ORANGE CAKE MIX Microcosmic Wonderland (Audio Information Phenomena) cd 8.98
More midtempo loungey pop gems from the extremely prolific James Rao.

ORANGE CAKE MIX Microcosmic Wonderland (Audio Information Phenomena) 10" 7.98
More midtempo loungey pop gems from the extremely prolific James Rao.

ORANGE GLASS s/t (self-released) cd-r 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What is it about Nova Scotia and pop music? Has one place produced so much great indie pop music in the last 20+ years? Ever? We don't think so. Sloan, Eric's Trip, Hardship Post, Super Friendz, The Inbreds, Thrush Hermit, Jale, The Memories Attack... And that Halifax sound, while hard to describe exactly, is immediately recognizable by the pop savvy, but even if you've never heard any of those bands (and if you haven't, well hell, get on it!), if you love the rocking jangle of nineties indie pop, if you grew up listening to records on Sub Pop, and K, and Kill Rock Stars, and love big crunchy riffs, even bigger hooks, gloriously lo-fi production, keening sad boy vox, lyrics about love and girls and heartbreak, then you need to do some digging, and why not start here, with this collection of tracks from long defunct indie rockers Orange Glass.
Now we consider ourselves pretty big fans of all those bands, Andee even released the most recent record by The Memories Attack, which happens to feature a member of Eric's Trip AND Mr. Ron Bates, a longtime aQ customer, and frontman for the late great Orange Glass. How did we not know about OG. Everything about them screams BAND WE WOULD HAVE LOVED AND OBSESSED OVER AND PUT ON EVERY MIXTAPE!! But better late than never.
None of the Orange Glass records are available anymore, but Bates recently decided to put together a compilation, of album tracks, singles, compilation tracks, unreleased recordings, to pass out to his friends, we convinced him to let us have 20 of the 50 he made, so odds are once these are gone, they are gone for good. So don't miss out, you'll be sorry.
There's a definite sonic link to Eric's Trip, and of course the Memories Attack, from hissy lo-fi 4 track bedroom folk, to rambunctious crashing power pop, fuzzy guitars, wild drumming, and of course hooks hooks hooks, another one of those bands that should have been huge, or if not huge, at least as popular as all the above mentioned outfits. The sound quality varies greatly from super raw demo rehearsal space sound, to full on studio shine, but nothing can disguise how fun and catchy and amazing these songs are, and Orange Glass were, and for those with an indie rock heart, you may have just discovered a new favorite that by all rights should have been an old favorite too.
Super nice silver metallic covers, inside liner notes on where all the tracks comes from, each one hand numbered, LIMITED TO 50 COPIES!!!
MPEG Stream: "Preoccupied"
MPEG Stream: "Saturn And The Moon"
MPEG Stream: "Wait A Day"
MPEG Stream: "Knock Wood"
MPEG Stream: "Cosmic Pilot"

ORANGE GOBLIN Coup De Grace (The Music Cartel) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We want to like this British stoner rock band, really we do, but despite their hard-rockin, heavy ways we really just can't get into 'em that much. But, they're ok. This, their third or fourth album (see, we just don't care) is produced by one guy from Kyuss and has another, their singer, doing guest vocals on two songs. But (to their credit, perhaps) they don't sound like those oft-cloned desert rockers. No, "Coup De Grace" is more of a shit-kickin' motorcycle-ridin' rawk affair with gruff vocals and cowboy boots. More nu-grunge for the '00s. We can't really say what if anything is wrong with this, but it's just not grabbing anyone here at the moment, sorry. Maybe we need to hear it at a party or something. Stoner rock types should check out the audio clip for yourselves and see what you think.
RealAudio clip: "Whiskey Leech"

ORANGE GOBLIN Thieving From The House Of God (The Music Cartel) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

ORANGE GOBLIN Time Travelling Blues (The Music Cartel) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The newest from these retro-'70s English stoner groove merchants, fixated on motorcycles and mushrooms and similar good things. Heavy, similar to Sheavy, ready to party. Plus there's lots of blissful spaced out grooves to relax to after the party as well.

ORANGE JUICE The Glasgow School (Domino) cd 15.98
Scottish pop fans, here's something you don't want to miss... especially if you missed 'em the first time around over two decades ago! These highly influential Scots finally receive a long-overdue, respectful retrospective compilation. Edwyn Collins, Steven Daly, James Kirk and David McClymont's distinct combination of sugary sweet jangle pop sensibilities with a wry wit and sharp tongue definitely made an impression on the young hearts and minds of bands such as Belle & Sebastian (on the sticker affixed to the shrinkwrap, Stuart Murdoch is quoted voicing his deep reverence), Heavenly and The Pastels, let alone more recent upstarts such as Arcade Fire and Franz Ferdinand (Alex Kapranos' devotion is also noted on the abovementioned sticker).
For The Glasgow School, Domino Records has unearthed the band's first four singles (originally released on indie label Postcard Records) along with eleven songs recorded in 1981 which were originally intended to be their debut album Ostrich Churchyard which was also to be released on Postcard. That never came to pass, and the album would in turn be rerecorded and renamed You Can't Hide Your Love Forever and released on Polydor in 1982. Ostrich Churchyard was eventually released in 1992. Also included are two previously unreleased songs -- "Blokes On 45" from a Peel Session and a raucous cover of The Ramones' "I Don't Care" from a pre-Orange Juice rehearsal tape when they went by the moniker the Nu-Sonics.
Beautifully packaged like a hardcover book with an introduction and song-by-song liner notes by Steven Daly as well as a scattering of live and candid snapshots. Recommended.
MPEG Stream: "Falling And Laughing"
MPEG Stream: "Breakfast Time"

ORANGE SUNSHINE Bullseye Of Being (Leaf Hound) cd 16.98
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Orange Sunshine are a freaky, fuzzed-out power trio from Holland who really really wish they existed in San Francisco circa 1969. Their sound, their graphics, even their name is inspired by heavy Frisco sixties legends Blue Cheer (Orange Sunshine being another "brand" of LSD). They just were in the USA on tour, and we saw 'em live a few weeks back at the Hemlock. Their singing drummer was definitely the star of the show. Long haired, bearded, totally hippified, he was a wild man, pulling crazy faces the whole time he was playing. It seemed quite likely that his number one drummer hero growing up was Animal from The Muppets. Coming to San Francisco to play their Blue Cheer-y music, they took it as far as they could -- even doin' their own version of "Summertime Blues"!!
This new album of theirs (don't believe where it says on the back cover that it was recorded in 1970, that's more fantasy on their part, though they do their best to make that claim almost seem likely) makes us think Acid Mothers Temple crossed with Blue Cheer. Not too hard to imagine, eh? This disc's opener, the 15 and a half minute "Ruler Of The Universe" leans towards the AMT side of that equation, being a spacey, faux Eastern sitar and tablas raga meets flying saucer lift-off sort of epic. Following that, the three minutes of "Speed" sizzle nicely. Then we get a fairly faithful cover of Cream's "Sunshine Of Your Love". They just couldn't resist cranking out Jack Bruce's (not Eric Clapton's) most famous riff themselves we guess. Nothing wrong with that, but we liked how on their earlier Love=Acid, Space=Hell album they picked things to cover that actual '60s heavy rock bands would have done, like stuff by Bo Diddley. Still it's cool hearing it given the Blue Cheer, we mean Orange Sunshine treatment. Next up, "Demonize" (or is it "Demon's Eye"?) is a blown-out, wailin' stomper that wouldn't have been out of place on Vincebus Eruptum -- although it's actually a Deep Purple cover. And then the album comes to a fuzzy finale with another Blue Cheerish number entitled "Balls Knockin'". Turns out that's the only track here that's NOT a cover. Though we've never heard of the bands that did "Speed" and "Ruler Of The Universe" before: Ron Allen Light Show and Terry Brooke's Strange, respectively. Kinda makes up for the obviousness of the Cream choice. Seems like these guys really DO live in their own drugged-out, time-looped 1968-1971 universe and it's real nice of them to let us join 'em for the authentic acid rock experience now and then!
MPEG Stream: "Balls Knockin'"
MPEG Stream: "Ruler Of The Universe"

ORANGE TWIN Field Works Volume One (Orange Twin) cd 13.98
Neutral Milk Hotel's Jeff Mangum travelled to Bulgaria in August of 2000 and came back with this aural document of the Koprivshtitsa Festival. Impossibly high female voices arch over droning pipes and strings, at times in a chorus like chattering, and at times just one solo voice wailing bravely above all else. Male singers and manic strings explode into folk songs, full of energy and swing. The feel of this record is very on-the-street and raw, like the Sun City Girls' recordings made in SE Asia, or the "Ho! Roady Music from Vietnam" disc we love so much, yet the recording quality is surprisingly clean and crisp (i.e. you won't be disappointed). Mangum contributes some minimal layering and processing on a computer.
RealAudio clip: "(excerpt)"

ORANGER New Comes And Goes (Eenie Meenie) cd 13.98
SF's Oranger continue to spread the love around, dishing out their generous offerings of sunbeam-bright tunes on a different label each time. Here, they've popped up on Eenie Meenie Records. Following up last year's 2cd Shutdown The Sun on Jackpine Records, New Comes And Goes' buoyant baker's dozen is once again sure to please Oranger's fans as well as those of fellow West Coast noise-poppers The Posies and Beulah. More polished, but still retaining a bit of the rough-around-the-edges, mischievous charm that characterised Shutdown and the album that came before it Quietvibrationland (released in 2000 on former Pavementer Scott Kannberg's label Amazing Grease). The album runs the gamut from bubblegum heights to more 'serious' mid-tempo downers, and we have to say that we do prefer the songs on which the band keep the mood upbeat and the energy high. That's when they shine the brightest (at least we think so). A side note: the album cover and font choice seem a little incongruous though, bringing to mind wee hours Euro dance punk festivities rather than a California beach-destined convertible on a scorchin' summer afternoon (which is what we associate this band's music with).
MPEG Stream: "Crooked In The Weird Of The Catacombs"
MPEG Stream: "Sukiyaki"

ORANGER Quietvibrationland (Amazing Grease) cd 14.98
These SF super-pop boys bring us a new full length full of, yes, very Beach Boys-influenced shining tunes, but they've polished this album up into something all their own. With nods to the rest of their Elephant 6 comrades. Glorious vocal harmonies soar. Buoyant melodies bounce along seemingly without a care in the world. Well-written, well-crafted and well-performed. For fans of Olivia Tremor Control, the Posies, Sloan.

ORANGER Shutdown The Sun (Jackpine) 2cd 14.98
With the final shows of popsters Beulah looming on the horizon, waste no time wonderin' who's gonna slip their tootsies into their fine shoes and be the new Cinderella of the Bay Area pop ball. 'Cause while Beulah were soaking up a good deal of the city's pop spotlight over the past few years, their pop brethren Oranger were quietly honing their songcraft. The results? A shining album reminiscent of the great pop of the Posies, Olivia Tremor Control, Apples In Stereo, Beulah and yes of course the Beatles and Beach Boys. On this new cd (that comes with bonus disc of fine rare goodies!), Oranger have really come into their own, revealing an impressive range -- able to funk it up, lounge it down or twang it all around, and still maintain their shiny playful pop foundations. Heaps of delightful vocal harmonies, infectious hooks and fully fleshed out arrangements.
MPEG Stream: "Going Under"
MPEG Stream: "Bluest Glass Eye Sea"

ORANJ SYMPHONETTE Plays Mancini (Gramavision/Rykodisc) cd 14.98
4 local guys have fun messin' with Henry Mancini. Ralph Carney. Joe Gore. Matt Brubeck and Scott Amendola. "Eccentric." "Quirky."

ORANJ SYMPHONETTE The Oranj Album (Ryko) cd 15.98
Second album from local band featuring experimental reeds/horn player Ralph Carney and lauded guitarist Joe Gore, among others. "Adrenaline-fueled far-out ride through '60s and '70s film soundtracks and radically reinterpreted standards."

ORANSSI PAZUZU Muukalainen Puhuu (Violent Journey) cd 14.98
Yet again, Finland delivers some divine delirious musical weirdness, this time in the form of psychedelic black metal freaks Oranssi Pazuzu, whose sound hews somewhat to the conventional tropes of black metal, but only somewhat, letting the requisite buzz and blast, splinter into swirling spaced out psychedelia, slow burning ambient space rock, PROG, druggy post rock, and pretty much any other strange sonic avenue these guys decide to explore. Think classic buzzing black metal, but then mix in some krautrock, lots of space rock (there's an astronaut on the cover for a reason!), classic hard rock and heavy metal, tons of not very black metal instruments, mellotrons, synthesizers, Hammond organs, strange vocal harmonies, it's really hard to explain what these guys are going for, but it's something spaced out and blackened, gnarled and abstract, but sprawling and expansive.
The opening track begins with muted drums and swirling electronics, soft focus chords, a strangely serene buzzscape, before the track kicks in with soaring high end riffage, pounding drums, only to break down into a sort of Hawkwindy workout, albeit with harsh vokills, but also all sorts of swoops and trills, sounds like maybe a Theremin, the band slip back and forth between blasting epic blackness, and tripped out stripped down spacejam, the guitars are rubbery and tangled, the bass a loping pulse, the riffs are strangely effected and stutter and ripple out, while a second guitar sprays shimmering harmonics out like stars in a black night sky. The second track opens up like a lost Gary Numan track, all Cars-style haunting synths, and simple motorik beats, over haunting high end melodies, peppered with bursts of furious blackness and weird chugging post rock parts.
Soon after the band slows down to full on shimmery near ballad, warbly guitars, simple skeletal drumming, hushed growled vox, before exploding into a complex keyboard driven prog workout, which leads into a more metal march.
The more we listen to these guys, the less they sound like a weird black metal band, and more like some heavy space prog band who just happens to incorporate elements of black metal into their sound. Which seems more apt considering very little of the record is spent buzzing and blasting, instead, the songs sprawl and expand into epic, convoluted spaced out prog, complex and catchy, but also obtuse and difficult, but totally unique and confounding and fantastically original.
We'd recommend this to adventurous black metallers for sure, but it almost seems like it was tailor made for all you Finnish music obsessives who have been on the lookout for something heavier and blacker and proggier and more freaked out and fucked up even than the usual Finnish fare, well friends, if this isn't what you were after, we don't know what it...
MPEG Stream: "Korppi"
MPEG Stream: "Danjon Nolla"
MPEG Stream: "Kangastus 1968"
MPEG Stream: "Suuri Paa Taivaasta"

ORAZBAEVA, RAUSHAN Akku (Dunya) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
WOW!!! When I (Irwin) started working at AQ over a year ago it was kind of like being the luckiest kid in the greatest candy store ever. All this amazing music surrounding me, every day getting to hear something I'd never heard and being blown away again and again. Of course like any good obsessive music fanatic I tried to think of some titles that maybe the store didn't have but totally should. This disc by Kazahkhstan's Rausan Orazbaeva was pretty much at the top of my list. Allan and Andee were able to get some for the store but we never were able to get enough to list...until now! So what has been a nice little secret for our in store shoppers can now be a treasure for everyone to enjoy. Orazbaeva is considered to be the greatest living interpreter of her highly unique instrument, the kyl-koblz, which is kind of like a 2 string cello held vertically and kept very close to the body when bowed. Orazbaeva is a pioneer in many ways, one of which is that it hasn't been until very recently that Kazakh women were even allowed to play this sacred instrument. But what makes Akku such an amazing record is not just that Orazbaeva is a master at her instrument but like those few rare masters she also evokes so much soul, emotion, fragility and power in her playing. These are sounds that you just have to surrender to. Graceful yet commanding. Flowing with beauty but also with moments of dynamic dissonance. Even this week when Andee had a million reviews to be writing and should have been glued to his desk he couldn't help but come up front every time we were playing this just to get a closer listen. You could almost imagine folks like Bjork and the Kronos Quartet freaking out and thinking how great it would be to collaborate with her. The kind of record that transcends genres, traditions, and geography and lands itself in that special section in our record collections designated for absolute brilliance! (In case you come in, don't look for the "Absolute Brilliance" section, cuz it doesn't really exist, but you know what we're talking about...)
MPEG Stream: "Akku"
MPEG Stream: "Kazan"
MPEG Stream: "Ykhlas"

ORB Cydonia (Island ) cd 16.98
Man, this sucks. What happened? First the album starts out with a really bad '80s revivalist track sounding like the worst from Severed Heads, then it delves into really bad '80s synthetic dub. There could be something worthwhile on this album, but with two really bad songs such as these, why bother to continue listening or writing about it for that matter?

ORB, THE Bicycles & Tricycles (Sanctuary) cd 16.98

ORB, THE Okie Dokie It's The Orb On Kompakt (Kompakt) cd 15.98
For some reason it feels like this is the first Orb record in forever, when in fact they have been plugging along pretty steadily for the last 15 years, a record every year or two or three. Maybe it's because this is the best Orb record in years. And maybe that's because of some strange alchemy resulting from the magical combination of the Orb and Kompakt. Either way, this is a gorgeous slab of minimal techno and lush crystalline pop ambient, the perfect blend of the Orb's pioneering ambient house, or chillout or whatever you want to call it, and Kompakt's clinical Cologne dub infused techno. The opening track is like the best Gas track that never was, a murky mumbly throbbing pulse, wrapped in a thick cowl of glistening, crackly ambience. So lush and thick you sort of just sink into it, lovely and luxurious. We would have been pleased as punch if the whole record was more of the same, but instead, things get gloriously mixed up. From the bizarre Foetus like industrial cabaret of "Lunik TM" to the shuffling bouncy techno-hop of "Cool Harbour" to the blissed out epic M83-like fuzz of "Beatitude", but all of it wrapped in the Orb's gauzy gritty production, and knack for subtly catchy melodies. The last third of the record slowly slips back into that perfect warm and swirly, lush and gritty, abstract shimmer we got but a glimpse of in the opening track. The perfect airy, fluffy-clouded send off, letting us drift off and float away.
Keep your ears peeled and you might detect a brief little bit of AQ faves Longmont Potion Castle amidst all the drift and flutter!
MPEG Stream: "Lunik TM"
MPEG Stream: "Ripples"

ORB, THE Okie Dokie It's The Orb On Kompakt (Kompakt) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
For some reason it feels like this is the first Orb record in forever, when in fact they have been plugging along pretty steadily for the last 15 years, a record every year or two or three. Maybe it's because this is the best Orb record in years. And maybe that's because of some strange alchemy resulting from the magical combination of the Orb and Kompakt. Either way, this is a gorgeous slab of minimal techno and lush crystalline pop ambient, the perfect blend of the Orb's pioneering ambient house, or chillout or whatever you want to call it, and Kompakt's clinical Cologne dub infused techno. The opening track is like the best Gas track that never was, a murky mumbly throbbing pulse, wrapped in a thick cowl of glistening, crackly ambience. So lush and thick you sort of just sink into it, lovely and luxurious. We would have been pleased as punch if the whole record was more of the same, but instead, things get gloriously mixed up. From the bizarre Foetus like industrial cabaret of "Lunik TM" to the shuffling bouncy techno-hop of "Cool Harbour" to the blissed out epic M83-like fuzz of "Beatitude", but all of it wrapped in the Orb's gauzy gritty production, and knack for subtly catchy melodies. The last third of the record slowly slips back into that perfect warm and swirly, lush and gritty, abstract shimmer we got but a glimpse of in the opening track. The perfect airy, fluffy-clouded send off, letting us drift off and float away.
Keep your ears peeled and you might detect a brief little bit of AQ faves Longmont Potion Castle amidst all the drift and flutter!
MPEG Stream: "Lunik TM"
MPEG Stream: "Ripples"

ORBISON, ROY In Dreams (Sony) cd 12.98
Undoubtedly, there are at least a few Roy Orbison songs somewhere in your collection. Most likely in the form of a greatest hits collection. Or covered by another artist. Which makes perfect sense as he wrote hit after hit, most of which have become part of our general consciousness, known to those who grew up with Orbison's songs back when, and to younger folks who may have heard them in David Lynch films. But Orbison was an artist of incredible depth and emotion and the way his actual albums were crafted deserve to be heard from start to finish, the way they were conceived. In Dreams is for sure his absolute masterpiece. A record which reaches tje very heart of longing, loss and yearning. While millions of records would follow dealing with many of these same heartbroken sentiments none of them quite understood and musically portrayed the beauty of anguish like Roy Orbison's records did. With lush instrumentation and his soaring unmistakable voice, In Dreams is a record that gets under your skin. A record for lonely nights, rainy days, and long drives. A dramatic flare that you can never doubt, not even for a second. What's so striking when you listen to In Dreams is how it actually could be be a greatest hits album. Who else could craft an entire album full of such perfect songs, each and everyone deserving to be played over and over again? Every one of these songs could be the song to take that devastating mix you're making to the next level. Every one of these songs brings a cinematic level of beauty to the heartache that undoubtedly all of us have felt at one time or another. No matter whether your current musical obsessions are psych-folk, black metal, prog, emo, indie rock, etc etc we dare you to listen to this record and not be moved. Timeless beauty and the ultimate anguish.
MPEG Stream: "Dream"
MPEG Stream: "House Without Windows"
MPEG Stream: "Shahdaroba"

ORCHESTER 33 1/3 (Rhiz) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Christian Fennesz (whose Hotel Parallel was one of the best electronica albums of 1997) and Christol Kurzmann laid down basic electronica compositions for academic jazz musicians to play around. At times it sounds like Amon Tobin being accompanied by Peter Brotzmann...and guess what...Brotzmann appears on one of the tracks. Quite a favorite around here.

ORCHESTRA 33 1/3 Maschine Brennt (Charhizma) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The second album from the massive rotating ensemble of Viennese electron technicians, ensemble performers, and jazz musicians is just as much a Dadaist assault as the previous venture. Fronted by Christian Fennesz with his wicked powerbook manipulations and Christof Kurzmann on horns & electronics, Orchestra 33 1/3 rolls through damaged free jazz spliced erratically like a Burroughs' cut-up, lengthy drone workouts, and occasional electronica breakbeat algorithms. Certainly for fans of Mego.

ORCHESTRA BAOBAB African Classics (Sheer Sound) cd 14.98
This collection of sure-shot classics from this veritable Senegalese institution has been making us seriously crave hammocks and sunshine. All you're gonna want to do when you hear these songs is rock back and forth ever so gently as the wind blows and the sun shines and you forget all your worries at least for just a little while. The way Orchestra Baobab mix their Senegalese musical roots with elements of Latin, Caribbean and Cuban musical styles meshes so perfectly. Soulful vocals, call and response delivery, and a masterful use of horns. So good! All too often horns are brash and upfront and nothing but a shiny annoyance, but Orchestra Baobab know how to use horns, subtly and seductively, making them ring in our ears with such delight. The perfect lazy Sunday afternoon record for sure. Highly recommended!
MPEG Stream: "Liiti Liiti"
MPEG Stream: "Ndeleng Ndeleng"
MPEG Stream: "On Verra CA"

ORCHESTRA BAOBAB Made In Dakar (Nonesuch) cd 17.98

ORCHESTRA BAOBAB N'Wolof (Dakar Sound) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Seeing as how Orchestra Baobab had just released a brand new album, we thought we'd pick up their first album (recorded between 1970 & 1971) for kicks and it's so damn good we've decided we ought to just list it. Orchestra Baobab's namesake is derived from the club (its interior decorated like the trunk of a gigantic baobab tree) where the group backed up a fluid collection of vocalists who would sing for drink and cash. Unlike the group's later recordings, the tracks on N'Wolof have a much more subtle Latin influence with the exception of a few numbers (the vocal chorus for "Cheri Takama" sounding a great deal like "La Bamba".) At times, during the longer, contemplative numbers, they sound strikingly like Mali's Rail Band (itself the house band at a Bamako hotel) during this same period. Which should probably not come as much of a surprize considering Mali shares Senegal's Eastern border. It's these longer tracks -- some 7 and 8 minutes -- where Orchestra Baobab really shines; the vocals dropping out, leaving rhythm guitar, bass & drums to play unbelievably sensuous back up for laid back sax and guitar solos. And it's the guitar solos (by the amazing Barthelemy Attiso, who still plays with the group) that are truly *gorgeous*. It's that unmistakable African pop electric guitar sound: hollow body electric guitar with lots of reverb & tremolo. But then, on top of that, there's these insane psychedelic, fuzzed out solos with heaps of echo that fairly raises the hairs on your skin. It's almost painful when these tracks end, and you're awoken from your opiate like reverie. And it was all recorded live (sans audience I'm pretty sure) at the Club Baobab. The surviving tapes and albums -- originally released on the club's own Bao label -- are in varying states of decay -- you can distinctly hear some tape drop out more than once (but I personally love that such analog anomolies will forever survive in the digital realm.) But fidelity schmidelity, this album is absolutely fucking essential!
RealAudio clip: "N'Diaye"
RealAudio clip: "Aduna Jarul Naawo"
RealAudio clip: "Lat Dior"

ORCHESTRA BAOBAB Pirates Choice (World Circuit) 2cd 23.00
Orchestra Baobab was formed in 1970 in Dakar, Senegal to inaugurate the opening of The Baobab Club. The band was made up of musicians from Dakar's Star Band (formed in 1960) and numerous other big players in Senegal's fertile music scene played parts in the group as well. The music of Orchestra Baobab and much of the Dakar scene was heavily influenced, ironically enough, by Latin songs and rhythms. Three of the songs on Pirates Choice are reworkings of Cuban songs and much of their music is sung in Spanish as well (so, it's very recommended to Buena Vista Socail Club fans). Kit drums and percussion lay the backbone of the Baobab sound, a deep and muted bass fills the room while a warm and reverberant guitar plays laid back solos, betraying even the fastest of the band's numbers. Occasionally a saxophone will add its two cents as vocalists sing in Wolof or Spanish. Though the Latin influence is always present, the songs here are much less drum taut, more likely to swing with an off the cuff ease. The tracks on these two discs were recorded in 1982, but only the six tracks which comprise the first disc were ever released on lp or cd. Lovely.
RealAudio clip: "Utrus Horas"
RealAudio clip: "Soldadi"
RealAudio clip: "Ngalam"

ORCHESTRA BAOBAB Specialist In All Styles (World Circuit) cd 17.98
Brand new recordings from Senegal's legendary Orchastra Baobab. The group, which got its start over 30 years ago, had a huge comeback with the reissue of their 1982 release "Pirate's Choice". It seems that the global attention the band received via this trip to the vaults inspired the band to reform, tour, and finally, to cut a new album of songs. Those fearing a watered down, world beat shadow of the band's legacy should sigh a heavy sigh of relief. "Specialist" could well have been recorded 20 years ago as much as it was several months ago. It's nice to know that the grubby little paws of Peter Gabriel and other homogenizers of music still can't destroy everything. Orchestra Baobab still stick to the same instrumental arrangements: airy & echoey electric guitars, deep & warm bass, saxophones, drums (along with congas, maracas & timbales) and vocals. The Latin influence in their rhythms and melodies is still ever present and, thankfully, they still opt for a live sound in their recordings, as they have since their earliest recordings. A fine return from a great band.
RealAudio clip: "Dee Moo Woor"
RealAudio clip: "Hommage A Tonton Ferrer"

ORCHESTRA ETHIOPIA Ethiopiques Vol. 23 (Buda Musique) cd 15.98
Formed in 1963 in Addis Ababa, Orchestre Ethiopia took on the task of bringing traditional Ethiopian folk sounds back into the limelight at a time when modern music ensembles were at the height of their popularity. However, rather than simply performing traditional songs for a wider (and eventually international) audience, the Orchestre's sound was unique as it took elements of a number of different folk traditions and mixed them up into a joyous, celebratory blend of Ethiopian cultures. The group itself was as diverse as its musical inclinations: it was initially assembled and led by a series of Americans including an ethnomusicologist and a Peace Corps worker (although it found a native leader in 1966 when Tesfaye Lemma took over leadership) and its membership included singers, dancers and musicians from a diverse array of ethnic and cultural backgrounds. The result is a sound that falls squarely between the two styles that the Ethiopiques series has done such a remarkable job of documenting: Orchestre Ethiopia weren't a traditional folk group, nor were they a modern groove ensemble. Instead, they played an inspired pastiche of traditional sounds in a very modern way, never committing to one particular sound or groove.
Although Orchestre Ethiopia released two LPs between 1969 and the group's disintegration in 1975, the majority of the tracks included on this disc are previously unreleased archival material - a fact which is reflected in the less than stellar fidelity of the recordings. However, the lack of polish adds a wooly, mysterious air to the music, and further emphasizes the group's outsider status. For all of the reasons above, this latest installment of the mighty Ethiopiques series has quickly become a favorite of the aQ staff, and it includes the extensive liner notes, personal essays, and archival photographs that one would come to expect from the fine folks at Buda Musique. Whether this is the first Ethiopiques cd you pick up or the 23rd, the fact of the matter remains: this is a brilliant, gorgeous and haunting collection of music from the golden age of one of the world's most culturally rich regions. Essential!
MPEG Stream: ORCHESTRE ETHIOPIA "Y�hetsanu L�qso"
MPEG Stream: ORCHESTRE ETHIOPIA "Besetchet"
MPEG Stream: ORCHESTRE ETHIOPIA "Aba Balano Shanka"

ORCHESTRA OF THE UPPER ATMOSPHERE s/t (Discus) 2cd 22.00
As soon as we heard this the massive and mesmeric sounds found here on the debut from the Orchestra Of The Upper Atmosphere, we knew it was Record Of The Week material! And while it's the record of our week (and many weeks to come, we imagine), it was three years in the making, a grandiose accomplishment involving the efforts of around 40 musicians and singers.
The British new music ensemble responsible for this sprawling double cd has an appropriately evocative name, they are in the business of generating clouds of sound from on high, and they are indeed a sort of Orchestra, certainly a lot of musicians on a lot of intruments making a BIG sound, the actual core group of the UOA itself comprising only five folks, but they're augmented by a string quartet (the La Garotte String Quartet), a woodwinds ensemble (The Divine Winds), and a 25 person avant-garde choral group (Juxtavoices).
Together, the UOA and friends create a hybrid akin to 20th century classical chamber music meets propulsive krautrock meets '70s cosmic jazz (some parts, like the ten minute track "Coherent Backscattering" that closes the first disc, remind us of the wonderful Alice Coltrane With Strings album World Galaxy, complete with what sounds like varispeed tape manipulation)É But it's probably most heavily influenced by the work of modern minimalist master Terry Riley in particular - imagine portions of the Riley/Cale album Church Of Anthrax heavied up by a psychedelic stage band, with tons of synth and electronics amidst the strings and horns and percussive skitter. Other comparisons we could cite include the Swedish sixties psych groups Parson Sound/International Harvester (also big Riley fans), some large prog jazz rock ensembles of the '70s, like Keith Tippett's Canterbury based Centipede, and krautrockers Out Of Focus (circa Four Letter Monday Afternoon), as well as various underground free drone ensembles of more recent vintage.
The two part, twenty-plus-minute "Seen From Above" early in the first disc is really worth the price of admission alone, a tour de force that sums up the glories of the OUA without revealing quite all the secrets that you'll encounter elsewhere on these two densely-packed discs (77+ minutes disc 1, 76+ minutes disc 2, no wasted space in other words, you get your money's worth!). The piece is full of droning deep rumbles that resolve into strong bass pulsations, graced with gorgeous organ tones, and dramatic drum rolls and cymbal crashes.
But the next track, the 10 minute plus "The Opposition Effect" is equally impressive, getting even heavier with the krautROCK elements, and brings the Juxtavoices to bear as well, with some intense vocal chant that reminds us of the aforementioned International Harvester.
And so it goes, and goes, the UOA at times bombastic and heavy, at others more hauntingly subtle and murmuring, with squeaks and mumbles, like an orchestra tuning up, in a murky sonic miasma. Much of this is stirring & cinematic, with parts that remind us of Godspeed! You Black Emperor and experimental Norwegian "death-jazzers" Supersilent too. The latter especially on disc two, which opens in an even, ah, moodier mood, the sound ever more abstract and ambient on "An Open Vista Is Revealed", followed by "He Died Before I Could Get My Revenge", which begins with shimmering jittering electronics and stumbling drums. Towards the end of that track, the Juxtavoices ensemble is employed to provide a bed of buried, layered and effected vocal snippets on the subject of the track's disturbing title (giving both a "hearing creepy voices in your head" and "overheard noisy cocktail party conversation" vibe at once). On both discs, the Juxtavoices talents are used judiciously in ways that really put this over the top in the sheer weirdness dep't., really letting it all out in feral, primal form amidst the murk of disc two's closer "Their Dark Presence Stretches Through The Void".
Oh, and eventually of course the krauty drum propulsion kicks in on this disc as well.
Essentially, the UOA take krautrock derived, pounding rhythmic hypnosis a la Circle, and combines it with the symphonic majesty of something like another recent aQ Record Of The Week, the reissue of William Sheller's glorious Lux Aeterna, if you can imagine that, or (if you've ever heard it) Richard Youngs' pseudo prog-rock Ilk project taken to Magma-like orchestral extremes.
At the core of the UOA, is English composer/improviser Martin Archer, also a member of The Divine Winds, and organizer of Juxtavoices. He's a quite prolific musician, who runs the Discus label that put this out, and we should really review more of his releases in future. Previously, Archer's name HAS appeared on the aQ list as a key member of crushing industrial doom/free jazz prog outfit Combat Astronomy, much loved by us; he's also the fellow responsible for the Saint Agnes Fountain album from about ten years ago, a clever hoax that purported to be an early '70s recording from a fictional female Japanese minimalist composer named Masayo Asahara (and if you liked that Martin Archer alter-ego as much as we did, you'll totally dig the UOA, they seem to share a lot of the same sonic inspirations). We're less familiar with the other key member of the UOA, multi-instrumentalist Chris Bywater, responsible for a good deal of the compositions and arrangements as well.
Martin and Chris, we're impressed! And this couldn't be more up our alley, as you can perhaps judge by the artists we've attempted to compare this to. In a word, wow.
MPEG Stream: "Seen From Above Part 2 (excerpt 1)"
MPEG Stream: "Seen From Above Part 2 (excerpt 2)"
MPEG Stream: "The Opposition Effect"
MPEG Stream: "Coherent Backscattering"
MPEG Stream: "He Died Before I Could Get My Revenge"
MPEG Stream: "The Umbral Length Of Shadows"

ORCHESTRA PETER THOMAS Orion 2000 (The Omni Recording Corporation) cd 17.98
Groovy, baby! Are you a filmmaker making a movie about sex kittens on the moon? A crime drama with rocket ships and ray guns? A documentary about swinging space aliens building the pyramids? Or just daydreaming about such subjects? Well, have we (and Omni) got the totally fab, pre-fab soundtrack for you!! Swank futuric funky jazz loungey freakbeat electronic grooves perfect for any kitschy exploito-flick you could imagine, pounded out by a band led by composer Peter Thomas, whom perhaps you know already as the man responsible for scoring Raumpatrouille (Space Patrol), a classic German '60s sci-fi TV show. His "in-kraut" stylings on many, many other soundtracks have earned him a cult following.
This exuberant disc consists of prime Peter Thomas stuff, material recorded in 1970, released as an obscure library music lp in 1975, and never before released on cd, until now! Remastered, from the original master tapes, and expanded with 4 rare bonus tracks, this features 16 tracks in total, most about 2-3 minutes in length, each categorized variously as either "Beat", "Electric Beat", "Strong Beat", "Rock Beat", or "Fast Beat", for what it's worth. They've ALL got bombastic beats, along with brassy horns, sizzling synths, fluttering flutes, and occasional wordless vocals... Any TV commercial or film project that was wild enough to made use of this library music would sound pretty hip, considering that the players in the Orchestra Peter Thomas included close associates and/or members of krautrockers Amon Duul II and Brainticket... Oh, and on lead guitar, Vampyros Lesbos co-composer Siggi Schwab!
Definitely another awesome Omni find. Packaged with informative, photo-illustrated liner notes, where you can read about PT's one of a kind "Tho-Wi-Phon" synthesizer, among other interesting things.
MPEG Stream: "Mars Close Up"
MPEG Stream: "Power Boost"
MPEG Stream: "Flash Point"
MPEG Stream: "Rockin' Computer"

ORCHESTRA PETER THOMAS Orion 2000 (Roundtable / The Omni Recording Corporation) lp 27.00
Now on vinyl, following Omni's cd version highlighted here a few months back!
Groovy, baby! Are you a filmmaker making a movie about sex kittens on the moon? A crime drama with rocket ships and ray guns? A documentary about swinging space aliens building the pyramids? Or just daydreaming about such subjects? Well, have we (and Omni) got the totally fab, pre-fab soundtrack for you!! Swank futuric funky jazz loungey freakbeat electronic grooves perfect for any kitschy exploito-flick you could imagine, pounded out by a band led by composer Peter Thomas, whom perhaps you know already as the man responsible for scoring Raumpatrouille (Space Patrol), a classic German '60s sci-fi TV show. His "in-kraut" stylings on many, many other soundtracks have earned him a cult following.
This exuberant album consists of prime Peter Thomas stuff, material recorded in 1970, released as an obscure library music lp in 1975, and out of circulation until now! Remastered, from the original master tapes (but without the 4 bonus tracks of the cd version), this features 12 tracks in total, most about 2-3 minutes in length, each categorized variously as either "Beat", "Electric Beat", "Strong Beat", "Rock Beat", or "Fast Beat", for what it's worth. They've ALL got bombastic beats, along with brassy horns, sizzling synths, fluttering flutes, and occasional wordless vocals... Any TV commercial or film project that was wild enough to made use of this library music would sound pretty hip, considering that the players in the Orchestra Peter Thomas included close associates and/or members of krautrockers Amon Duul II and Brainticket... Oh, and on lead guitar, Vampyros Lesbos co-composer Siggi Schwab!
Definitely another awesome Omni find. Packaged with informative liner notes, where you can read about PT's one of a kind "Tho-Wi-Phon" synthesizer, among other interesting things.
MPEG Stream: "Mars Close Up"
MPEG Stream: "Power Boost"
MPEG Stream: "Flash Point"
MPEG Stream: "Rockin' Computer"

ORCHESTRA REGIONAL DE MOPTI The Best Of The First Biennale Of Arts And Culture For The Young (1970) (Mississippi) lp 14.98
**MISSISSIPPI RECORDS ALERT**
Another fantastic African artifact, this one, the first in a six part series, and as the title suggests, these tracks were recorded in 1970 as part of the First Biennale Of Arts And Culture For The Young. Orchestra Regional De Mopti, was a state funded group, who performed nationwide, in festivals and competitions, their sound incredible, lush and celebratory, looped guitar figures, fluttering flutes, lots of horns, wild drumming, call and response vocals, the music infused with emotion and passion, the sound trancelike, droning and hypnotic, many of the songs lock into super mesmeric grooves, the guitars tangled and gorgeously gnarled, minor key and slightly melancholy, but simultaneously exuberant and effusive, the vocals skipping wildly over the darkly meditative music underneath, while those songs are dark and dour, unwinding and unfurling like lost ballads, others are upbeat and bouncy, danceable even. The band really are incredible, it's hard to pick out just one element, the guitars slip from wild and spidery, to jangly and major key, to woozy and understated, the horn section almost sounds like a marching band, but their playing is so soulful, funky and groovy, and the vocals, slipping from chantlike murmur to mysterious hushed croon, to wild and nimble tongue twisting wail, these sounds, and these musicians are just beautiful and moving and so passionate. Definitely one of our new Mississippi faves, and already dying to hear more. Anyone into Ethiopiques, Sublime Frequencies and the like will dig this big time!

ORCHESTRA TERRESTRIAL s/t (Die Stadt) cd 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With almost each release now, Richard H. Kirk offers us a new pseudonym, although he's still best known for his collaboration with Stephen Mallinder in the legendary industrial / electronica outfit Cabaret Voltaire. Purportedly rediscovering classical music and citing Wagner, Debussy, and Mozart as influences, Kirk emerges as Orchestra Terrestrial, but this album is still essentially an electronic production. While his Alphaphone projects have for the most part revolved around recombinant techno patterns, Orchestra Terrestrial is a mostly ambient affair, building a series of very long tracks from extended repititions of diffused melodies from synthetic hand bells and artifical string patches. Spartan and subdued 808 arpeggiations make themselves known, but more as deep space / sci-fi references to an illusion of slow motion while traveling at warp speed. Fans of Fax Records should rejoice over this one.
RealAudio clip: "Einflug"

ORCHESTRAL MANOEUVERS IN THE DARK (OMD) Dazzle Ships (Expanded) (Virgin) cd 14.98
We've all got our old favorite records that maybe we haven't heard in a while, but it only takes a few bars of the lead-off track to immediately bring it all back and make us wanna dust 'em off again... This was the case when a special order was recently placed for Orchestral Manoeuvres In The Dark's 1983 album "Dazzle Ships"- a seeming direct follow-up to Kraftwerk's 'Radioactivity' - featuring shortwave radio broadcasts, chiming synth lines, speak-and-spells, and earnest, emotive vocals. Take tracks like the bouyant "Telegraph"- it's pure synth-pop goodness, combining an innocent exuberance with considerably more weighty, dark subject matter. An overlooked experimental electronic pop gem, this album is full of wonderful songs and sounds, courtesy of core members Paul Humphreys and Andy McCluskey. In a time when 'the '80s' are seemingly everywhere - and frequently in the most watered-down, cliche forms - it's nice to catch a few quality moments with a brilliant, good old friend. FYI: Jim thinks 'Organization' is way better, but this is definitely OMD's most exploratory moment. Features the extended remixes of Genetic Engineering and Telegraph and those singles b-sides.
MPEG Stream: "Telegraph"
MPEG Stream: "ABC Auto-Industry"
MPEG Stream: "Of All The Things We've Made"

ORCHESTRAL MANOEUVRES IN THE DARK Organisation (Virgin) cd 15.98

ORCHESTRAL MANOEUVRES IN THE DARK s/t (Microwerks) cd 13.98
Orchestral Manoeuvres In The Dark may forever be known for their '80s pop classic "If You Leave" which graced the Pretty In Pink soundtrack, but the band's first four records stand at the vanguard of British synth-pop. Unashamed by their influences from Kraftwerk and Brian Eno (especially Another Green World), OMD were keen on experimenting with electronics, synths, and drum machines in a new wave / pop context with a knack for the melodic pop hook to offset their mechanical plonk and bleep. Where The Human League were exceptionally coy with their ironic embrace of consumer culture (making their platinum clad singles all the more confounding), OMD were romantic at heart. Even the references to 20th Century warfare (i.e. Dazzle Ships, Enola Gay, The Messerschmidt Twins, Bunker Soldiers) find the band lyrically transposing the languages of love and war. Bittersweet at times, but never grim!
The eponymous record was the debut for OMD, released in February 1980. The single from the album, "Electricity," was a corker, a remake of a song from an earlier EP released by Factory. Here, it's a ridiculously catchy song with plenty of Man-Machine overtures in its crisp rhythm and plunky electric piano melody. With its sweeping tone-bend melodies and gliding electronic rhythms, "Bunker Soldiers" is one of those templates that had been emulated by almost every minimal wave project from 1980 to present. This cd reissue contains two versions of "Messages," with a single version fleshing out the tinny melodies with a springy Peter Hook inspired bassline... but no matter which version you're talking about, it's still fantastic. There are a few bonus tracks tacked on to the original program, including the spectral dirge "I Betray My Friends" and a cover of Velvet Underground's "Waiting For The Man" which is cute but unnecessary. Regardless, it's totally great to have this album back in print again, especially in the ongoing revisionism of minimal wave, synth punk, and new wave romanticism.
MPEG Stream: "Bunker Soldiers"
MPEG Stream: "Almost"
MPEG Stream: "Electricity"
MPEG Stream: "Messages (Single Version)"

ORCHESTRE POLY RYTHMO The 1st Album (Analog Africa) cd 17.98

MPEG Stream: "Ou C'est Lui Ou C'est Moi"
MPEG Stream: "La La La La"
MPEG Stream: "Ye Ye We Nou Mi"

ORCHESTRE POLY RYTHMO The 1st Album (Analog Africa) lp 23.00

ORCHESTRE POLY-RYTHMO DE COTONOU Echos Hypnotiques: 1969-1979 (Analog Africa) cd 24.00
We nearly wore out our copies of the first volume of singles and jams from the amazing Orchestre Poly-Rythmo De Cotonou, a previously little known but highly prolific Afro-beat group from the tiny western Africa country of Benin. Now they're one of our top favorite groups! The Analog Africa label was practically founded on their discovery and other groups who recorded for the Albarika Store Label and its elusive producer, Adissa Seidou. That discovery yielded enormous riches. Over 500 tracks from this legendary group in its many incarnations were unearthed, nearly half were recorded for the Albarika Store Label and this collection focuses on that period. The previous volume was a collection of singles from smaller labels that the band made on the sly while Seidou was out of town. All lo-fi recordings often only using one microphone for the singer as well as the band. The recordings on this collection were made with higher quality recording equipment, and while the songs here have less of that urgent funk made by a band on the run, they are much more composed, varied and altogether stranger. Some of this is in fact seriously nuts! Lots of fuzzed out and wah'd guitar, layers of distorted percussion, horns and spacey organs. Though there are tracks that continue the Voudon funk vibe of the first volume, tracks like "Noude Ma Gnin Tche De Me" bring some head-boppin' Go-Go garage stomp, while tracks like "Gan Tche Kpo" are mind-melting Afro-psych. Others have more Latin flavor similar in vibe to Konono No.1's infectious dance rhythms, which makes sense as the OPRDC are one of the featured groups on the latest Honest Jon's comp, Africa Boogaloo (reviewed elsewhere on this list) that traces the influence of Latin rhythms on West Africa. The Analog Africa Label has yet to disappoint, and if you liked any of the labels other releases, or are new to this group/label, right here is a fine place to start!!
MPEG Stream: "Azon De Ma Gnin Kpevi"
MPEG Stream: "Noude Ma Gnin Tche De Me"
MPEG Stream: "Gan Tche Kpo"
MPEG Stream: "Mede Ma Gnin Messe"

ORCHESTRE POLY-RYTHMO DE COTONOU Echos Hypnotiques: 1969-1979 (Analog Africa) 2lp 27.00
NOW ON VINYL!!
We nearly wore out our copies of the first volume of singles and jams from the amazing Orchestre Poly-Rythmo De Cotonou, a previously little known but highly prolific Afro-beat group from the tiny western Africa country of Benin. Now they're one of our top favorite groups! The Analog Africa label was practically founded on their discovery and other groups who recorded for the Albarika Store Label and its elusive producer, Adissa Seidou. That discovery yielded enormous riches. Over 500 tracks from this legendary group in its many incarnations were unearthed, nearly half were recorded for the Albarika Store Label and this collection focuses on that period. The previous volume was a collection of singles from smaller labels that the band made on the sly while Seidou was out of town. All lo-fi recordings often only using one microphone for the singer as well as the band. The recordings on this collection were made with higher quality recording equipment, and while the songs here have less of that urgent funk made by a band on the run, they are much more composed, varied and altogether stranger. Some of this is in fact seriously nuts! Lots of fuzzed out and wah'd guitar, layers of distorted percussion, horns and spacey organs. Though there are tracks that continue the Voudon funk vibe of the first volume, tracks like "Noude Ma Gnin Tche De Me" bring some head-boppin' Go-Go garage stomp, while tracks like "Gan Tche Kpo" are mind-melting Afro-psych. Others have more Latin flavor similar in vibe to Konono No.1's infectious dance rhythms, which makes sense as the OPRDC are one of the featured groups on the latest Honest Jon's comp, Africa Boogaloo (reviewed elsewhere on this list) that traces the influence of Latin rhythms on West Africa. The Analog Africa Label has yet to disappoint, and if you liked any of the labels other releases, or are new to this group/label, right here is a fine place to start!!
MPEG Stream: "Azon De Ma Gnin Kpevi"
MPEG Stream: "Noude Ma Gnin Tche De Me"
MPEG Stream: "Gan Tche Kpo"
MPEG Stream: "Mede Ma Gnin Messe"

ORCHESTRE POLY-RYTHMO DE COTONOU The Vodoun Effect: 1972-1975 (Analog Africa) cd 24.00
One of our favorite cuts from the recent African Scream Contest compilation was from the Benin based Orchestre Poly-Rythmo De Contonou, a stellar Afro-funk collective that in various line-ups recorded over 500 tracks between 1970-1985. This is part one of a planned two volume release, this one focusing on a prolific string of singles released on various private labels between 1972-1975. As the story goes, the band were signed to a major African label and recorded at a high quality studio (which will be the focus of the second volume), but while the label head was away on business, the band would take matters into their own hands, recording various singles for small independent labels, often at people's homes with only one microphone for the singer and the band in a close semi-circle behind him. The sound quality with such limitations is actually quite amazing and really displays the group's tight -knit musicianship. Like Fela Kuti's legendary band, the Orchestre Poly-Rythmo De Cotonou deal in heavy James Brown inspired Afro-funk, but more centered on guitars and organ than the horn section. This is one of the best and most consistent anthologies of West African music from a single group we've seen in these parts all year! Highest recommendation!
MPEG Stream: "Mi Homlan Dadale"
MPEG Stream: "Mi Ni Non Kpo"
MPEG Stream: "Iya Me Dji Ki Bi Ni"

ORCHESTRE POLY-RYTHMO DE COTONOU The Vodoun Effect: 1972-1975 (Analog Africa) 2lp 27.00
Now available on vinyl!
One of our favorite cuts from the recent African Scream Contest compilation was from the Benin based Orchestre Poly-Rythmo De Contonou, a stellar Afro-funk collective that in various line-ups recorded over 500 tracks between 1970-1985. This is part one of a planned two volume release, this one focusing on a prolific string of singles released on various private labels between 1972-1975. As the story goes, the band were signed to a major African label and recorded at a high quality studio (which will be the focus of the second volume), but while the label head was away on business, the band would take matters into their own hands, recording various singles for small independent labels, often at people's homes with only one microphone for the singer and the band in a close semi-circle behind him. The sound quality with such limitations is actually quite amazing and really displays the group's tight -knit musicianship. Like Fela Kuti's legendary band, the Orchestre Poly-Rythmo De Cotonou deal in heavy James Brown inspired Afro-funk, but more centered on guitars and organ than the horn section. This is one of the best and most consistent anthologies of West African music from a single group we've seen in these parts all year! Highest recommendation!
MPEG Stream: "Mi Homlan Dadale"
MPEG Stream: "Mi Ni Non Kpo"
MPEG Stream: "Iya Me Dji Ki Bi Ni"

ORCHESTRE RAIL-BAND DE BAMAKO s/t (Mississippi) lp 14.98
**MISSISSIPPI RECORDS ALERT**
We've been swamped with a barrage of new Mississippi releases, all of them amazing, including this, a gorgeous bit of music from Mali, from the Orchestre Rail Band De Bamako, a sun dappled bit of Latin/Cuban influenced African jazz recorded in 1970. Orchestre Rail Band De Bamako were one of the most popular bands in Mali, melding Afro Latin jazz with traditional African music, incorporating Western instrumentation, mixing horns, and soaring vocals, electric guitar and African percussion into a truly unique sound. Fronted by legendary vocalist Salif Keita when this album was recorded, the Orchestre Rail Band De Bamako had a constantly shifting lineup, launching the careers of many famous performers, and they continue to perform today. But this 1970 recording might be their most famous, and perhaps their best, warm and lush, the vocals so beautiful, and the instrumentation and arrangements gorgeous, the sound so evocative it almost transports the listener right back to seventies Mali. Dreamy and divine.
As with all Mississippi releases, packaged in a nice thick full color jacket, no insert this time, just the original liner notes reproduced on the back of the sleeve.
MPEG Stream: "Rail Band"
MPEG Stream: "Koro Koni"
MPEG Stream: "Gansan Na"

ORCHESTRE REGIONAL DE KAYES The Best Of The First Biennale Of Arts & Culture For The Young (1970) (Mississippi) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Thus far Mississippi Record's bread and butter has been seriously deep blues and gospel compilations, with the occasional pre-war Hawaiian tune or Balkan folk ensemble. However, with the reissue of Orchestra Regional de Kayes, originally released in 1970, and the sterling soon to be re-pressed Lipa Kodi Ya City Council comp from a few lists ago, Mississippi is finding a bit of flexibility in their catalogue, with no drop in quality whatsoever.
In 1960, after Mali won Independence from France, the government specified that each of the eight regions of Mali be represented by an orchestra comprised of, naturally, their very best musicians. The orchestras convened once a year from 1962-68, and subsequently every other year until the mid-eighties, to determine who was the best. This record documents a portion of the repertoire performed by the Orchestra Regional de Kayes, representing a region in the northwest of Mali bordering Senegal. It is their only recording, and was originally released in the Barenreiter-Musicaphon series. The bulk of the songs are renditions of traditional Mande folk songs, interpreted in the context of Mali's burgeoning modernity. And now, with a bit history under our collective belts we feel more justified in saying casuallyÉ holy shit, this is beautiful.
After a few listens, it comes as no surprise that we are listening to players that were determined most officiously and perhaps ridiculously, to be THE best. Sit with that for a moment... THE BEST. What comes as a surprise, therefore, is how soulful, sensitive and lyrical every performance is. Though technically flawless, the musicians' chops are always employed in service of taste and spirit. The guitars alone are worth the price of admission, and are deployed in a seriously vast and nuanced manner; sometimes darting through the mix with insect-like dexterity, other times languidly careening across the chorus with zen-like patience, and most often threading their way adroitly to a soft spot between rhythm and melody, tradition and innovation, in which the players freedom is found in a limitless palette within and through the manipulation of convention. And in this way, the guitar playing is always very musical, but also lyrical and mimetic, as though the players are talking to you, or hinting at some emotional quantity embedded in the form. And that is just the guitars!
The vocals are also fantastic, with plenty of excellent call and response dynamics between a lead vocalist and a chorus. A few of the tracks feature lead vocalists that spill untamed and urgent phrasings that harken to recent Aq fav Omar Souleyman, and also hint at the kind of rabid flows some of us have come to love in the grime explosion. However, most of the vocals are more soulfully paced, and sometimes a bit mournful and bluesy. Needless to say they are all very moving performances. The vocals are also supported by some gorgeous and syrupy accompaniment from an array of wind instruments, and a terrifically spare but present percussion ensemble. Something particularly exceptional in this collection compared to some of what we've heard in the Ethiopiques series, and more recently with the Nigerian Trilogy on Soundways, is the sense of space and continuity. This is one band, in one room, and as a result there is a sense of atmosphere and spaciousness that makes the record effective. Rather than a survey of style, it is an invitation to inhabit a space that is entirely elegant, and lyrical. It's hard to believe that it has taken this so long to find re-release, so don't miss this limited opportunity to gain a fleeting glimpse into a truly powerful and nascent period in Mali's musical history.

ORCHID Capricorn (The Church Within) cd 17.98
Once again, not to be confused with the old sceamo band THE Orchid, but yes very much to be confused with BLACK SABBATH, that's their schtick as it were, this Bay Area based doom metal act now offering up their debut full-length album after a four-song ep that we considered almost a guilty pleasure because of how much Orchid sounded utterly, EXACTLY like Black Sabbath. That's what they do, and they do it damn well. There's been other bands who emulate the Sabs, of course, that's the whole "doom metal" genre really, but Orchid sound more like Sabbath than even, say, Iron Man, sHeavy, or Sleep on Sleep's Holy Mountain!
The vocalist's version of Ozzy, though, is maybe more of a malevolent one, he comes off like Ozzy with a grimacing, evil edge. Riff wise, it's Iommi all the way. Really, every moment here sounds like it's been lifted of an old Sabbath lp, but rearranged/rewritten into Orchid's all "new" Sabbath songs. They can't complain about us saying that, that's obviously their intention, to recreate the Sabbath vibe circa 1970-73 as closely as they can, becoming Earthly vessels of sheer Sabbathiness, originality be damned. "Black Funeral" here for instance, seems to channel Sabbath's "Hand Of Doom"... but without quite (quite) crossing the line into outright plagiarism. Pretty much all the other songs on Capricorn can also be mapped to their vintage Sabbath templates, it's almost like you're listening to an alternate universe Sabbath album that never existed.
All right, so we've established that it would be impossible to write a review of Orchid's album without referencing Black Sabbath. What else is there to say? The musicianship is excellent, the production heavy and '70s sounding, with psychedelic synth embellishment and other droning eerie atmospheres (see "Planet Caravan", we mean "Albatross") - and of course catchy riffage that rocks mightily when the band is going full-bore, as on "Eyes Behind The Wall" and "Down Into The Earth" among others. There's absolutely no duds among the nine songs here, we're digging 'em all, and we think all fans of heavy retro occult metal like Blood Ceremony and Witchcraft will likely enjoy these too... as well as, of course, Sabbath fans, especially if you've worn out your actual Sabbath records and want a fresh dose.
The Church Within has done this up in super-deluxe packaging - a heavy duty four-panel gatefold sleeve, adorned with art painted by Orchid's singer. We hear rumors of an even fancier, but way more expensive, limited leather bound book version, but this will do for us! Nice.
MPEG Stream: "Capricorn"
MPEG Stream: "Black Funeral"
MPEG Stream: "Down Into The Earth"

ORCHID Capricorn (Deluxe Edition) (Church Within) cd+book 39.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We listed the standard version of this heavy slab of stoner doom riffage from SF heavies Orchid back in April, and while that version is still available, we managed to get just TWO copies of the super fancy deluxe version, which comes in a super swank oversized faux leather sort of hardcover book, like some ancient necromantic tome or something. Same music as far as we can tell, but all with even fancier packaging. Here's what we had to say about the record when we first listed it:
Once again, not to be confused with the old sceamo band THE Orchid, but yes very much to be confused with BLACK SABBATH, that's their schtick as it were, this Bay Area based doom metal act now offering up their debut full-length album after a four-song ep that we considered almost a guilty pleasure because of how much Orchid sounded utterly, EXACTLY like Black Sabbath. That's what they do, and they do it damn well. There's been other bands who emulate the Sabs, of course, that's the whole "doom metal" genre really, but Orchid sound more like Sabbath than even, say, Iron Man, sHeavy, or Sleep on Sleep's Holy Mountain!
The vocalist's version of Ozzy, though, is maybe more of a malevolent one, he comes off like Ozzy with a grimacing, evil edge. Riff wise, it's Iommi all the way. Really, every moment here sounds like it's been lifted of an old Sabbath lp, but rearranged/rewritten into Orchid's all "new" Sabbath songs. They can't complain about us saying that, that's obviously their intention, to recreate the Sabbath vibe circa 1970-73 as closely as they can, becoming Earthly vessels of sheer Sabbathiness, originality be damned. "Black Funeral" here for instance, seems to channel Sabbath's "Hand Of Doom"... but without quite (quite) crossing the line into outright plagiarism. Pretty much all the other songs on Capricorn can also be mapped to their vintage Sabbath templates, it's almost like you're listening to an alternate universe Sabbath album that never existed.
All right, so we've established that it would be impossible to write a review of Orchid's album without referencing Black Sabbath. What else is there to say? The musicianship is excellent, the production heavy and '70s sounding, with psychedelic synth embellishment and other droning eerie atmospheres (see "Planet Caravan", we mean "Albatross") - and of course catchy riffage that rocks mightily when the band is going full-bore, as on "Eyes Behind The Wall" and "Down Into The Earth" among others. There's absolutely no duds among the nine songs here, we're digging 'em all, and we think all fans of heavy retro occult metal like Blood Ceremony and Witchcraft will likely enjoy these too... as well as, of course, Sabbath fans, especially if you've worn out your actual Sabbath records and want a fresh dose.
MPEG Stream: "Capricorn"
MPEG Stream: "Black Funeral"
MPEG Stream: "Down Into The Earth"

ORCHID Through The Devils Doorway (The Church Within) cd 13.98
Uh, can you say Black Sabbath? 'Cause that's about EXACTLY what this new band from San Francisco sounds like, same vocals, same chugging sludgy riffs, same swinging groove, same apocalyptic hippie vibe, even moreso than other bands also on The Church Within label that admittedly have Black Sabbath as a major influence (Lord Vicar, Lord Of The Grave, Seamount...). Courting confusion with the screamo punk band Orchid, they're naturally named after a Black Sabbath song (amusingly, one of those acoustic-y guitar solo numbers Tony Iommi liked to do now and then amidst all the heaviness, "Orchid" appearing on Master Of Reality). You don't get "Fluff" like that here, though, it's all about the heaviness and rockin' doominess. And it IS super heavy, and super Sabbathy, make no mistake. Maybe TOO Sabbathy... They've got mega riffs that Iommi might come asking for back someday, those unmistakable incantatory Ozzyish vocals, and an authentically Sabbathy sounding production, all of which puts 'em in the same camp as Sabbath worshippers Sleep (circa their Holy Mountain album), sHeavy, Iron Man, etc. We're reminded of Trouble too, though they were never quite such copyists. So, not too many points for originality, none at all really, but plenty for verisimilitude. And, we can't help it, we're sorta suckers for this, being the huge Black Sabbath fans we are, this scratches that itch, y'know?
So, this ep from Orchid comprises four songs you could throw on after listening to Vol. 4 or Sabotage and, if you squint your ears a bit, consider hitherto unreleased Black Sabbath "bonus tracks" (which all Sabbath lovers know are in very short supply). Of course we'd be even more impressed with 'em if they'd somehow managed to write truly 100 percent NEW songs as good as Sabbath's, rather than what's closer to pastiche, but that's easier said than done, and it's still a fun listen if you want to hear a shockingly similar Sabbath sound-alike, fun too trying trying to figure out which specific Sabbath album/song each Orchid song is emulating, which isn't too difficult really... "Into The Sun", despite its "Into The Void" like title, reminds us more of "Symptom Of The Universe". "Eastern Woman" has a Technical Ecstasy feel, we think, while "Son Of Misery" sounds more like the first album Sabbath. And "No One Makes A Sound" is primarily in the style of stuff on the Sabbath Bloody Sabbath LP, with a bit of an "Iron Man" interlude in it too. You won't believe it's NOT Sabbath, that should be their slogan.
We will say, though, that we hope they add a little more of their own flavor in the future, 'cause when we saw 'em live the other day (opening for the Pentagram/Ludicra/Slough Feg show) they seemed a bit... well there's no nice way to put it... like posers. They had the '70s look, the vintage gear (well except the bassist wasn't playing a Rickenbacker for some reason, WTF dude, get with the program, what would Geezer think?), it all seemed a bit too calculated, not really "real" enough, and without anything of their OWN in the mix it they might as well have just played actual Sabbath covers, rather than the cleverly rewritten Sabbath songs it appeared they were playing. That said, listening at home, we can't help but enjoy this ep quite a bit, the worshipful spirit of the thing comes across better here somehow! Like we said a while back in our WhiteBuzz review, sometimes you want more of a certain band's sound, and if another band can channel it too, let 'em! And we ALWAYS want more Sabbath... Orchid obviously feel the same way.
By the way, it's funny that we originally found out about these guys 'cause they're on a cool German label that we order from, even though they're a local band!
MPEG Stream: "Eastern Woman"
MPEG Stream: "Son Of Misery"

ORCHID Totality (Clean Plate) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Orchid has to be the best of all the emo / screamo / math metal / hardcore bands around. Or -were- the best, they seem to have hung it up recently (some of the guys went on to form the brilliantly monickered Bucket Full Of Teeth). Furiously heavy, super dense sound, HUGE guitars, killer riffs, impossibly complex songs, and somehow with all that going on they manage to be one of the catchiest heavy bands EVER. Not poppy or hooky exactly, but every convoluted riff, every unlikely memory sticks in your head like crazy. When people salivate over bands like the Locust and the Daughters, as much as we like those bands, the Orchid totally crush them, heavier and catchier and weirder (without being gimmicky). Hard to explain exactly why this stuff is so good, it just sounds so fucking huge and heavy, all the best parts of punk rock and metal wrapped up in a big spiky fiery ball of pent up aggression and musical brutality. Often referred to as chaotic emo grind, and we're not sure we could come up with anything better or more accurate. Totality collects all the long out of print seven inches, splits and compilation tracks, all on cd for the first time. Packaged in a cool silkscreened red jewel case.
MPEG Stream: "New Ideas in Mathematics"
MPEG Stream: "She Has A Cold, Cold Heart"
MPEG Stream: "Panopticism"

ORCUSTUS Demo 2002 (self-released) cd ep 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.