriah Heep-ish heavy prog) and Dracula (Mercyful Fate-ish black metal), if you wanna say anything about them...
Ol' Rusty: Dracula will begin spreading darkness over the mainland of Australia in 2015, while Tarot is working on their first full length album.
AQ: And what's next for The Wizar'd?
Ol' Rusty: The Wizar'd are working on new material, most likely an EP that will be released through Heavy Chains Records.
AQ: We really like the trippy artwork on Ancient Tome Of Arcane Knowledge, apparently it's by your brother Barney, can you say something about him?
Ol' Rusty: His art is truly incredible, in my opinion he is one of the most interesting and unique artists doing album covers today. He has also designed some tattoos. I strongly recommend people check out his stuff at www.waning-gibbous.com
AQ: Who is Frankie and what's up with his dungeon? [The song "Frankie's Dungeon" is one of our faves from The Wizar'd's previous album Pathways Into Darkness, and also appears on the live portion of the new cd.]
Ol' Rusty: Frankie's Dungeon is the place we must all go...
AQ: Ozzy or Dio?
Ol' Rusty: Hard to say, of course I'm a huge fan of the Ozzy Sabbath albums, and his early solo stuff, but I think overall Dio had a more consistent output, from Rainbow to Sabbath to his own band, it was all killer, and he never gave in, and never became a parody of him self. All hail RJD!
AQ: Saint Vitus or Candlemass?
Ol' Rusty: Another tough one, I think both bands have stellar albums, and boring ones. Saint Vitus for me is Scott Reagers, those albums especially Die Healing are some of my favorites of all time. With that said the first two Candlemass cannot be touched.
AQ: Favorite Manilla Road album?
Ol' Rusty: Crystal Logic!!
MPEG Stream: "Ancient Tome Of Arcane Knowledge"
MPEG Stream: "The Moss That Grew On The Sorcerer's Grave"
MPEG Stream: "Long Ride Home"



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----* Also Relatively New In Stock, But Not Yet Reviewed :
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ABIGAIL GREY "Apple Cherub Dove" (Mpls Ltd.) picture disc 12.98
ABIGAIL GREY "Long Case Clock Suspension" (Mpls Ltd.) lp 12.98
AMEN DUNES "Cowboy Worship" (Sacred Bones) 12"
ARTHUR "Dreams And Images" (Light In The Attic Rcords) lp 22.00
BAL PARE "Early Recordings" (Medical) lp 21.00
BALDWIN, MATT "Wild Body" (Psychic Arts) lp 14.98
BASEMENT APARTMENT "s/t" (Mpls Ltd.) lp 12.98
BEAUSOLEIL, BOBBY "The Lucifer Rising Suite: Original Soundtrack And Sessions Anthology" (Ajna) 4cd 33.00
BEDHEAD "Beheaded" (Numero) lp 19.98
BEDHEAD "Transaction de Novo" (Numero) lp 19.98
BEDHEAD "WhatFunLifeWas" (Numero) lp 19.98
BELLE & SEBASTIAN "Girls In Peacetime Want To Dance" (Matador) 2lp 31.00
BLACKSHAW, JAMES "Apologia" (Bladud Flies!) lp 23.00
BLACKWOLFGOAT "Drone Maintenance" (Small Stone) cd 13.98
BLAKULLA "s/t" (Mellotron) lp 29.00
BLOWN OUT "Drifting Way Out Between Suns" (Riot Season) lp 30.00
BURROUGHS, WILLIAM S. "Nothing Here Now But The Recordings" (Dais) lp 21.00
CANDYMAN (PHILLIP GLASS) "OST" (One Way Static) lp 30.00
CHARLEE "s/t" (Aurora) cd 17.98
CHARLIE "Spacer Woman" (Dark Entries) 12" 13.98
CIPRIANI, STELVIO "Gli Orrari Del Castello Di Norimberga OST" (Dagrored) 2lp 37.00
CLARK "s/t" (Warp) lp 26.00
CLASS OF NUKE 'EM HIGH "OST" (Troma Retro) lp 25.00
CODE III "Planet Of Man" (Wah Wah Records) lp 35.00
COLEMAN, ORNETTE "To Whom Who Keeps A Record" (Atlantic) cd 10.98
CONCORDE AFFAIR '79 (STELVIO CIPRIANI) "OST" (Vombis) 2lp 44.00
CONSTRAIN/FENIAN "Rapid Decline" (Oxen) cd 11.98
CONTACT "First Contact" (Temporary Residence) lp 15.98
COSMIC DEALER "Crystallization" (Pseudonym) 2lp 38.00
CRADLE OF FILTH "The Principle Of Evil Made Flesh" (The End) 2lp 31.00
CRUEL SUMMER "Leeches" (Rocinante) lathe-cut 7" 9.99
CYBOTRON "s/t" (Dual Planet) cd/lp 16.98/30.00
DEATH CAB FOR CUTIE "Something About Airplanes" (Elsinor Records) lp 21.00
DECEMBERISTS, THE "What A Terrible World, What A Beautiful World" (Capitol Records) cd/2lp 14.98/26.00
DENGUE FEVER "The Deepest Lake" (Tuk Tuk) cd 15.98
DISAPPEARS "Irreal" (Kranky) cd/lp 14.98/14.98
DODOS, THE "Individ" (Polyvinyl) cd/lp 14.98/15.98
ENDLESS BUMMER "Vol. 1" (In The Red) lp 15.98
ESKATOZOA "Cosmic Elements Coalesce" (Bestial Burst) cd 12.98
FANTOMAS "Wunderkammer" (Ipecac) 3lp boxset 90.00
FATHER YOD & THE SPIRIT OF '76 "Kohoutek" (Drag City) lp 22.00
FAUST "Just Us" (Bureau B) lp + cd 28.00
FENIAN "Yes, We Can Definitely Do That" (Oxen) cassette 6.98
FERAL OHMS "Super Ape/The Snake" (Agitated) 7" 10.98
FF "Ffeeling" (300 Mics) lp/lp+blotter paper 17.98/24.00
FINGER, BENJAMIN "The Belt" (Watery Starve) lp 15.98
FLAKE MUSIC "When You Land Here, It's Time To Return" (Sub Pop) lp 16.98
FUSSELL, JAKE XERXES "s/t" (Paradise Of Bachelors) lp 17.98
GALA DROP "II" (Golf Channel) cd 16.98
GERGIS, MARK "Radio Vietnam" (Sublime Frequencies) cd 17.98
GOBLIN "Profondo Rosso" (Cinevox) lp 34.00
GORGUTS "...And Then Comes Lividity Vol 1" (War On Music) lp 21.00
GORGUTS "...And Then Comes Lividity Vol 2" (War On Music) lp 23.00
GORGUTS "...And Then Comes Lividity Vol 3" (War On Music) lp+7" 28.00
GUILD OF FUNERARY VIOLINISTS, THE "The Art Of Funerary Violin" lp 27.00
GX JUPITTER-LARSEN "Pump-Powered Permawave" (Oxen) 10" 12.98
HAINO, KEIJI / JIM O'ROURKE / OREN AMBARCHI "Tea Time For Those Determined To Completely Exhaust Every Bit Of This Body They've Been Given" (Black Truffle) lp 22.00
HAMA "Tordi" (Sahel) lp 21.00
HOUND "Out Of Time" (SRA) lp 17.98
I MARC 4 "I Marc 4" (Sonor Music Editions) lp 30.00
INTERNATIONAL MUSIC SYSTEM "Dancing Therapy" (Dark Entries) 12" 13.98
JAMES, ETTA "Tell Mama" (4 Men With Beards) lp 24.00
JONES, FERN "The Glory Road" (Numero) 2lp 19.98
JUKEBOX THE GHOST "s/t" (Yep Roc) lp+cd 28.00
KID MILLIONS & JIM SAUTER "Fountain" (Family Vineyard) lp 15.98
LEFTY LUCY "Phantom Breaker: 1993-1996" (Mpls Ltd.) picture disc 12.98
LIAISONS DANGEREUSES "s/t" (Soul Sheriff) lp 19.98
LORD DYING "Poisoned Altars" (Relapse) lp 21.00
M.D.C. "s/t" (Beer City) lp 15.98
MADELINE RUST, THE "Truth Or Consequences" (Those Old Records) lp 14.98
MAGMA "Rian Sahiltaahk" (Jazz Village) lp 22.00
MAIOVVI, ANTONI "Avrokosm" (Not Not Fun) lp 14.98
MC5 "Back In The USA" (4 Men With Beards) lp 16.98
MEDICINE "Home Everywhere" (Captured Tracks) lp 17.98
MELCHIOR, DAN "The Souls Of Birds And Mice" (Siltbreeze) lp 15.98
MELNYK, LUBOMYR "Evertina" (Erased Tapes) cd/10" 14.98/23.00
MELVINS "Hold It In" (Ipecac) cd/lp 15.98/14.98
MERZA, MARC "Selective Memory" (self-released) 7" 5.98
MONTIBUS COMMUNITAS "The Pilgrim To The Absolute" (Beyond Beyond Is Beyond) lp 19.98
MOORE R .STEVIE "Ariel Pink's Picks Vol. 1" (Personal Injury) 2lp 32.00
NAME, JACK "Weird Moons" (Castle Face) cd/lp 13.98/15.98
NIGHT DEMON "Curse Of The Damned" (Century Media) cd 14.98
NOCTURNAL POISONING "Doomgrass" (The End) cd 12.98
NORTON, DORIS "Parapsycho" (Black Widow) lp 31.00
NU-SOUND II CREW/MAGNUS II "The Speed of Light/Space Age" (Dark Entries) 12" 14.98
OBNOX "Boogalou Reed" (12XU) lp 16.98
OM "Live" (Outer Battery) lp 21.00
PANDA BEAR "Meets The Grim Reaper" (Domino) cd/2lp 13.98/27.00
PARKER, EVAN / DEREK BAILEY / HAN BENNICK "The Topography Of Lungs" (Otoroku) lp 26.00
PAZ, ELION "Dust & Grooves: Adventures In Record Collecting" book 75.00
PERFECT PUSSY "I Have Lost All Desire For Feeling" (Captured Tracks) cd/12" 12.98/16.98
PHANTOM OF THE OPERA, THE (THE LAZE) "OST" (One Way Static) cd 14.98
PIXIES "Doolittle 25: Original Album, Peel Sessions, And Demos" (4AD) 3cd 25.00
POP, IGGY "American Caesar" (Plain Recordings) 2lp 31.00
PRATT, JESSICA "On Your Own Love Again" (Drag City) lp 19.98
PROJECTS, THE "Voice Is Glue" (Mpls Ltd.) 12" 12.98
PROUD, PIP "A Bird In The Engine" (Superior Viaduct) lp 23.00
PROUD, PIP "Adrenaline & Richard" (Superior Viaduct) lp 23.00
PSYCHIC TV "Alien Be-In" (Dark Entries) 12" 14.98
RED NOISE "Sarcelles-Locheres" (Souffle Continu) lp 24.00
REVEREND "Play God" (Divebomb Records) cd 17.98
REVEREND "World Won't Miss You" (Divebomb Records) cd 17.98
RICKED WICKY "Death Metal Kid b/w Hopefully Not In The Fall" (Guided By Voices) 7" 6.98
RICKED WICKY "I Sell The Circus" (Guided By Voices) cd 13.98
RIGOR SARDONICOUS "Ego Diligio Vos" (Memento) cd 16.98
RODMAN-MELCHIOR, LETHA "Shimmering Ghost" (Siltbreeze) lp 15.98
SEGALL, TY "Live In San Francisco" (Castleface) lp 15.98
SIMMONS, SONNY & MOKSHA SAMNYASIN "Nomadic" (Svart) cd/lp 15.98/27.00
SIMMONS, SYLVIE "s/t" (Light In The Attic) lp 21.00
SLEAFORD MODS "Chubbed Up" (Ipecac) cd 15.98
SLEATER-KINNEY "No Cities To Love" (Sub Pop) lp 17.98
SONGS: OHIA "Didn't It Rain" (Secretly Canadian) 2cd 14.98
SPEAKING CANARIES, THEE "Platter Base Must Be Constructed Of Moon-Rock" (Chunklet) lp 16.98
STONE ANGEL "s/t" (Acme) lp 24.00
STONEY & THE JAGGED EDGE "Chasing Rainbows" (Big Beat) lp 23.00
SUPREME JUBILEES, THE "It'll All Be Over" (S&K Records) cd/lp 16.98/22.00
SWAMI JOHN REIS & THE BLIND SHAKE "Modern Surf Classics" (Swami) cd/lp 13.98/14.98
TAKAMAKI, JONE "Universal Mind" (Arc Light Editions) lp 25.00
THE AVENGERS VI "Real Cool Hits" (Dionysus) lp 15.98
THE DANCE OF REALITY (ALEJANDRO JODOROWSKY) "OST" (Real Gone) lp 23.00
THREE ORANGE KISSES "Ascending Melodies & Noise" (Mpls Ltd.) lp 12.98
TONSTARTSSBANDHT "Overseas" (Does Are) cassette 7.98
TRITON WARRIOR "Satan's Train b/w Sealed In A Grave" (Supreme Echo) 7" 11.98
TURKEY SHOOT (BRIAN MAY) "OST" (Dual Planet) lp 34.00
UNIVERSAL TOGETHERNESS BAND, THE "s/t" (Numero) lp 15.98
USELESS EATERS "Bleeding Moon" (Castle Face) lp 15.98
USNEA "Random Cosmic Violence" (Relapse) lp 32.00
V/A "Eccentric Soul: The Forte Label" (Numero) lp 19.98
V/A "Folk Music Of The Sahel Vol 1." (Sublime Frequencies) 2lp 35.00
V/A "Local Customs: Cavern Sound" (Numero Group) cd 14.98
V/A "Native North America" (Light In The Attic) box set 48.00
V/A "Nippon Girls 2: Japanese Pop, Beat & Rock 'N' Roll 1965-70" (Big Beat) lp 24.00
V/A "Science Fiction Park Bundesrepublik: German Home Recording Tape Music Of The 1980's" (Finders Keepers) 2lp 30.00
V/A "The Travelling Archive: Folk Music From Bengal" (Sublime Frequencies) lp 21.00
VERCKYS AND ORCHESTRE VEVE "Congolese Funk, Afrobeat & Psychedelic Rumbo 1969-1978" (Analog Africa) cd/lp 17.98/29.00
WIKKID "Chapter 1" (Soulthief) 2cd 8.98
WIKKID "Chapter 6" (Soulthief) 2cd 8.98
WIKKID "Chapter Murder Music" (Soulthief) 2cd 8.98
WORMWOOD "s/t" (Patac Records) cd 13.98
YA HO WA 13 "Savage Sons Of Yahowa" (Drag City) lp 22.00
ZEEK SHECK "Joinus" (Resipiscent) 2lp 30.00

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USPS shipments (First Class, Priority, and Media Mail) are all automatically trackable.

OR, you can choose instead to have your order shipped by MEDIA MAIL:

1-3 items (i.e. w/ LPs) : $5.95 USPS Media Mail

4+ items : $7.95 USPS Media Mail


Special shipping needs (e.g. UPS Next Day) are also doable, just ask for a quote.
Also, if you are just getting 1 item that would therefore ship USPS First Class, and for some reason you would rather have it sent Priority, then you could say so in the comments field. (Note: however, 7"s are too big for the Priority flat rate boxes.)

NOTE: UPS permits their drivers to determine if there is a secure location at the shipping address to leave the package if no one is there to receive it (unfortunately some are less cautious than others!). If you'd prefer that they not do this or if you have specific instructions for the driver, please include a note in the comments section of your weborder form.

PLEASE DOUBLE CHECK SHIPPING ADDRESSES BEFORE SUBMITTING YOUR ORDER. Aquarius is not responsible for orders delayed or returned due to incorrect or undeliverable addresses provided by the customer. Returned packages will be reshipped at the customer's expense.

Shipping rates are charged per shipment.


INTERNATIONAL SHIPPING :
-------------------------------- For foreign customers we ship via US AIRMAIL ("First Class International"). Your price is based on the actual cost of shipping plus $1. You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package" category and see the price for "First Class International". 1-3 cds is usually 1 pound.)

We highly recommend insurance for your international package, but it is very expensive! You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package" category and see the price for "Priority Mail International". 1-3 cds is usually 1 pound. 1 lp is usually a little over 1.5 pounds.)


INTERNATIONAL INSURANCE :
-------------------------------- You are hereby forewarned that Aquarius is not responsible if your international package gets lost in the mail. Insurance is your only recourse if your records never show up. And while we haven't experienced any *confirmed* permanently lost mail, insurance might provide some additional piece of mind. We strongly recommend it. But yes, it is very expensive. It's your choice. Again: Aquarius is not responsible for lost mail, so if you aren't willing to take a (slight but real) risk, please buy the insurance.

International insurance is very expensive! In fact often the insurance costs more than the value of your package, in which case it obviously does not make sense to insure it. You can check the US Postal Service international rate calculator: http://ircalc.usps.gov/. (Use the "Package" category and see the price for "Priority Mail International", which is the way insured packages are sent. 1-3 cds is usually 1 pound. 1 lp is usually a little over 1.5 pounds.)

For example: for a one-pound package worth $18 going to England, shipping without insurance is about $11.00. But with insurance, the shipping / insurance total is over $26.00!

It is your reponsibility to check the international rate calculator in order to determine whether or not you want international insurance. If you tell us you want international insurance, we will add it to your order no matter how much it costs!


PAYMENT :
-------------------------------- We accept the following credit cards: Visa, MC, Discover, and Amex. We will not charge your credit card until your order is ready to ship.

Money orders are accepted, but only in $USD. International customers please note that they must be international postal money orders purchased at a post office. Additional processing fees may apply.

If you wish to pay by money order, you must confirm the order with us through email or phone BEFORE you send any payment. It's best to just use the secure order form on the website, and when checking out mark money order as your payment choice. We will then process your order and respond with all the crucial payment info.

We also accept payment by Paypal. If you opt for this payment method, we will send you a paypal total and payment instructions as soon as we've confirmed your order with you. Please do not send payment until you have received human contact from our mailorder department.

Unfortunately, we cannot take personal checks for mailorder, sorry!


QUESTION?
-------------------------------- Email the mailorder department: mailorder@aquariusrecords.org
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SOME SELECTED UPCOMING RELEASES

----} on the way to us now
ISTEN Fanzine: Don't Break The Ghost book on Svart
Corrupted "Nadie" lp reissue on Throne
John Carpenter "Lost Themes" cd/lp on Sacred Bones

----} February 10th
Father John Misty "I Love You, Honeybear" cd/2lp/deluxe 2lp on Sub Pop
Feedtime "Flat Iron b/w Stick Up Jack" 7" on Sub Pop

----} February 17th
Six Organs Of Admittance "Hexadic" cd/lp on Drag City
King Woman "Doubt" lp on The Flenser
Hey Colossus "In Black And Gold" cd/lp on Rocket Recordings

----} also in February
Anthrorprophh "UFO" lp on Cardinal Fuzz
Nudity "tba" 2lp on Cardinal Fuzz
You're Smiling Now But We'll All Turn Into Demons "Population IV" lp on Cardinal Fuzz

----} March 3rd
Moon Duo "Shadow Of The Sun" cd/lp on Sacred Bones
Liturgy "The Ark Work" cd/lp on Thrill Jockey
James Blackshaw "Summoning Suns" cd/lp on Important

----} March 10th
Terminal Sound System "Dust Songs" 2lp on Denovali

----} March 24th
Drakkar Band "Drakkar 74" lp reissue on Metal Postcard

----} also very soon, or sooner or later, we hope, or not
Pink Section "s/t" lp reissue on Superior Viaduct
Tarot "The Warrior's Spell" cd on Heavy Chains Records & Tapes
Profligate "Finding The Floor" lp on Not Not Fun
Koenji Hyakkei "Hundred Sights of Koenji" vinyl reissue on Ektro/Full Contact
Boris "The Thing Which Solomon Overlooked" new edition lp on Taiga
Too Short "Born To Mack" lp reissue on Plain Recordings
Circus Devils "Escape Happy" cd/lp on Jack Rock
Propeller (Achim Reichel) "Let Us Live Together" cd reissue on Aurora
Kink Gong "Gongs" lp on Discrepant
Kevin Drumm "The Back Room" lp on Monotype
Negativland "It's All In Your Head" 2cd on Seeland
Lucrecia Dalt "Ep" 10" on Other People
Noveller "No Dreams" lp on TaigaFM3 "Buddha Machine 5" soundbox !!!!!
Father Murphy "Croce" lp on The Flenser
Zex "Fight For Yourself" lp on Uncle D
Heldon "Allez-Teia" lp reissue on Superior Viaduct
Tomb "Pennhurst / Xesse" cd on Crucial Blast
Neil Hamburger "First Of Dismay" lp/cassette on Drag City

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Lots of love from your devoted AQ staff

--Allan, Andee, Jim, Scott, Harry, Irwin, Nick, Jill and Kirk


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