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IMPORTANT (Please read to avoid confusion):
Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


FAUST Ravvivando (Klangbad) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
More so than Aphex Twin's score to a Bank of America commercial or Oval's contribution to one for Calvin Klein, Faust's appearance on a commercial for Nike has clearly been the oddest commodification of experimental music. Fortunately, the "success" of the venture has not gone to Faust's collective head... Their highly-anticipated new album Ravvivando succeeds where previous '90s ventures You Know Faust and Rien (which could be argued was more of a Jim O'Rourke album) perhaps did not. On this album, the hypnosis induced by the constant churning of percussive blasts and springy basslines is complemented by washed out drones dissolving to reveal their construction from swells of organ and guitar.
It should be noted that the resurrection of Faust about five years ago did bring a drastic change to their Krautrock mutations of pop, noise, carnival music, jazz, and general experimentation which characterized their seminal '70s records such as Faust IV or So Far. One cannot expect that a musical hibernation of 20 years would not affect the artistic process. But rather than making contextual comparisons to Faust's work from the '70s, we proclaim that Ravvivando is their best record of the '90s. So there. The new Faust is a great band, on their own merits.

album cover FAUST Ravvivando Remix Maxi Single (Klangbad) cd ep 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Soft Cell remixes Faust?? That's right, the legendary, eccentric krautrockers Faust hit the dancefloor with the help of Soft Cell's David Ball (and one Ingo Vauk as well). The track "Wir Brauchen Dich #6", taken from Faust's last (and quite excellent) album "Ravvivando" from a few years back, gets strapped to some heavy Neu!-ish motorik beats on the three remixes on this ep, which apparently precedes a full-length Faust "Ravvivando Remixes" disc yet to come. The fourth track reprises the album original, which of course is still the best, but the others are interesting novelties for Faust fans (and, possibly, *really* "interesting" novelties for Soft Cell fans!).
RealAudio clip: "Wir Brauchen Dich #6 remix"

FAUST Rein (Table of the Elements) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Need we say any more than to announce that this is finally available?! Well, okay, here's the obi blurb: "These are the first studio recordings from German group Faust in over 20 years. An aggressive collision of electronic pastiche musique concret, power tools and group improvisation results in an extraordinary return by one of the seminal experimental ensembles of all time."

FAUST Schiphorst 2008 (Salamanda) 2cd 23.00

album cover FAUST So Far (Polydor / Universal) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of the BEST RECORDS EVER. That's right. And I don't think we're really going out on a limb with that claim. Certainly one of the best krautrock records ever (as are pretty much all the Faust albums, actually). This, Faust's second album, originally released in 1972, has been reissued numerous times over the years, for a while as an expensive Japanese import only, then in the crucial Wumme Years box set, and most recently by Collector's Choice as a two-on-one with Faust's self-titled debut. We still stock that for the budget-minded amongst you, but since this is such a classic, we figure some folks will want this newer, nicely digipacked reish all by its own. Unlike the two-fer, the cd booklet here includes all the full-color images (one illustration per song) that came as art prints with the original vinyl. And as well, there's new liner notes and vintage photos in there as well. Nice.
But let's get back to this best records ever business, for those that weren't already nodding in agreement. It's the missing link between The Velvet Underground and The Boredoms, we're telling you. Just listen to the mantric opener "It's A Rainy Day, Sunshine Girl" and tell us they weren't influenced by the VU... yet taking things way further into the trance-zone, pioneering the minimal post-rock sounds of many popular indie bands today... Circle ferinstance! And for sure the Boredoms. Also, without Faust, chances are, no This Heat. No Nurse With Wound. Yep they were pioneers all right. And still sound plenty fresh 'n weird today. So Far reigns in the sound collage craziness of their selt-titled debut, tightening up into actual song-form-iness, even getting into some pleasantly lyrical poppiness... but always ready to do something violently eccentric. "Daddy, take the banana!"
MPEG Stream: "It's A Rainy Day, Sunshine Girl"
MPEG Stream: "No Harm"

album cover FAUST So Far (4 Men With Beards) lp 24.00
Nice to have this in now as an actual vinyl (180 gram) reissue, after all, it's one of the BEST RECORDS EVER. That's right. And I don't think we're really going out on a limb with that claim. Certainly one of the best krautrock records ever (as are pretty much all the Faust albums, actually). This, Faust's second album, originally released in 1972, is the missing link between The Velvet Underground and The Boredoms, we're telling you. Just listen to the mantric opener "It's A Rainy Day, Sunshine Girl" and tell us they weren't influenced by the VU... yet taking things way further into the trance-zone, pioneering the minimal post-rock sounds of many popular indie bands today... Circle ferinstance! And for sure the Boredoms. Also, without Faust, chances are, no This Heat. No Nurse With Wound. Yep they were pioneers all right. And still sound plenty fresh 'n weird today. So Far reigns in the sound collage craziness of their selt-titled debut, tightening up into actual song-form-iness, even getting into some pleasantly lyrical poppiness... but always ready to do something violently eccentric. "Daddy, take the banana!"
And, this vinyl reissue comes packaged like the original with a bunch of art inserts!
MPEG Stream: "It's A Rainy Day, Sunshine Girl"
MPEG Stream: "No Harm"

album cover FAUST The Faust Tapes (ReR) cd 17.98
Faust's third album (or fourth if you count the Tony Conrad & Faust "Outside the Dream Syndicate" album), originally released in 1973, is now available for the first time on cd with the original artwork (excepting the box set) instead of the horrible cover that originally graced the previous Recommended reissue. Faust Tapes is a collection of Faust's more experimental forays, recorded between 1971 and 1973 at Wumme, with lots of short snippets of improvised noise and textures. There are a few composed "songs" on this album (some of their best, like "Flashback Caruso"!), but overall it's a lot more chaotic and random sounding than Faust's rock efforts such as "IV" and "So Far". Completely essential, however.
RealAudio clip: "Exercise - With Several Hands On A Piano"
RealAudio clip: "Flashback Caruso"
RealAudio clip: "Untitled"

album cover FAUST The Faust Tapes (ReR) lp 31.00
Another welcome lp reissue from these legendary krautrockers!
Faust's third album (or fourth if you count the Tony Conrad and Faust collaboration Outside the Dream Syndicate), originally released in 1973, is a collage-like collection of Faust's more experimental forays, recorded between 1971 and 1973 in the studio at Wumme, with lots of short snippets of improvised noise and textures. There are a few composed "songs" on this album (actually some of their best, like the classic "Flashback Caruso"!), but overall it's a lot more chaotic and random sounding than Faust's rock efforts such as IV and So Far. Completely essential, however. And if you're interested in picking this up on vinyl at this import price, you've probably heard it already anyway and KNOW you want it on wax.
RealAudio clip: "Exercise - With Several Hands On A Piano"
RealAudio clip: "Flashback Caruso"
RealAudio clip: "Untitled"

FAUST The Land of Ukko & Rauni (Ektro) 2cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Wow! Krautrock/Faust fans have had a lot to be thankful for these past few weeks. First we are presented with the instantly-essential "Wumme Years" 5-cd box set (see AQL #104) of old Faust classics and rarities, and now we are blessed with this double cd set of new Faust material! San Francisco Faust fans disappointed by the legendary krautrock band's last SF performance (a lackluster jam-filled session at the Great American Music Hall a year or two ago) may find their faith in Faust's live abilities renewed by this album, released on our new favorite label, Ektro (run by Jussi Lehtisalo of Circle). No, they're not doing old Faust songs from "So Far" or "Faust IV", but their current improvisational efforts are very effective in a dark and droning way. As well, they do at least two songs derived from their last studio album, 1999's pretty great "Ravvivando" -- the line-up of which, minus only one guy, performs on this set. "The Land of Ukko and Rauni" (Ukko and Rauni being ancient Finnish gods, of course) documents a Faust show in Helsinki on April 20th, 2000, beginning with sub-aquatic dirge-rumble, like music for whales -- you get the sense of large, intelligent beings moving fluidly in the darkness. Soon the band is engaged in some exploratory, but quite propulsive, psych-rock, with keys, guitar (courtesy of the Davis Redford Triad's Stephen Wray Lobdell), and Zappi's drums, augmented by additional mysterious sounds (Faust's trademark proto-industrial sound effects). The textures and rhythms of this mostly-instrumental set (there's a few moments of nonsense word-blurt but nothing much) are unmistakably Faust-ian, and worthy of a double discs' investment in listening. Faust, even thirty years on, remain a potent outfit, one from which today's crop of supposedly trend-setting spacey post-rock bands could learn a thing or two.
RealAudio clip: "Wir Brauchen Dich no#7"
RealAudio clip: "Vagary"

FAUST The Wumme Years 1970-73 (Recommended) 5cd box+book 82.00
A 5cd box set devoted to krautrock legends Faust? We were salivating from the moment we heard about it! The output of the band from 1970-73 is truly remarkable, and their work can hardly be compared to any of their contemporaries. They transcend both psych and prog, they influenced countless acts and anticipated many musical trends, from This Heat to Nurse With Wound, New Wave and No Wave, Industrial and "Post-Rock", the Boredoms old stuff to the Boredoms new stuff. Seminal musical genius that everyone should hear. And this is both a good place to start for newcomers (I envy anyone hearing Faust for the first time!) and a necessary collection for fans.
The nitty gritty details, for those who wanna know it all: Wumme refers to the schoolhouse-turned-studio that Faust producer Uwe Nettelbeck rented out at Polydor's expense (he also managed to get Polydor to buy the band all the recording gear they needed and pay for a 24-hour a day, live-in engineer.) It was under these ideal conditions that Faust recorded almost all of the material on this box set, which includes (get ready!): Faust's self-titled debut, their second album "So Far" (both of those terribly hard to find on cd, with the Japanese edition of "So Far" having been out of print for years now), the ever-popular "The Faust Tapes" (now with a track listing and indexing!) and "71 Minutes of Faust" (collecting both the "The Last LP" and "Munic and Elsewhere" LPs). And, also included in this set is an amazing disc of unreleased material, some recorded live at the BBC in 1973, plus some recently discovered & never before listened to tapes as well as the track "We Are the Hallo Men" which was originally on "Munic & Elsewhere" (though curiously credited here as having been on "The Last LP"), but previously left off of ReR's previous version of "71 Minutes of Faust". For this disc alone the set is worth the money to Faust aficionados! Then add in the 40 page booklet, illustrated with rare color photos (of them playing darts outdoors in the nude! THE NUDE!) and Super 8 stills, that features essays/memories from Faust friends/fans Chris Cutler and Peter Blegvad, and interviews with several band members as well as with their producer (the reclusive Nettelbeck) and, for the first time ever, with sound engineer Kurt Graupner!
Of course, the individual discs may be issued separately at some time (or not? all we've heard is that the BBC sessions will come out individually) but then again with those first two Faust cds being so hard to come by, and so essential, there's got to be lots of you out there you not only will want this whole box, but NEED this box. Nicely presented, clearly a labor of love, with the cds in not-fancy-but-serviceable individual digipacks (and don't worry, the paintings from "So Far" are included in a color booklet with that disc).
RealAudio clip: "J'ai Mal Aux Dents"
RealAudio clip: "Flashback Caruso"

FAUST Two Classic Albums From Faust: Faust & So Far (Collector's Choice) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What can we say, other than that this may be the year of the Faust re-issue! Yet another (and quite cheap, all things considered) way to delve into the seminal work of these eccentric krautrock geniuses. Fairly well packaged, with reproductions of the original artwork and notes from the first album (no, not on clear plastic as the LP was) included, as well as the front and back cover images from "So Far" (but not the color prints found inside the original LP or in the previous cd reissues--if you want those, you gotta get the "Wumme Years" box). But, this disc comes with two pages of additional notes by Jason Gross of "Perfect Sound Forever" magazine.

FAUST / LIKE A STUNTMAN split (Bureau B) 12" 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover FAUST / NURSE WITH WOUND Disconnected (Art-Errorist) cd 22.00
The quintessential Krautrock projects -- Faust, Can, Guru Guru, Amon Duul, and all things vaguely associated with Conny Plank -- had been huge influences on Nurse With Wound's catalogue. So it goes without saying that when Steven Stapleton got the call that Faust wanted him to produce a record of theirs, he enthusiastically leapt at the chance. What he didn't expect was that Faust only passed on a series of sloppy studio improvisations to Stapleton with the instructions to make a Faust album out of them. We can imagine that Jim O'Rourke had been given a similarly loose framework when he was granted the opportunity to produce Rein back in 1995. Just as O'Rourke took those sounds and sculpted an album which was remarkable in its similarity to classic '70s era Faust (e.g. Faust Tapes, Faust IV, So Far, etc.), Stapleton with his trustworthy cohort Colin Potter at his side has crafted an excellent pastiche of that obtuse Faust sound of mutant psychedelia which guided the more experimental proponents of prog rock, industrial, post-punk, and post-rock. Disconnected is filled with dynamic tumbling percussive riffs, rolling acoustic guitar nestled into clouds of vibrating distortion, unsettled sweeping driftwork, and stoned basslines. In other words, Disconnected sounds like a fucking great Faust album.
Unfortunately, this has been very difficult for us to get a hold of; so don't expect it to stick around for very long. We should also let you know that this is the regular edition of Disconnected. The special edition (which we didn't get) does feature two 'bonus' tracks, the first of which is called "Silence" and features just silence (some bonus!); and the second is a live track without the presence of Nurse With Wound. Nope, those ain't here; but honestly we really don't think purchasers of this regular version are missing too much.
MPEG Stream: "Lach Miss"
MPEG Stream: "Disconnected"
MPEG Stream: "Tu M'entends?"

album cover FAUST / NURSE WITH WOUND Disconnected (Dirter) 2lp 42.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on vinyl! The quintessential Krautrock projects - Faust, Can, Guru Guru, Amon Duul, and all things vaguely associated with Conny Plank - had been huge influences on Nurse With Wound's catalogue. So it goes without saying that when Steven Stapleton got the call that Faust wanted him to produce a record of theirs, he enthusiastically leapt at the chance. What he didn't expect was that Faust only passed on a series of sloppy studio improvisations to Stapleton with the instructions to make a Faust album out of them. We can imagine that Jim O'Rourke had been given a similarly loose framework when he was granted the opportunity to produce Rein back in 1995. Just as O'Rourke took those sounds and sculpted an album which was remarkable in its similarity to classic '70s era Faust (e.g. Faust Tapes, Faust IV, So Far, etc.), Stapleton with his trustworthy cohort Colin Potter at his side has crafted an excellent pastiche of that obtuse Faust sound of mutant psychedelia which guided the more experimental proponents of prog rock, industrial, post-punk, and post-rock. Disconnected is filled with dynamic tumbling percussive riffs, rolling acoustic guitar nestled into clouds of vibrating distortion, unsettled sweeping driftwork, and stoned basslines. In other words, Disconnected sounds like a fucking great Faust album.
MPEG Stream: "Lach Miss"
MPEG Stream: "Disconnected"
MPEG Stream: "Tu M'entends?"

album cover FAUST VS. DALEK Derbe Respect, Alder (Staubgold) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ok, just in case introductions are in order: Faust is the classic Krautrock band from the '70s who resurrected themselves in the '90s, demonstrating that they still knew a thing or two about making weird and avant-garde psychedelic rock music. Dalek, meanwhile, is a genre defying, indie-rock-scene-crashing rapper from New York whose album on Ipecac two years back was a big hit 'round these parts and elsewhere. The Dalek / Faust connection first became public when a Dalek cut was included on Faust's Klangbad: First Steps compilation. We then heard rumors that the two were gonna do something together...at last, here is the fruit of that unholy union! Krautrock and rap, that's a first I guess. (Krautrap? ugh.) But it makes sense in light of Dalek's allegiance to dub and electronica and Faust's interest in the same... So, how did this collab turn out? Sounds more like a Dalek record than a Faust one overall. Dark, scary soundscapes stretch out over the first track -- percussive miasma, with somewhere in there latter-day Faust guitarist Stephen Wray Lobdell (Davis Redford Triad) generating clouds of blue-black -- before Dalek starts dropping rhymes on track two, "Hungry For Now". Beats ricochet dangerously as Dalek does the urban griot routine over the grinding of the Faust factory. It's kinda in the same illbient, claustrophobic dub-sphere as Spectre and the WordSound crew, or Techno-Animal, with whom Dalek previously has worked. Faust are certainly capable of generating some heavy duty darkness -- as they have gotten older, they seem to have delved more into the Industrial-Ambient sounds their old albums perhaps presaged. You'll find no references to the surreal pop element of Faust's '70s sound here, just some hardcore hip hop in a nightmare void.
MPEG Stream: "Hungry For Now"
MPEG Stream: "Dead Lies"

album cover FAUST VS. DALEK Derbe Respect, Alder (Staubgold) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ok, just in case introductions are in order: Faust is the classic Krautrock band from the '70s who resurrected themselves in the '90s, demonstrating that they still knew a thing or two about making weird and avant-garde psychedelic rock music. Dalek, meanwhile, is a genre defying, indie-rock-scene-crashing rapper from New York whose album on Ipecac two years back was a big hit 'round these parts and elsewhere. The Dalek / Faust connection first became public when a Dalek cut was included on Faust's Klangbad: First Steps compilation. We then heard rumors that the two were gonna do something together...at last, here is the fruit of that unholy union! Krautrock and rap, that's a first I guess. (Krautrap? ugh.) But it makes sense in light of Dalek's allegiance to dub and electronica and Faust's interest in the same... So, how did this collab turn out? Sounds more like a Dalek record than a Faust one overall. Dark, scary soundscapes stretch out over the first track -- percussive miasma, somewhere in there latter-day Faust guitarist Stephen Wray Lobdell (Davis Redford Triad) generating clouds of blue-black -- before Dalek starts dropping rhymes on track two, "Hungry For Now". Beats ricochet dangerously as Dalek does the urban griot routine over the grinding of the Faust factory. It's kinda in the same illbient, claustrophobic dub-sphere as Spectre and the WordSound crew, or Techno-Animal, with whom Dalek previously has worked. Faust are certainly capable of generating some heavy duty darkness -- as they have gotten older, they seem to have delved more into the Industrial-Ambient sounds their old albums perhaps presaged. You'll find no references to the surreal pop element of Faust's '70s sound here, just some hardcore hip hop in a nightmare void.
MPEG Stream: "Hungry For Now"
MPEG Stream: "Dead Lies"

FAXED HEAD Exhumed At Birth (Amarillo) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Everyone's favorite deformed "desk metallers" return with a new album sure to whip all Bungle-worshippers into a noisy metallic frenzy.

FAXED HEAD The Four Freshmen (Japan Overseas) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
More "handicapped" "metal" for Bungle/Caroliner fans, recorded on the Head's Japan tour.

FAY, BILL From The Bottom Of An Old Grandfather Clock (Wooden Hill) cd 24.00

FAY, BILL Life Is People (Dead Oceans) cd 14.98

FAY, BILL Life Is People (Dead Oceans) lp 19.98

album cover FAY, BILL s/t (Eclectic Discs) cd 21.00
We had never really heard of Bill Fay, at least until we started hearing him mentioned as an influence on folks like Ben Chasny of Six Organs Of Admittance, Jim O'Rourke, Current 93 and the like. Which made perfect sense when we finally heard Fay's music. A reissue of Fay's debut album, originally released in 1970, this is majestic, emotional singer songwriter stuff, simple, beautiful songs, wrapped in lushly orchestrated, sweeping strings, regal horns, totally epic and emotionally grand arrangements (think Scott Walker). The sticker on the cover boldly proclaims Fay as "the missing link between Nick Drake, Ray Davies and Bob Dylan" and while we can perhaps dismiss that as hyperbole to a certain extent, there is definitely something special about Fay's voice and his songs. They definitely work best when they tend toward the more maudlin and miserable, it's then that the Nick Drake comparison makes the most sense. The orchestral filigree has the definite downside of occasionally making some of the songs a bit too saccharine and overblown. Which is unfortunate as Fay's songs are the sort that would work just as well with just a guitar or a piano, dark and brooding, and emotionally charged, stripped to its bare essentials. That said, some of the string parts are absolutely stunning, and the horns give some of the tracks a bit of a Chicago vibe which in no way is a bad thing. Not necessarily dreary or depressive or fucked up enough to transcend their seventies singer songwriter sound, but some close listening will reveal how ultra personal and simply fantastic these songs are!
Features extensive liner notes from Fay himself as well as two bonus tracks: both songs from Fay's rare 1967 "Screams In The Ears" / "Some Good Advice" seven inch single.
MPEG Stream: "Garden Song"
MPEG Stream: "The Sun Is Bored"

album cover FAY, BILL Time of the Last Persecution (Eclectic Discs) cd 21.00
This is the second record, originally released in 1971, by Bill Fay, who we had never even heard of until recently, when we started reading how Fay was "the missing link between Nick Drake, Ray Davies and Bob Dylan" and hearing his name bandied about as an influence on groups like Six Organs Of Admittance and Current 93 among others. And once we heard this record in particular, it didn't seem so far fetched. Unlike his self titled debut album released a year earlier (and reviewed elsewhere on this list), Time Of Last Persecution is a much more immediate, stripped down record, mostly guitar based, with simple insistent piano, even some horns, but without all the swooping strings and lush orchestration that was all over the first record. And Fay's songs do indeed shine when allowed to be heard naked and exposed like this. His voice sounds so much more forceful and emotional, the simple melodic underpinning so much more effective. Even the photo on the cover, featuring a bearded and bedraggled Fay, hints at the personal intensity and intimate emotion within. Intense and incredibly moving, moody and melancholy, you can definitely here some Davies and Drake, even some Eagles, some E.L.P (at their most balladeering) and most definitely some Allman Brothers. As if the songs and the amazing vocal performance weren't enough, the record features occasional inspired and frenzied bursts of ferocious psychedelic guitar freakout from jazz legend Ray Russell!
MPEG Stream: "Omega Day"
MPEG Stream: "Don't Let My Marigolds Die"

album cover FAY, BILL Time of the Last Persecution (4 Men With Beards) lp 22.00
NOW NICELY REISSUED ON VINYL!! The 4 Men With Beards were bound to get to this eventually, we're glad they did. Here's what we said about this brilliant album back when we first reviewed a cd reissue several years ago:
This is the second record, originally released in 1971, by Bill Fay, who we had never even heard of until recently, when we started reading how Fay was "the missing link between Nick Drake, Ray Davies and Bob Dylan" and hearing his name bandied about as an influence on groups like Six Organs Of Admittance and Current 93 among others. And once we heard this record in particular, it didn't seem so far fetched. Unlike his self titled debut album released a year earlier, Time Of Last Persecution is a much more immediate, stripped down record, mostly guitar based, with simple insistent piano, even some horns, but without all the swooping strings and lush orchestration that was all over the first record. And Fay's songs do indeed shine when allowed to be heard naked and exposed like this. His voice sounds so much more forceful and emotional, the simple melodic underpinning so much more effective. Even the photo on the cover, featuring a bearded and bedraggled Fay, hints at the personal intensity and intimate emotion within. Intense and incredibly moving, moody and melancholy, you can definitely here some Davies and Drake, even some Eagles, some E.L.P. (at their most balladeering) and most definitely some Allman Brothers. As if the songs and the amazing vocal performance weren't enough, the record features occasional inspired and frenzied bursts of ferocious psychedelic guitar freakout from jazz legend Ray Russell!
MPEG Stream: "Omega Day"
MPEG Stream: "Don't Let My Marigolds Die"

album cover FAY, BILL GROUP Tomorrow Tomorrow And Tomorrow (Drag City) lp 15.98

FAY, BILL GROUP Tomorrow, Tomorrow and Tomorrow (Durtro / Jnana) cd 14.98

album cover FAZZINI, TOM Neck to Neck (Locust) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Incredible reissue of this totally cracked, acid fried slab of downer synth pop outsider genius. Originally released in the early eighties, Tom Fazzini was carving out a sound that must have freaked people the fuck out back then. Even by today's standards, this stuff is out there: minimal, lo-fi, dark and druggy, psychedelic and a little bit new wave. Keyboards warble and wheeze, drum machines skitter and thump, and Fazzini's vocals, howl and croon and mewl, occasionally grunting, squealing, growling, dripping with reverb, often a volatile angry counterpoint to the warm new wave-y drift of the music underneath.
Much of Neck To Neck gets all industrial and doomy, lots of space, the synth and mechanical drums meting out a spare, abstract pound, that would almost sound right at home on a Wolf Eyes record, or even some unreleased Suicide jam. The record slips into some truly creepy dark ambience, the vocals occasionally erupt into squalls of howling-in-tongues, FX overload madness, but for the most part, Neck to Neck is dark and mysterious, a bit damaged and lysergic.
The B-side especially spends much of its time creeping and crawling, lots of buzzing low end synth, the vocals paranoid and frantic, bloopy basslines, lots of hushed shimmer, and abstract drift, that is until the record explodes into a twisted sing songy jingle, bouncy and bizarre, with what sounds like kazoos, sixties housewife background vocals, almost growly scary singing, over a monotonous rhythm, everything evolving into what sounds like a fucked up Neanderthal birthday party gone wrong, before slipping back into that incessant jazz jingle looped weirdness, only to finish the record with some gorgeous, stripped down elegiac minor key guitarscapery, depressive and downer-y, laced with slow motion circus calliope melodies and warm swells of chordal whirr.
Schizophrenic, otherworldly, damaged, demented and so goddamn great. Sounds like Ariel Pink's creepy drugged out older brother. If Fazzini was a twenty something making music today, with a bunch of limited cd-r releases under his belt, he would be the toast of the current lo-fi / warped pop / cold wave underground, as it is, all those whippersnappers mining the past best bow down, considering that the stuff they're doing now, already existed 25 years ago, and was way weirder!

album cover FEAR The Record (Slash / Rhino) lp 14.98
What really needs to be said about Fear? One of the greatest punk bands ever. Have you ever seen the Decline of Western Civilization? Fear definitely stole the show with their fierce and frenzied audience baiting set. And then there's the time they played on Saturday Night Live at the behest of none other than John Belushi, where they were introduced by Donald Pleasance, and eventually caused over $20,000 in damage. But all that rabble rousing would be nothing but bullshit posturing if they didn't have the music to back it up. And Fear's The Record, released in 1982, said it all, a pretty much perfect punk rock record all the way through, fierce and fucked up, weirdly proggy, frantic and frenzied, politicized and irreverent, vocalist Lee Ving's over the top growled vocals leading the charge.
"Let's Have A War" is a punk rock anthem if there ever was one, with its "there's so many of us" repeated bridge and its woozy tribal verse that almost sounds like the Butthole Surfers. Then there's the goofy and tasteless "Beef Bologna", with its crooned bluesy intro, the song itself a minute of pounding punk anthem. "Camarillo" is an unsung classic, as powerful as any of the tracks on The Record, with some weird angular guitaring, some very metal riffage, not to mention some seriously Jello-like vocals. But it has to be "I Don't Care About You" that steals the show, heavy and hooky and punk as fuck with a chorus that kills, and c'mon "I Don't Care About You╔ FUCK YOU!!" Doesn't get more punk than that, does it?
The rest of the record is overflowing with classics, the ridiculous but impossibly catchy (and very Dead Kennedys sounding) "New York's Alright If You Like Saxophones", which of course is rife with actual saxophones, and the lyrics are hilarious. "We Destroy The Family" is fierce and furious and peppered with weird metal percussion, "I Love Livin' In The City" is somehow WAY poppier than it has any right to be╔
Fear were one of those rare punk bands that infused their punk with plenty of pop hooks, and had serious song writing chops, all without losing any of their punkness, yet somehow making their music eminently more listenable, and making them way more accessible to folks outside the punk scene, think the Dickies, Bad Religion, The Descendents╔
Available on vinyl again, but whatever format, this is an essential document of West Coast punk rock, and one of our favorite punk rock records EVER.
MPEG Stream: "Let's Have A War"
MPEG Stream: "I Don't Care About You"
MPEG Stream: "New York's Alright If You Like Saxophones"
MPEG Stream: "We Destroy The Family"

album cover FEAR BEFORE THE MARCH OF FLAMES The Always Open Mouth (Equal Vision) cd 12.98

MPEG Stream: "Drowning The Old Hag"
MPEG Stream: "Mouth"
MPEG Stream: "Taking Cassandra To The End Of The World Party"

album cover FEAR FALLS BURNING I'm One Of Those Monsters Numb With Grace (Equation) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fear Falls Burning is quickly becoming one of our favorites artists in the suddenly way-too-crowded scene/genre/movement of guitar-doom-drone-sludge-whatever. A lot of it has to do with that while yes, FFB is one man, a very large amp, and a whole mess of effects pedals, he is much more concerned with mood and texture, structure and timbre, than just mass or heaviness. And somehow, as is often the case, the music that strives the least to sound heavy, is the music that ends up actually sounding the heaviest. Although heavy in its own peculiar way.
I'm One Of Those Monsters Numb With Grace (great title!) consists of two side long epics, the first, begins as a crumbling rock riff, looped into oblivion, repeating and repeating as it gets less and less distinct, beneath a sky filled with gauzy high end streaks of soft melodic shimmer. The track builds and builds, but not into the seemingly requisite huge explosively sludgy 'chorus', more of a glistening thick drone, a dense assemblage of layer upon layer of guitar, multiple melodies all tangled up, everything churning and squirming and growing in density and intensity more than volume.
The second side opens up with a soft minimal shimmer, tranquil and so dreamy, eventually working itself up into a completely (and impossibly) catchy hiccuping stutter, a sort of Spacemen 3 style minimal psych rock jam, but with a main riff that could almost be nothing more than a skipping cd player. It actually sounds like our favorite part of our favorite Teenage Filmstars song ("Teenage Graffiti") with it's fucked up skipping backwards production stretched out into a whole song. So amazing!!!
This is a super limited vinyl only release, LIMITED TO 399 COPIES! Packaged in a breathtakingly designed, super heavy gatefold jacket, printed with a super close up image of the bridge of a guitar, housed in a printed inner sleeve, and pressed on ultra heavy 180 gram vinyl.

album cover FEARTHAINNE s/t (Glass Throat) 2cd 14.98
Much black metal has been coming out of Cascadia lately, Wolves In The Throne Room, Fauna, Echtra, but not all is grim and frosty and cold and buzzy and black in the Pacific Northwest. Fearthainne is the work of the two players who make up Fauna, whose Rain record we raved about a while back. But in Fearthainne, all of the buzz and bluster have been replaced by delicate crystalline guitar, gruff emotive vocals, deep ominous drones, all woven into a slow, drifting, meditative mountain folk.
On the same label that in the past has brought us mysterious sounds from At The Head Of The Woods, The Elemental Chrysalis, Ruhr Hunter, Alethese and Beneath The Lake, Fearthainne sound right at home, blending dense whirring minimal soundscapes, with gentle meditative folk rituals. Long long tracks that slowly blossom, smoldering, clouded in warm browns and cool greys, strings weep and moan, effects gently cradle the various elements, adding texture more than changing the sound. Mesmerizing, trancelike ruminations on nature, on death, on the beyond. Simple percussion demarcates sprawling folk strum and fields of lilting shimmer and and delicate flutter. The vocals are a strange contrast, almost atonal, moaned more than sung, reminding us of solo records by either of the Neurosis frontmen, giving the proceedings a much more ominous vibe, ritualistic and hauntingly spiritual.
Gorgeous in its simplicity, mysterious in its minimalism, Fearthainne is the soundtrack to a land outside of time, of trees towering over a world unspoilt, clouds drifting across empty skies, night turning into day, the cycle of life continuing on, the world and the universe around it gradually moving into a new, more magical existence. Beautifully sublime.
Incredible packaging, full color 6 panel oversized sleeve, amazing images of ancient forests, late night rituals, and the band gathered beneath a mighty tree, cradling a baby, dressed like witches, and looking like a band of bearded forest dwellers (which they may very well be!).
MPEG Stream: "Fauna"
MPEG Stream: "The Veil"

album cover FEATHERS s/t (Gnomonsong) cd 13.98
Originally released on lp by the band, now available on cd via the Gnomonsong label run by Devendra Banhart and Andy Cabic of Vetiver.
A customer turned us on to this Vermont-based group who have quietly been making their own brand of druggy hippy psych folk, releasing loads of cd-r's and this here s/t album, and it seems like only a matter of time before the rest of the world catches on and they'll be psych-folk household names like Joanna Newsom and Devendra Banhart. Simple strummed guitars, sweet sweet harmonies, banjo and occasional acid fried guitars, simple and insistent tribal drumming, very reminiscent of seventies British folk a la Incredible String Band, Shirley Collins, even Comus (but not nearly as psychotic). However, they do occasionally wander down a darker path, exploring moody and minor key acoustic dirges, each one curiously ominous folky swirl beneath a brooding strum and thump. There's also an old timey element to Feathers, the tracks sound so old, but timeless at the same time, almost otherworldly (assuming the other world had banjos and folk music and record players) sounding a lot like sitting in a dusty room listening to old 78's. So so nice. Includes a big booklet with lyrics, and lots of photos of the band all fringed and tassled and feathered up, frolicking in the forest.
We loved this already, when that LP first showed up, but now we're even more fascinated by Feathers in light of how amazing (and different from this, being soooo heavy) that Witch album featuring two Feathers members is!
MPEG Stream: "Old Black Hat With A Dandelion Flower"
MPEG Stream: "To Each His Own"

album cover FEATHERS s/t (Feathers Family) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A customer turned us on to this Vermont-based group who have quietly been making their own brand of druggy hippy psych folk, releasing loads of cd-r's and this here lp, and it seems like only a matter of time before the rest of the world catches on and they'll be psych-folk household names like Joanna Newsom and Devendra Banhart. Simple strummed guitars, sweet sweet harmonies, banjo and occasional acid fried guitars, simple and insistent tribal drumming, very reminiscent of seventies British folk a la Incredible String Band, Shirley Collins, even Comus (but not nearly as psychotic). However, they do occasionally wander down a darker path, exploring moody and minor key acoustic dirges, each one curiously ominous folky swirl beneath a brooding strum and thump. There's also an old timey element to Feathers, the tracks sound so old, but timeless at the same time, almost otherworldly (assuming the other world had banjos and folk music and record players) sounding a lot like sitting in a dusty room listening to old 78's.
Comes with a big poster of the band all painted up and luxuriating in the tall green grass.

album cover FEATHERS Something's Wrong with Feathers (self-released) cd-r 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
New tour-only full length cd-r from hippie psych-folk collective Feathers. Nine Songs in round robin style, each one dedicated to the likes of Arthur C. Clarke, Carl Sagan, Nabob (from Brightblack Morning Light) and the Dictionary, amongst others. Like the previous cd-rs, "Kurt Sings" and "Tour Paint" (both sadly unavailable), these are hand-printed, colored and sewn, and so very, very limited!
MPEG Stream: "Space Alien Blues"
MPEG Stream: "We Are In Danger Now"

album cover FEATHERS Tour Paint (self-released) cd-r 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Folks who witnessed Feathers opening for Vetiver and Espers a few weeks back, mentioned that they were one of the quietest bands that had heard. So much so, that a rock venue was hardly the best venue to witness their delicate beauty. While the band was here we managed to snag the last of this tour-only ep, a gorgeous self released, hand sewn and packged glimpse into their ethereal dark folk world. The first track is so quiet, it's like Feathers are whispering in your ear, the candlelight flickering, their warm breaths as loud as he barely strummed guitars. So lovely. The next two tracks are much more rambunctious, some seventies British style pagan folk, with Syd Barret like vocals and lots of druggy psychedelic filligree. The final track returns to the hushed beauty of the opening song, a dark dolorous minor key lament, with angelic vocals and haunting steel string guitars.
Packaged in a hand screened paper sleeve, sewn together with colored thread. Each and every one is unique.
THESE ARE THE LAST 30 COPIES. ONCE THEY ARE GONE THEY ARE GONE FOR GOOD!
MPEG Stream: "Wandering With You"
MPEG Stream: "Angel In The Sky"

album cover FEDERATION X Rally Day (Estrus) cd 14.98
Dirty, sludgy, poppy, grunge rock from the two worlds of Bellingham, WA and New York City. Rally Day is heavy on the power-chords and rock n' metal riffs. One of our more favorite tracks, "Nightmare Nation", features some pulled-down vocals treatments that reference a bit of Ozzy. Overall the production of this record leaves us feeling pretty ho-hum which is too bad because the energy in their songs seems to be pretty powerful, potentially. This could be one of those things that the band is totally amazing live, but falls short here by way of their recording process, cause the band certainly knows how to rock! For fans of Love As Laughter, The Apes, Part Chimp.
MPEG Stream: "Hydrogen, Nitrogen & Bullshit"
MPEG Stream: "A Fear To Fly"

FEEDTIME Billy (Amphetamine Reptile) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
These fellas make the Cosmic Psychos seem childish. They tied your favorite singer to the rear fender of their pick-up truck and they drove and they drove and they drove fast, and in your direction.

album cover FEEDTIME The Aberrant Years (Sub Pop) 4cd 17.98
As much as we're perpetually on the prowl for new sounds, sometimes it's the old sounds that move us the most. And it's a good time for revisiting old sounds for sure. So many classic records getting reissued, whether it's the gnarled indie rock of Archers of Loaf, all the Sebadoh records, the seminal math/post rock of Bitch Magnet, the forthcoming reissues from slowcore legends Codeine, there's no shortage of old bands who definitely deserve another listen, and there's most definitely a whole new generation ripe to discover all these bands for the first time. Which brings us to feedtime, a band whose influence amongst OTHER bands can't be underestimated, but in terms of commercial success and enduring popularity, well there's definitely a disparity, one that will hopefully be addressed with this comprehensive reissue of all four '80s records from these Aussie minimal thud rockers, whose sound, who, listening to these records again now, influenced so many of the bands we've flipped over since, right off the bat we're hearing Wire (a band they're often compared too, although they claim at the time to have never heard), we hear the Melvins, Killdozer, Flipper, their countrymen Kingsnakeroost and Lubricated Goat, we hear Nirvana, the Ramones (albeit at a much lower RPM), Mudhoney, really, it's hard not to hear generations of bands who explored a similarly minimal take on punk rock or post punk or even pub rock, cuz really, feedtime were essentially a pub rock band gone wrong (or right), their sound in many cases like a classic rock or blues rock, slowed down and stripped down and dirtied up, their sound as much about mesmer and repetition and trance as melody or hooks, maybe even more so.
Their first record, originally self released, is fantastically home brewed, lo-fi, but still noisy and heavy, and their kick ass cover of Mississippi Fred McDowell's "I Wonder What's The Matter With Papa's Little Angel Child" is most definitely THEE jam, a revved up blues dirge workout that kills, and the slide guitar (which shows up throughout the group's discography) prominently on display, and like it did the first time we heard it, it'll have you wondering why all bands don't have slide guitar. Their second record Shovel, found a marked improvement in production, but other than that the sound remained pretty similar, the songs mostly one or two parts, the band tight as fuck, but still somehow sounding loose and alive, and that slide guitar, subtly employed but adding a little something extra, the sound noisy, the vocals a guttural bark, the Killdozer vibe is huge, and we begin to hear Halo Of Flies and other AmRep bands, and this is the record where you can hear for the first time, that feedtime is all about THE BASS, driving everything, percussive and melodic, driving and dense and thick and sinewy, it gives the songs heft and a low end energy, there's also female vox, it's pretty crazy stuff, that definitely sounds incredible even all these years later.
The third disc in the set is Cooper S, their cover record, on which they cover the Beach Boys, Lee Hazlewood, the Rolling Stones, the Ramones, The Stooges, Slade, the Easybeats, Animals, a traditional or two, they even make a song out of an e.e. cummings poem (maybe cuz they both start their names with lower case letters), but in the hands of feedtime, the originals are totally reimagined, and in many cases, barring the lyrics are transformed into something unrecognizable, the band stripping away tempo changes and various other superfluous elements and instead making the songs their own, maniacally minimal and dirgey and hypnotic, they even mix in some trumpet, and other sonic sweetness, but there's just something so magical about their sound and what they were able to make out of so little, and in the case of the cover, what they were able to do to classics, making them their own kind of classics, which again, in many cases, sound to these ears better than the originals, "Paint It Black" is the perfect example, the band slowing it way down, the result sounds almost more like a dirge rock Devo, the sound oozy and slithery and so much blacker than the original.
The final disc in the set, was the final record for the band, Suction, and while in some ways it was tighter and more polished, it was also another disc of heady, churning noise rock minimalism, and in some ways it even manages to sound a bit more lo-fi, the slide guitar in full effect, making the whole record woozy and wonderfully warped, there's also harmonica, and some of their best / our favorite jams, "Pumping A Line" sound almost like it could be a Circle track, a sort of churning looped metallic hypnorock, or "Confused Blues" which is some serious Killdozer style pigfuck slithery blues, or the weirdly poppy, almost Velvets sounding "Ever Again" complete with slippery slide and moaning horns, fuck this stuff is so great. We never really stopped digging these guys, but having all of it together, it's a pretty intense and fantastically intensive listening experience, and one that definitely paints feedtime as a band not only ahead of their time, but a band who lots of folks owe their whole goddamn sound to.
The reissues tack on all kinds of extras, compilation tracks, B sides, and the records (and cds) come in a big box, with each album in a sleeve reproducing the original album cover, and with a big booklet crammed with pictures, liner notes, as well as the notes that accompanied the various original releases.
MPEG Stream: "Haha"
MPEG Stream: "Fastbuck"
MPEG Stream: "Dead Crazy"
MPEG Stream: "Shovel"
MPEG Stream: "Rock N Roll"
MPEG Stream: "Fun Fun Fun"
MPEG Stream: "Lightning's Girl"
MPEG Stream: "Motorbike"
MPEG Stream: "Possum"

album cover FEEDTIME The Aberrant Years (Sub Pop) 4lp 39.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As much as we're perpetually on the prowl for new sounds, sometimes it's the old sounds that move us the most. And it's a good time for revisiting old sounds for sure. So many classic records getting reissued, whether it's the gnarled indie rock of Archers of Loaf, all the Sebadoh records, the seminal math/post rock of Bitch Magnet, the forthcoming reissues from slowcore legends Codeine, there's no shortage of old bands who definitely deserve another listen, and there's most definitely a whole new generation ripe to discover all these bands for the first time. Which brings us to feedtime, a band whose influence amongst OTHER bands can't be underestimated, but in terms of commercial success and enduring popularity, well there's definitely a disparity, one that will hopefully be addressed with this comprehensive reissue of all four '80s records from these Aussie minimal thud rockers, whose sound, who, listening to these records again now, influenced so many of the bands we've flipped over since, right off the bat we're hearing Wire (a band they're often compared too, although they claim at the time to have never heard), we hear the Melvins, Killdozer, Flipper, their countrymen Kingsnakeroost and Lubricated Goat, we hear Nirvana, the Ramones (albeit at a much lower RPM), Mudhoney, really, it's hard not to hear generations of bands who explored a similarly minimal take on punk rock or post punk or even pub rock, cuz really, feedtime were essentially a pub rock band gone wrong (or right), their sound in many cases like a classic rock or blues rock, slowed down and stripped down and dirtied up, their sound as much about mesmer and repetition and trance as melody or hooks, maybe even more so.
Their first record, originally self released, is fantastically home brewed, lo-fi, but still noisy and heavy, and their kick ass cover of Mississippi Fred McDowell's "I Wonder What's The Matter With Papa's Little Angel Child" is most definitely THEE jam, a revved up blues dirge workout that kills, and the slide guitar (which shows up throughout the group's discography) prominently on display, and like it did the first time we heard it, it'll have you wondering why all bands don't have slide guitar. Their second record Shovel, found a marked improvement in production, but other than that the sound remained pretty similar, the songs mostly one or two parts, the band tight as fuck, but still somehow sounding loose and alive, and that slide guitar, subtly employed but adding a little something extra, the sound noisy, the vocals a guttural bark, the Killdozer vibe is huge, and we begin to hear Halo Of Flies and other AmRep bands, and this is the record where you can hear for the first time, that feedtime is all about THE BASS, driving everything, percussive and melodic, driving and dense and thick and sinewy, it gives the songs heft and a low end energy, there's also female vox, it's pretty crazy stuff, that definitely sounds incredible even all these years later.
The third disc in the set is Cooper S, their cover record, on which they cover the Beach Boys, Lee Hazlewood, the Rolling Stones, the Ramones, The Stooges, Slade, the Easybeats, Animals, a traditional or two, they even make a song out of an e.e. cummings poem (maybe cuz they both start their names with lower case letters), but in the hands of feedtime, the originals are totally reimagined, and in many cases, barring the lyrics are transformed into something unrecognizable, the band stripping away tempo changes and various other superfluous elements and instead making the songs their own, maniacally minimal and dirgey and hypnotic, they even mix in some trumpet, and other sonic sweetness, but there's just something so magical about their sound and what they were able to make out of so little, and in the case of the cover, what they were able to do to classics, making them their own kind of classics, which again, in many cases, sound to these ears better than the originals, "Paint It Black" is the perfect example, the band slowing it way down, the result sounds almost more like a dirge rock Devo, the sound oozy and slithery and so much blacker than the original.
The final disc in the set, was the final record for the band, Suction, and while in some ways it was tighter and more polished, it was also another disc of heady, churning noise rock minimalism, and in some ways it even manages to sound a bit more lo-fi, the slide guitar in full effect, making the whole record woozy and wonderfully warped, there's also harmonica, and some of their best / our favorite jams, "Pumping A Line" sound almost like it could be a Circle track, a sort of churning looped metallic hypnorock, or "Confused Blues" which is some serious Killdozer style pigfuck slithery blues, or the weirdly poppy, almost Velvets sounding "Ever Again" complete with slippery slide and moaning horns, fuck this stuff is so great. We never really stopped digging these guys, but having all of it together, it's a pretty intense and fantastically intensive listening experience, and one that definitely paints feedtime as a band not only ahead of their time, but a band who lots of folks owe their whole goddamn sound to.
The reissues tack on all kinds of extras, compilation tracks, B sides, and the records (and cds) come in a big box, with each album in a sleeve reproducing the original album cover, and with a big booklet crammed with pictures, liner notes, as well as the notes that accompanied the various original releases.
MPEG Stream: "Haha"
MPEG Stream: "Fastbuck"
MPEG Stream: "Dead Crazy"
MPEG Stream: "Shovel"
MPEG Stream: "Rock N Roll"
MPEG Stream: "Fun Fun Fun"
MPEG Stream: "Lightning's Girl"
MPEG Stream: "Motorbike"
MPEG Stream: "Possum"

album cover FEEDTIME Today Is Friday (S.S. Records) cd 13.98
On the last New Arrivals list we reviewed the recently released, nearly-comprehensive career retrospective of legendary Aussie noise rock / post punk minimalists feedtime, all four of their '80s records (missing just their '90s album billy, on AmRep) together with tons of bonus tracks, check out the review of that collection for the full breakdown of just how rad feedtime are, and how essential those records are, and why pretty much anyone into the sort of stuff we champion around here, will very likely be as into feedtime as we are. And it's really not until you ARE as into Feedtime as we are, that you'll need to pick this up, a collection of unreleased tracks and demos, recorded in studios, hotel rooms, one track was even recorded in a hole in the ground beneath the floor in a rented house, but all of the tracks here, are the perfect addendum to that Aberrant Years collection, anyone who picked up that boxset and flipped out, and decided they needed more more more, well, this is for you.
As we mentioned in the review of that collection Feedtime are a gloriously minimal concoction of Wire like riffage, thud rock drumming, and gravelly vox, all woven into something impossibly hypnotic, tranced out and rocking, but rocking in a way few others were capable of, some reference points would be the Melvins, Killdozer, Flipper, fellow Aussie bluespunks Kingsnakeroost and noise rock heavies Lubricated Goat, even Nirvana, the Ramones, Mudhoney, but feedtime, for all they had in common with those other bands were their own twisted sonic beast.
The tracks here are culled from sessions for three of the group's four records, there are early demos, some live tracks, that aforementioned hole-in-the-ground, that sorta sounds like it, filthy and dirgy, with some wild caustic howled vox. There's a handful of killer covers, they do the Stones' "Street Fighting Man" and it ends up sounding like the Ramones crossed with Spacemen 3, there's a super distorted version of Fear's "I Don't Care About You", which is way more fierce and fucked up than the original, and a Flipper cover that sounds like a feedtime original, the rest of the tracks offer up variations on feedtime's unique sound, whether it's a sinewy post punk pound, or some blown out gutter blues, or some psychedelic dirgery, it's all fucking incredible, and totally recommended. If you bought the box set, you definitely NEED this, and if you didn't buy the box set yet, well, now's the perfect time to remedy that situation (then you can come back and get this one later!)...
Fair warning, the cd has FIVE extra songs that aren't on the lp version!!!
MPEG Stream: "Nice"
MPEG Stream: "E B G D"
MPEG Stream: "Fractured"
MPEG Stream: "Street Fighting Man"
MPEG Stream: "Dead Crazy"

album cover FEEDTIME Today Is Friday (S.S. Records) lp 16.98
On the last New Arrivals list we reviewed the recently released, nearly-comprehensive career retrospective of legendary Aussie noise rock / post punk minimalists feedtime, all four of their records (missing just their '90s album billy, on AmRep) together with tons of bonus tracks, check out the review of that collection for the full breakdown of just how rad feedtime are, and how essential those records are, and why pretty much anyone into the sort of stuff we champion around here, will very likely be as into feedtime as we are. And it's really not until you ARE as into feedtime as we are, that you'll need to pick this up, a collection of unreleased tracks and demos, recorded in studios, hotel rooms, one track was even recorded in a hole in the ground beneath the floor in a rented house, but all of the tracks here, are the perfect addendum to that Aberrant Years collection, anyone who picked up that boxset and flipped out, and decided they needed more more more, well, this is for you.
As we mentioned in the review of that collection Feedtime are a gloriously minimal concoction of Wire like riffage, thud rock drumming, and gravelly vox, all woven into something impossibly hypnotic, tranced out and rocking, but rocking in a way few others were capable of, some reference points would be the Melvins, Killdozer, Flipper, fellow Aussie bluespunks Kingsnakeroost and noise rock heavies Lubricated Goat, even Nirvana, the Ramones, Mudhoney, but feedtime, for all they had in common with those other bands were their own twisted sonic beast.
The tracks here are culled from sessions for three of the group's four records, there are early demos, some live tracks, that aforementioned hole-in-the-ground, that sorta sounds like it, filthy and dirgy, with some wild caustic howled vox. There's a handful of killer covers, they do the Stones' "Street Fighting Man" and it ends up sounding like the Ramones crossed with Spacemen 3, there's a super distorted version of Fear's "I Don't Care About You", which is way more fierce and fucked up than the original, and a Flipper cover that sounds like a feedtime original, the rest of the tracks offer up variations on feedtime's unique sound, whether it's a sinewy post punk pound, or some blown out gutter blues, or some psychedelic dirgery, it's all fucking incredible, and totally recommended. If you bought the box set, you definitely NEED this, and if you didn't buy the box set yet, well, now's the perfect time to remedy that situation (then you can come back and get this one later!)...
Fair warning, the cd has FIVE extra songs that aren't on the lp version!!!
MPEG Stream: "Nice"
MPEG Stream: "E B G D"
MPEG Stream: "Fractured"
MPEG Stream: "Street Fighting Man"
MPEG Stream: "Dead Crazy"

album cover FEEHAN, MARK MF (Siltbreeze) lp 15.98
While Bill Orcutt has been carrying the post Harry Pussy torch, with his own mangled lo-fi junk blues Americana, as well as a sporadic Harry Pussy reissue campaign (starting with the recent HP oddity on Editions Mego, Let's Build A Pussy), there was in fact another guitar wrangler in the 'Pussy back in the day, a man by the name of Mark Feehan, who played in a bunch of other rad Miami noise rock outfits, but who will no doubt be best remembered for his stint with Orcutt and drummer Adris Hoyos.
And like Orcutt, Feehan has definitely moved in an entirely new direction, the tracks here gorgeous exercises in looped repetitive swirl and churning minimal guitarscapery, the first two tracks sounding like a more lo-fi detuned Durutti Column, or a more spare softly psychedelic Roy Montgomery, with just a hint of the Americana that Orcutt traffics in, but here, Feehan's music sounds more like something you'd find on some mysterious New Zealand cd-r, urgent strumming, chiming, jangling, buzzing, looped and mesmeric, slipping from crunchy and brittle, to washed out and woozy. It's not until the third track, "Sopio", that things get weird, the prettiness of the first two tracks still present, this time just buried beneath a blown out rhythmic pound, and chittering high end chirps, a sort of abstract noise rock house music maybe but still all wedded to Feehan's cyclical jangle. There appears to be some vocals in there too, but all distorted an chopped up.
The middle of the record does seem to lean more toward the noisy and chaotic, short bursts of heavily effected guitar howl, layered billows of tangled melodies and swirling buzz and crunch, chaotic sprawls of almost Our Love Will Destroy The World like kitchen sink soundscapery, but even at its noisiest, the sound remains sort of blissful and hypnotic, and Feehan eventually slips back into dreamy bits of guitarswirl shimmer, like the crackle drenched muted jangly thrum of "See You In Brundisium", and into almost Sun City Girls like rhythmic meanders, like the moody string laced percussion driven "Stoned Pilot B", or the downright dreamy hushed drift of "Arma Virumqu Cano", that is probably the prettiest thing here.
LIMITED TO 350 COPIES!! Includes a download coupon.
MPEG Stream: "Salvete"
MPEG Stream: "Sonnabend"
MPEG Stream: "Sopio"
MPEG Stream: "Arma Virumque Cano"

album cover FEELIES, THE Crazy Rhythms (Bar None) cd 14.98
We somehow missed out on the Feelies back in the day, but after years and years of hearing them namechecked we were pretty psyched to finally hear them, and we ended up liking them way more than we imagined. Heavily influenced by the Velvet Underground, and in turn, heavily influencing R.E.M., the feeling infused their post punk / indie rock / new wave, with as the title of their debut suggested, crazy rhythms, the drums tribal and super busy, while the guitars wove lush shimmery layered soundscapes behind the bands frantic, frenetic punkish pop. We actually hear a lot of Television in their sound as well, especially in the guitars.
Crazy Rhythms was the Feelies debut and would remain their defining record, opener "The Boy With Perpetual Nervousness" seems to capture the jittery vibe of the band both in sound and in title, with the extra percussion (all four members played percussion), the lush tangly guitars, the subtle hooks, the whole record follows suit, with the vocals often spoken/sung, a la Velvet Underground or Jonathan Richman, and the closing song and title track seals the deal, all rubbery bass, skittery drums, loads of space, wrapped around almost twangy jangle and strum, the sound practically surfy, before the big anthemic outro. So good. Kicking ourselves for missing out, but heck, better late than never!
MPEG Stream: "The Boy With Perpetual Nervousness"
MPEG Stream: "Fa Ce La"
MPEG Stream: "Crazy Rhythms"

album cover FEELIES, THE Crazy Rhythms (Bar None) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!!!!
We somehow missed out on the Feelies back in the day, but after years and years of hearing them namechecked we were pretty psyched to finally hear them, and we ended up liking them way more than we imagined. Heavily influenced by the Velvet Underground, and in turn, heavily influencing R.E.M., the feeling infused their post punk / indie rock / new wave, with as the title of their debut suggested, crazy rhythms, the drums tribal and super busy, while the guitars wove lush shimmery layered soundscapes behind the bands frantic, frenetic punkish pop. We actually hear a lot of Television in their sound as well, especially in the guitars.
Crazy Rhythms was the Feelies debut and would remain their defining record, opener "The Boy With Perpetual Nervousness" seems to capture the jittery vibe of the band both in sound and in title, with the extra percussion (all four members played percussion), the lush tangly guitars, the subtle hooks, the whole record follows suit, with the vocals often spoken/sung, a la Velvet Underground or Jonathan Richman, and the closing song and title track seals the deal, all rubbery bass, skittery drums, loads of space, wrapped around almost twangy jangle and strum, the sound practically surfy, before the big anthemic outro. So good. Kicking ourselves for missing out, but heck, better late than never!
MPEG Stream: "The Boy With Perpetual Nervousness"
MPEG Stream: "Fa Ce La"
MPEG Stream: "Crazy Rhythms"

album cover FEELIES, THE Good Earth (Bar None) 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 somehow missed out on the Feelies back in the day, but after years and years of hearing them namechecked we were pretty psyched to finally hear them, and we ended up liking them way more than we imagined. Heavily influenced by the Velvet Underground, and in turn, heavily influencing R.E.M., the feeling infused their post punk / indie rock / new wave, with as the title of their debut suggested, crazy rhythms, the drums tribal and super busy, while the guitars wove lush shimmery layered soundscapes behind the bands frantic, frenetic punkish pop. We actually hear a lot of Television in their sound as well, especially in the guitars.
Good Earth was the followup to the perhaps-impossible-to-top Crazy Rhythms, and the band made it no easier on themselves by altering their sound quite a bit, exploring more abstract sound structures, ditching the typical verse chorus verse arrangements, mellowing out a bit, slowing down, the only remnants of their more frantic sound being "The Last Roundup", with its flurry of fast picked notes and tumble of drum rolls to match, and the propulsive "Two Rooms", but for the most part the rest of the record is way dreamier, laid back, strummier and at times almost Grateful Dead sounding, but within these new song structures the band continued to explore and do amazing, and definitely un-pop things, strange guitar parts, lots of textural layered ambience, harmonies, all in all a pretty nice balance to the more intense debut. And while they did go on to make two more records, the first two remained the ones most folks considered their finest moments. And we'd have to agree.
MPEG Stream: "On The Roof"
MPEG Stream: "The High Road"
MPEG Stream: "The Last Roundup"

album cover FEELIES, THE Good Earth (Bar None) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!!!
We somehow missed out on the Feelies back in the day, but after years and years of hearing them namechecked we were pretty psyched to finally hear them, and we ended up liking them way more than we imagined. Heavily influenced by the Velvet Underground, and in turn, heavily influencing R.E.M., the feeling infused their post punk / indie rock / new wave, with as the title of their debut suggested, crazy rhythms, the drums tribal and super busy, while the guitars wove lush shimmery layered soundscapes behind the bands frantic, frenetic punkish pop. We actually hear a lot of Television in their sound as well, especially in the guitars.
Good Earth was the followup to the perhaps-impossible-to-top Crazy Rhythms, and the band made it no easier on themselves by altering their sound quite a bit, exploring more abstract sound structures, ditching the typical verse chorus verse arrangements, mellowing out a bit, slowing down, the only remnants of their more frantic sound being "The Last Roundup", with its flurry of fast picked notes and tumble of drum rolls to match, and the propulsive "Two Rooms", but for the most part the rest of the record is way dreamier, laid back, strummier and at times almost Grateful Dead sounding, but within these new song structures the band continued to explore and do amazing, and definitely un-pop things, strange guitar parts, lots of textural layered ambience, harmonies, all in all a pretty nice balance to the more intense debut. And while they did go on to make two more records, the first two remained the ones most folks considered their finest moments. And we'd have to agree.
MPEG Stream: "On The Roof"
MPEG Stream: "The High Road"
MPEG Stream: "The Last Roundup"

album cover FEELIES, THE Here Before (Bar None) cd 14.98
Reunion records can be a huge let down. Sure it's fun to see a band get together and play all their old hits, but the minute you hear those famous last words "Here's a new song we've been working on", most of us tune out. So when those new songs they've been working on get maid into an actual album, we're definitely wary.
But c'mon, it's the Feelies, who as we admitted to in another review, we actually missed out on back in the day, but when we did finally hear the amazing Crazy Rhythms record, and the almost as amazing The Good Earth, we were definitely kicking ourselves. And ever since those records got reissued recently, we have been playing them nonstop. And we were pretty excited to hear this new record. It has been THIRTY ONE years since Crazy Rhythms, and TWENTY since their last full length, but the second this got put on in the store we knew just what it was. The sound is definitely classic Feelies, not as jittery and percussion heavy as Crazy Rhythms, but then neither were any of the other records. The vibe is maybe a bit more mellow and laid back, the guitar playing not as strange and layered as on some of the old records, and the vocals more sung/spoken a la Lou Reed, but we're digging it, a LOT. The sound is warm and familiar, shimmery and jangly, that classic eighties/nineties college/indie rock sound we love so much, and like classic Feelies records, Here Before is a grower, the sound as we mentioned is great, but on repeated listens, the songs begin to seep in, the hooks gradually revealing themselves, and suddenly any of these songs could get stuck in your head.
If you're new to the Feelies, we'd probably recommend Crazy Rhythms or The Good Earth first, although this is really not all that bad a place to start╔ and of course if you're already a fan, you won't be disappointed.
MPEG Stream: "Nobody Knows"
MPEG Stream: "Should Be Gone"
MPEG Stream: "Again Today"
MPEG Stream: "When You Know"

album cover FEELIES, THE Here Before (Bar None) lp 19.98
Reunion records can be a huge let down. Sure it's fun to see a band get together and play all their old hits, but the minute you hear those famous last words "Here's a new song we've been working on", most of us tune out. So when those new songs they've been working on get maid into an actual album, we're definitely wary.
But c'mon, it's the Feelies, who as we admitted to in another review, we actually missed out on back in the day, but when we did finally hear the amazing Crazy Rhythms record, and the almost as amazing The Good Earth, we were definitely kicking ourselves. And ever since those records got reissued recently, we have been playing them nonstop. And we were pretty excited to hear this new record. It has been THIRTY ONE years since Crazy Rhythms, and TWENTY since their last full length, but the second this got put on in the store we knew just what it was. The sound is definitely classic Feelies, not as jittery and percussion heavy as Crazy Rhythms, but then neither were any of the other records. The vibe is maybe a bit more mellow and laid back, the guitar playing not as strange and layered as on some of the old records, and the vocals more sung/spoken a la Lou Reed, but we're digging it, a LOT. The sound is warm and familiar, shimmery and jangly, that classic eighties/nineties college/indie rock sound we love so much, and like classic Feelies records, Here Before is a grower, the sound as we mentioned is great, but on repeated listens, the songs begin to seep in, the hooks gradually revealing themselves, and suddenly any of these songs could get stuck in your head.
If you're new to the Feelies, we'd probably recommend Crazy Rhythms or The Good Earth first, although this is really not all that bad a place to start╔ and of course if you're already a fan, you won't be disappointed.
MPEG Stream: "Nobody Knows"
MPEG Stream: "Should Be Gone"
MPEG Stream: "Again Today"
MPEG Stream: "When You Know"

album cover FEELING OF LOVE Dissolve Me (Born Bad) cd 17.98
NOW ON CD!!!
Killer disc of droned out buzz drenched post punk dirge pop from this French outfit, their sound a Velvets inspired druggy synth/organ heavy haze, fans of Moon Duo will flip for these guys, the same sort of kraut-drone mesmer, but Feeling Of Love, with what we can only assume is a live drummer, sound a lot looser, and a lot more rocking, getting downright garage-rocky in places, but they often lace that rock with some dreamy angelic background vox and infuse everything with some seriously prismatic poppiness, which is pretty irresistible. The band sound as good rocking out jubilantly, as they do churning away in a dour sonic trance, both of which they do in equal measure, and it's a pretty fantastic combo, but the band also display a fairly expansive sonic palette, occasionally unfurling long stretches of hazy rhythms, wreathed in squealing feedback, and wrapped in smokey tendrils of psychedelic guitar, or bursting into twee pop ditties at the drop of a hat, somehow even managing to mix the two once in a while, like on "La Bas C'est Naturel", which sounds like some lo-fi drug psych rock via K Records, but then before long, they slip right back into their droney swaggery hypno-rock, but one that seems to have limitless permutations, whether it's the druggy Fuzztones via Spacemen 3 trance out of "666 Blank Girls", or the Railroad Jerk like junkyard bluesiness of "Empty Trash Bag", or the frenetic caffeinated drum heavy, yelpy vocal-ed jangle and crunch of "I Am Right, You Are Wrong" (which has a surprisingly KILLER chorus)...
Fans of groups like Night Control, Thee Oh Sees, Ty Segall, Mikal Cronin, Pink Noise, etc, will dig this big time, as will everybody who loved records by aQ faves J.C. Satan, or heck really anybody into hooky, druggy, droney, garagey, psychedelic garage pop radness.
MPEG Stream: "Cellophane Face"
MPEG Stream: "Dissolve Me"
MPEG Stream: "La-Bas C'est Naturel"
MPEG Stream: "666 Blank Girls"
MPEG Stream: "Empty Trash Bag"

album cover FEELING OF LOVE, THE Dissolve Me (Kill Shaman) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Killer disc of droned out buzz drenched post punk dirge pop from this French outfit, their sound a Velvets inspired druggy synth/organ heavy haze, fans of Moon Duo will flip for these guys, the same sort of kraut-drone mesmer, but Feeling Of Love, with what we can only assume is a live drummer, sound a lot looser, and a lot more rocking, getting downright garage-rocky in places, but they often lace that rock with some dreamy angelic background vox and infuse everything with some seriously prismatic poppiness, which is pretty irresistible. The band sound as good rocking out jubilantly, as they do churning away in a dour sonic trance, both of which they do in equal measure, and it's a pretty fantastic combo, but the band also display a fairly expansive sonic palette, occasionally unfurling long stretches of hazy rhythms, wreathed in squealing feedback, and wrapped in smokey tendrils of psychedelic guitar, or bursting into twee pop ditties at the drop of a hat, somehow even managing to mix the two once in a while, like on "La Bas C'est Naturel", which sounds like some lo-fi drug psych rock via K Records, but then before long, they slip right back into their droney swaggery hypno-rock, but one that seems to have limitless permutations, whether it's the druggy Fuzztones via Spacemen 3 trance out of "666 Blank Girls", or the Railroad Jerk like junkyard bluesiness of "Empty Trash Bag", or the frenetic caffeinated drum heavy, yelpy vocal-ed jangle and crunch of "I Am Right, You Are Wrong" (which has a surprisingly KILLER chorus)...
Fans of other Kill Shaman releases, by the likes of Night Control, Thee Oh Sees, Ty Segall, Mikal Cronin, Pink Noise, etc, will dig this big time, as will everybody who loved the records by aQ faves J.C. Satan, or heck really anybody into hooky, druggy, droney, garagey, psychedelic garage pop radness.
MPEG Stream: "Cellophane Face"
MPEG Stream: "Dissolve Me"
MPEG Stream: "La-Bas C'est Naturel"
MPEG Stream: "666 Blank Girls"
MPEG Stream: "Empty Trash Bag"

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