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


album cover 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 startÉ 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 startÉ 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"

album cover FEELING OF LOVE, THE La Peur Est Une Illusion: Singles 2006 - 2008 (Captcha) lp 17.98
We went absolutely nuts for Feeling Of Love's Dissolve Me record, a twisted collection of droned out, post punk, garage rock dirgery, not really sure we didn't make it Record Of The Week at the time, cuz for some of us, it was pretty much all we listened to for a while. And cuz we're the way we are (and we're guessing you are too), we immediately wanted more more more. So here's the latest blast of garage punk shenanigans from these French weirdos, not a new record, but instead a collection of singles, and comp tracks and rarities. Here's a quick run through the song titles, just at least give you a flavor of that they're all about, and why we dig em so much: "I'm Nothing But A Drunk Pussy", "The Right Bitch At The Right Place", and of course "You Rock You're Seventeen You Should Kill A Ten Years Old Kid". The sound pretty much fits perfectly with those titles - raw buzzed out garage guitar, primitive drumming, yelped echo drenched vocals, swaggery and snarly. Opener "Hand Clap Girl" sounds like a bluesier, more wasted Thee Oh Sees, the song driven by a programmed beat, that features a very loud simulated handclap, and when the kick drum kicks in, it's the sort of moment, that you can imagine inspires a crowd of sweaty, bloody kids to lose their shit. The aforementioned "I'm Nothing But A Drunk Pussy", is nothing but that line, or variations of, delivered in a drunken, garbled, heavily accented mush mouthed croon, over caveman blues, and THEE most damaged drumming EVER. And so it goes, this is Feeling Of Love at their most raw, blown out, and utterly primitive, all of the sounds are doused in crumbling distortion, totally in-the-red, this is sweat soaked, drum machine driven garage punk weirdness that like the proper record has us hooked. If you wished Thee Oh Sees was way more damaged and demented, and sounded super shitty and lo-fi, like some drug addled Neanderthal psychedelic garage rock monster mash, then this is yer shit! So goddamn great!

FEELINGS Especially For You (Ba Da Bing!) cd 12.98
With members of Sone and Built To Spill.

album cover FEELINGS IN AMERICA (PETE SWANSON) s/t (Root Strata) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover FEIST Let It Die (Cherrytree / Interscope) cd 11.98
Feist has a voice that you can't help but fall for. You may remember her from her vocal contributions on records by Broken Social Scene and Kings of Convenience. She even toured with Peaches adding back-up vocals (they used to live together). This, her solo debut showcases her totally pretty voice matched with songs that are smartly written and totally well executed. So smooth and catchy but so much more smart and interesting then everything you hear on commercial radio. Makes us think a little of Dani Siciliano. A perfect Sunday morning kind of record. Imagine someone holding Sade hostage and taking away all the gloss and overwrought production but keeping an inkling of her smooth voice while turning her on to an indie aesthetic and maybe you get close to what Let it Die sounds like.
MPEG Stream: "When I Was A Young Girl"
MPEG Stream: "Mushaboom"

album cover FEIST Metals (Polydor) cd 16.98

album cover FEIST Metals (Cherry Red / Interscope) lp 17.98

album cover FEIST Open Season (Cherrytree / Interscope) cd 10.98
For those expectin' a new studio album from this fine Canadian songstress, sorry folks, you'll have to wait a little longer! In the meantime treat your ears to an assortment of Feist-y remixes and collaborations by the likes of Postal Service, Jane Birkin, k-os, Gonzales and her Broken Social Scene brethren Apostle Of Hustle. Open Season is primarily focused around a handful of tunes from Let It Die -- a couple mixes each of "One Evening" and "Gatekeeper" as well as four treatments of "Mushaboom". While we've found some of her music to tread disturbingly close to adult contemporary / easy listening, the majority of these fifteen tracks nudge her into new pleasing downtempo-y territory. Also included is her 'live at the BBC' version of the BeeGees' "Inside + Out" as well as her cover of her ol' pal Peaches' "Lovertits".
MPEG Stream: "Mushaboom (Postal Service Mix)"
MPEG Stream: "Lovertits (with Gonzales)"

album cover FEIST The Reminder (Cherrytree) cd 13.98
On The Reminder, her second album, Feist takes a much more active songwriting role including a pretty great adaptation of one of our all-time favorite Nina Simone songs, "See-Line Woman" which she altars to Sea Lion Woman. With Gonzales in the production chair once again and great guest spots by pals Jamie Lidell and Eirik Glambek Boe (Kings Of Convenience), Feist's voice continues to sound smooth and confident. There is definitely a reason this debuted on the top 20 of the Billboard charts and is probably playing in hundreds of cafes as you're reading this. But luckily it's one of those records that while totally accessible is actually really quite good.
MPEG Stream: "Sea Lion Woman"
MPEG Stream: "I Feel It All"
MPEG Stream: "Past In Present"

album cover FELT Crumbling The Antiseptic Beauty (Cherry Red) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Don't know too much about Felt or their history. In fact, I always just assumed that I didn't like Felt. Not sure why. A lot of it had to do with the time these records originally came out, the early eighties, precisely when I was just getting into punk rock or metal. Same goes for some other folks here at aQ. So it kind of makes sense that we never discovered this stuff, or if we did, we sure as heck weren't ready for it. So imagine our surprise when we finally actually heard Felt (umm..several months ago, I know I know...give us a break) and realized just how darn good this stuff was. So good that I'm not sure I can do them justice in a review. Crumbling The Antiseptic Beauty is the first in a 10 cd comprehensive reissue of all of Felt's records. Originally released in 1982, Crumbling is a minimal indie jangle pop masterpiece, simple guitar figures soaked in jangly reverby, crystalline melodies picked out on shimmering electric guitars over whispery mumbled vocals buried in the mix. So completely mesmerizing and hypnotic. Shades of Factory records, the Smiths, and definitely the Durutti Column. Imagine a more cerebral, minimal version of Icicle Works or Modern English or any of that eighties new wave stuff. Not at all what we expected or imagined but pretty amazing. Can't wait for the next nine!
MPEG Stream: "Evergreen Dazed"
MPEG Stream: "Birdmen"

album cover FELT Forever Breathes The Lonely Word (Cherry Red) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Felt are such a weird band. Totally mysterious album art, cryptic album titles, bizarre lyrics and song titles, everything shrouded in mystery, but the actual music of Felt is anything but mysterious or cryptic. Forever Breathes The Lonely Word released originally in 1986, is a lush eighties indie pop record swathed in warm warbly organs and jangly keeing guitars. A surprisingly upbeat outing for Felt, who are more often maudlin and dreary and dark. Forever is filled with subtly propulsive rhythms, minor key arrpegiated guitars, chiming melodies, thick washes of synth blur and lots of vocals, delivered in a Lou Reed / Mark Knopfler sort of singspeak drawl that adds a world weary quality to Felt's already melancholy indie jangle.
MPEG Stream: "Rain Of Crystal Spires"
MPEG Stream: "Down But Not Yet Out"

album cover FELT Let the Snakes Crinkle Their Heads To Death (Cherry Red) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
I always wanted to love this record just for the title. I mean, what a great album title, mysterious and creepy and a bit nonsensical. And surprisingly not at all representative of the sounds found within. Originally released in 1986, Let the Snakes Crinkle Their Heads To Death perfectly coincided with my descent into metal, which explains how I managed to miss Felt entirely as well as sidestepping all things Creation and 4AD and jangly new wave in general. But it's probably just as well, since at the time, I probably wan't in a position to appreciate the ephemeral, ethereal beauty of Felt. Sonically very reminiscent of the Smiths, Durutti Column and the mellower side of Factory Records, Felt are a warm, shimmery musical blanket, woven from warbly synthesizers, shufflng rhythms, jangly guitars, chiming melodies, all moody and melancholy, muted and minor key. Sometimes jazzy and lounge-y, sometimes dark and lugubrious, Let the Snakes Crinkle Their Heads To Death is a perfect eighties late night instrumental bliss out record. So nice.
MPEG Stream: "Song For William S. Harvey"
MPEG Stream: "The Seventeenth Century"

album cover FELT Splendour Of Fear (Cherry Red) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Don't know too much about Felt or their history. In fact, I always just assumed that I didn't like Felt. Not sure why. A lot of it had to do with the time these records originally came out, the early eighties, precisely when I was just getting into punk rock or metal. Same goes for some other folks here at AQ. So it kind of makes sense that we never discovered this stuff, or if we did, we sure as heck weren't ready for it. So imagine our surprise when we finally actually heard Felt (umm..several months ago, I know I know...give us a break) and realized just how darn good this stuff was. So good that I'm not sure I can do them justice in a review. Splendour Of Fear is the second in the Felt reissue series, originally released in 1984. It takes the minimal crystalline indie pop jangle of 1982's Crumbling The Antiseptic Beauty and adds a little darkness, and a little more low end, and becomes a bit more brooding and serious compared to its predecessor's sunny sparkling sheen. But only a little. The drums and the bass are more present giving the tunes a bit more heft and the vocals are still mumbled and way down in the mix, but it's still all about the guitars, shimmering and crystal clear, mantra like meldoies stream from electric guitars like rivers of sparkling diamonds. Again sonically reminiscent of the Smiths and Factory records. In fact Felt sound like late night chill out music for the Factory set. So great!
MPEG Stream: "The World Is As Soft As Ice"
MPEG Stream: "The Optimist And The Poet"

album cover FELT Train Above The Ciy (Cherry Red) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover FEMALE CONVICT SCORPION, DJ Bill Cosby Talks To Kids About Drugs (self-released) cd-r 7.98
Local DJ / turntablist / sonic collagist / audio alchemist DJ Female Convict Scorpion (aka Josh Pollock of aQ beloved local psychedelic space rockers 3 Leafs) returns with another twisted slab of mutant fuzz funk, outsider psychedelia, tripped out cosmic prog, and whatever else he has in his record bag, but as always employed in such a way that the original track blur into one twisted single sonic miasma, from which Pollock pulls some seriously twisted musical madness. This time, the framework is Bill Cosby's iconic Talks To Kids About Drugs record, with DJ Female Convict Scorpion, actually showing the kids what being on drugs sounds like, and even to those of us here who don't partake, it sounds pretty goddamn good. Warped and wild, a super psychedelic dance party that sounds a bit like a more lo-fi Andy Votel, with much of this sounding like it could be some obscure Finders Keepers mix/comp. The opener begins with Cosby explaining the purpose of the record, to talk to kids about drugs, and then DJFCS takes over, with a blast of grinding distorted psychedelic skree, bellowed slowed down monster vox, wild tangles of psych guitar freakout, before settling into a serious groove, wreathed in sci-fi FX squiggles, and woozy sonic swells, a swirl of Jeck-like turntable manipulations, some funky wah guitar, deep ominous drones, fluttering flutes, fragments of sixties pop songs, vocal harmonies surfacing then fading away, seriously trippy for sure.
And the rest of the record follows suit, with each track incorporating the original, whether as an intro, or slowing it down, so those wise words of wisdom, become a scary demonic invocation, and what follows, is all over the map, one track slips into a sprawl of record crackle and distant shimmer, over which is laid some seventies acid folk vocals, hand claps, and strange alien sound effects, the result is a stunning stretch of alien seventies freak folk (listen close and you'll even hear the Star Trek warning klaxon!), another starts off slow and contemplative, before exploding into some seriously heavy psych rock crunch, made even more freaky when the track begins to skip and locks into a woozy loop, over which DJFCS adds all sorts of warped sound effects, bleating trumpets, the looped bassline transformed into a throbbing droned out thrum, and yet another dissolves into a cloud of swirling druggy murk, before an old spiritual surfaces through the swirl, again the juxtaposition so deftly engineered, that the resulting combination is strangely moving and haunting.
And there's so so much more. Like all DJ Female Convict Scorpion mixes, there's much to discover, sonic subtleties that only surface on repeated listens, and even music nerds like us find ourselves constantly trumped by the sources, crazy obscure, we're barely able to pick out any of them, which has a lot to do of course with DJFCS's mastery of weaving all of these disparate sounds and sonic fragments into one, dizzying, seriously psychedelic whole!
MPEG Stream: "Downers & Uppers"
MPEG Stream: "Questions And Answers"
MPEG Stream: "Bill Talks About Hard Drugs"
MPEG Stream: "Captain Junkie"

album cover FEMALE CONVICT SCORPION, DJ Wizards (self-released) cd-r 9.98
The latest tripped out DJ mix from DJ Female Convict Scorpion aka Josh Pollock from local psychedelic space rockers 3 Leafs, and like the three before it, on Wizards (named for the genius Ralph Bakshi movie, and featuring a drawing of the movie poster done by a young Josh way back when), Pollack once again displays not just a knack for digging up insanely obscure jams, but for weaving disparate sounds together into utterly unrecognizable but totally mesmerizing sonic tableaus. Just check out the opener, "5 Terrorists", which drapes some strange buzzing percussive Asian stringed instrument, some fluttering flute, and some echo drenched vocals, over some spaced out progged out jamming, pretty impossible to tell which parts Pollack mixed, and how much of the song was already the song, which again is the magic of these DJFCS mixes, and when that first track gradually switches gears, and disappears in a field of ominous buzz, and seems to transform into a drum heavy krautprog groove, it KILLS.
And so it goes, low slung slithery funk, strange movie samples, spaced out psychedelia, stuttery old school hip hop, DJ Shadow like moodiness, primitive (but effective turntable manipulation, again hard to say which is part of the music and which is Pollack), strange crooning, weird psych folk, draped over thick sinister chordal swell, shimmery dreamlike ambience drifting into fierce driving fuzzfunk, all manner of backward swoops and swirls, moaning strings, disembodied voices, glistening strings, some of the combinations more moving and intense than the originals, lots of a capellas wedded to unlikely instrumental accompaniment, everything wreathed in echo and reverb and loads of warm record crackle, and just some downright bad ass jams and grooves, not to mention the easy listening Sabbath that finishes things off. Essential listening. And most definitely the DJ you want at your wedding, assuming your goal is to alienate or downright freak out 90 percent of the guests. But that other ten percent, including us (we're invited, right?), will be in whatthefuck weirdo music HEAVEN!
MPEG Stream: "5 Terrorists"
MPEG Stream: "Righteousness Prevails (White Sabbath)"
MPEG Stream: "You Know Nothing, In Fact You Know Less Than Nothing"
MPEG Stream: "Necron 99"

album cover FEMBOTS Small Town Murder Scene (Paper Bag Records) cd 14.98

FEMININE COMPLEX, THE Livin' Love (Rev-Ola) cd 15.98

FENNESZ, O'ROURKE, REHBERG Magic Sound Of Fenn o' Berg (Mego) cd 16.98
With just the mention of Jim O'Rourke, this will sell itself. But for those of you out there who have been taken in by his recent pop aesthetics, we should state the warning that this is not a pop album. Collaborating with powerbook geniuses Christian Fennesz and Pita Rehberg (both from the venerable Mego collective), O'Rourke sheds the pop schtick for a streaming barrage of digital splices which are predominantly needling synthetic tones and random clicks, but sporadically reference a rhythm or a melody before being mutilated into the digital cacophony.

album cover FERAL OHMS Living Junkyard b/w The Glow (Valley King) 7" 9.98
Killer slice of Bay Area psych from this new outfit made up of members of Comets On Fire, Drunk Horse and Nudity, a fierce blast of murky fuzzed out seventies style heavy psych hard rocking, that sounds SO much like the genuine artifact, wouldn't be at all difficult to believe that this was some lost seventies hard rock rarity/reissue, the production is super old school, the A side all big riffs, pounding drums, an epic catchy chorus, and of course some sweet shredding leads, definitely reminiscent of another Valley King artist, recent Record of the Weekers Golden Void, but where Golden Void are more sun baked and laid back, Feral Ohms, are, well, more feral for sure, fierce and snarly, crunchy and fuzzy and blown out, in the red, dense and driving, but catchy like crazy too. The flipside is a little bit more slithery and groovy, but still similarly hard rocking and psychedelic, distorted, a little bit lo-fi and super rocking.
As with all the Valley King singles, super swank silkscreened Alan Forbes artwork, each one hand numbered and signed. Includes a sticker and is LIMITED TO 500 COPIES!!!

album cover FERMATA Fe rmata/Piesen Z Hol (Bonton Music Slovakia) cd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The first two albums (from 1975 & '76) by this hot-rockin' instrumental Slovak prog/fusion band. Rippin' stuff, with heavy guitar/keys interplay. Complex, flashy, very '70s. If we saw a band like this play today we'd be all "we're not worthy"! (Not new, but we got a couple and wanted to list it, along with the equally awesome Collegium Musicium disc, for the Iron Curtain prog freaks we know populate our mailing list!)
RealAudio clip: "Rumunska Rapsodia"
RealAudio clip: "Piesen Z Hol"

album cover FERN KNIGHT Music For Witches And Alchemists (VHF) cd 13.98
Another gorgeous missive from the ever expanding world of modern freak folk, this time from Philly based singer, songwriter, guitarist, cellist Margaret Wienk, who with Music For Witches and Alchemists has crafted a darkly dramatic gem of moody mournful melancholia. Equal parts Pentangle, Incredible String Band, and of course some of her more modern sonic compatriots, Brightblack, Vetiver, Espers (Greg Weeks and Meg Baird both play on Music For Witches and Alchemists) and the like, Fern Knight is most definitely modern folk, but at the same time sounds so classic, the songwriting, Wienk's voice, the arrangements, a perfect combination. But the band manage to take that classic sound and infuse it with some sweet sonic mystery, due in no small part to the unlikely instrumentation, the sweet moaning cellos, dreamy swaths of harp, alien melodies on the singing saw, the twang of the Jew's harp, the wheezing harmonium, but unlike most bands, those sounds don't define Fern Knight's sound, merely add to the texture and mood of the music, which even stripped to its bare basics would still sound as sweet.
MPEG Stream: "Song For Ireland"
MPEG Stream: "Awake, Angel Snake"

album cover FERN KNIGHT Music For Witches And Alchemists (Eclipse) lp 21.00
NOW ON VINYL!!!
Another gorgeous missive from the ever expanding world of modern freak folk, this time from Philly based singer, songwriter, guitarist, cellist Margaret Wienk, who with Music For Witches and Alchemists has crafted a darkly dramatic gem of moody mournful melancholia. Equal parts Pentangle, Incredible String Band, and of course some of her more modern sonic compatriots, Brightblack, Vetiver, Espers (Greg Weeks and Meg Baird both play on Music For Witches and Alchemists) and the like, Fern Knight is most definitely modern folk, but at the same time sounds so classic, the songwriting, Wienk's voice, the arrangements, a perfect combination. But the band manage to take that classic sound and infuse it with some sweet sonic mystery, due in no small part to the unlikely instrumentation, the sweet moaning cellos, dreamy swaths of harp, alien melodies on the singing saw, the twang of the Jew's harp, the wheezing harmonium, but unlike most bands, those sounds don't define Fern Knight's sound, merely add to the texture and mood of the music, which even stripped to its bare basics would still sound as sweet.
MPEG Stream: "Song For Ireland"
MPEG Stream: "Awake, Angel Snake"

album cover FERN KNIGHT s/t (VHF) cd 13.98

album cover FERN KNIGHT Seven Years of Severed Limbs (Normal) cd 14.98
Fern Knight is not a person's name as we initially thought, it is the moniker for this duo from Rhode Island whose hushed folk pop songs take a number of haunting instrumental twists, turns and detours into atmospheric soundscapes. Heavily reverbed and tremoloed guitars are interwoven with strummed and plucked acoustic guitar as deep somber strings and an occasional accordion wind their way around the unmistakable warm sound of a Fender Rhodes keyboard. So heart-baringly bittersweet and intimate, much like a cross between Julie Doiron and Mirah. Absolutely lovely!
MPEG Stream: "If I Could Write A Book About You"
MPEG Stream: "Boxing Day"

album cover FEROCIOUS FEW Juices (Birdman) cd 12.98

album cover FEROCIOUS FEW Juices (Birdman) lp 14.98

album cover FERRANTE AND TEICHER Soundproof / Soundblast: The Sound of Tomorrow Today! (Cherry Red) cd 17.98
Anyone who scours thriftshops regularly for records will surely be familiar with the names Ferrante and Teicher. World-renowned pop-classicists and dueling pianists from the fifties to the seventies, they're often squarely associated with the Lawrence Welk and Liberace markets our grandparents dallied in. While their recorded output easily tripled the most prolific artist you can imagine, their legacy has pretty much resulted in stacks and stacks of the kind of unwanted records that make crate digging an oft-frustrating chore.
But not everything they did was so square. In the early fifties at the dawn of the hi-fi age, they were among the first composers to take John Cage's prepared piano experiments (a method of altering piano tones by wedging various objects between the strings and hammers) and apply them toward orchestrated melodies. By doing so, and then running the sounds through state-of-the-art, multi-channeled stereophonic recording equipment of the time they were able to create an illusion of multiple instrument sounds such as tympanis, marimbas, xylophones, glockenspiels, and various percussion instruments, all from playing pianos. This reissue of Soundproof and its follow-up Soundblast is the result of such experiments. While this is hardly what we think of as experimental music, it sure does sound amazing. The kind of music you can imagine with Tex Avery cartoons on the moon, or in some space lounge on Venus. Some songs sound like the far-out Afro-Cuban rhythms of Esquivel, other songs have a more impressionistic underwater quality, while others have a more Joe Meek sci-fi surfy vibe. Some tracks experiment with reverse piano and early echo effects. In fact, to create the echo effect, in a time without easy echo electronics, they wired the sound from the piano down to a tiled bathroom a floor below, and placed microphones looped to a delay outside the bathroom door. Out of the two records, Soundproof is more experimental and playful while Soundblast relies on more Latin compositional formulas albeit ones you might hear in danceclubs on Mars. If you come across these Ferrante and Teicher albums in your crate digging adventures, don't dismiss.
MPEG Stream: "What Is This Thing Called Love"
MPEG Stream: "Man From Mars"
MPEG Stream: "Siboney"
MPEG Stream: "Loose Ends Merengue"

album cover FERRARO, JAMES Discovery (Holy Mountain) lp 14.98
Don't be confused, it may look the same, but in fact, it's the second of two lp reissues from James Ferraro, one half of floor core legends the Skaters. We reviewed his Clear lp on our last list, this time it's Discovery, almost the exact same cover, the alien pyramids floating in some strange sea, only the name of the record is different (and don't trust the sticker, on about half of the lps we got the stickers were all switched up), although really it barely matters, as the sounds on Discovery, sound very much like the ones on Clear, which make sense as they are archival recordings from about the same time period.
Two side long jams, exploring that alien new age only those Skaters guys seem capable of, this one sounds like two parts of the same jam, equal parts new age swoosh, staticky old AM radio and alien soap opera theme music, all blurred and smeared into a weirdly organic warped and warbly drift. Bleary and blown out, glistening and glimmery, a buried krautrock groove, that seems to fade out and return at random, all imbued with a cool psychedelic eighties B-movie Goblin vibe.
The flipside is more of the same, only a bit more rocking, more feedback and distortion, but just barely, the guitars a tad more noodly and spidery, but all the sounds still washed out and sun dappled and hypnotic. Like Clear before it, Discovery is a fantastic chunk of blissed out Baywatch new age, and here's hoping Holy Mountain keeps digging up and reissuing these tripped out artifacts.
Comes with a download card too, so you can get iPod-able versions of these tracks as well!!

album cover FERRARO, JAMES Far Side Virtual (Hippos In Tanks) lp 19.98
When beloved noise duo The Skaters broke up, the two partners went in drastically different directions sonically, with Spencer Clark taking his Monopoly Child Searchers in a more hazy, tribal, washed out direction, which wasn't really all that removed from the Skaters' sound, at its loveliest, at least. And James Ferraro going off the musical deep end, transforming into some sort of bizarro avant pop songsmith, his last record Night Dolls With Hairspray, exactly what the title might have you expecting, a tripped out, lysergic collection of tweaked lo-fi glam rock weirdness, which managed to be totally baffling, but pretty much totally irresistible at the same time. And while we were expecting more of the same on Farsidevirtual, Ferraro once again has mixed things up and managed to come up with something even MORE ridiculous, and again, a glorious car crash of a record, channeling the cheesiest parts of eighties music, sure he was sort of doing that before, but now it's like new age mixed with the sort of upbeat music that would accompany one of those workplace educational films, all swirly synths, programmed rhythms, weirdly funky grooves, all rendered in shades of super shiny, super well produced, gleaming ultra produced electro rock. Or something.
The opener "Linden Dollars" sounds like Shadowfax covering the theme from Peanuts, but given a little 21st century new age makeover. Then there's "Global Lunch" which just baffles all the way through, super cheesy synths, a woman asking if you want something or other beamed directly to your "I-Tablet", with faux strings, tinkling chimes, a melody played using those weird voice presets on synthesizers, then a solo played on a fake sitar, or the sitar setting on a synth, while male vox are clipped and sent stuttering off into the distance, and then finally the song builds to a crazy climax with a wild sax solo, and some fuzzy electronic bass, it's literally some of the craziest shit we've ever heard. The whole record sounds like library music from 1985, composed and recorded for infomercials, straight to video rom-coms, and third tier sporting events, and if that seems like we're bagging on it, we're totally not, we're just baffled by how someone could even conceive of making music like this in the 21st century, how they would make these sounds, and why the hell we can't stop listening to it.
Packaged in the usual garishly futuristic sleeve, with thick printed cardstock insert and a download coupon too!
MPEG Stream: "Linden Dollars"
MPEG Stream: "Global Lunch"
MPEG Stream: "Dubai Dream Tone"
MPEG Stream: "Slim"

FERREIRA, SKY Night Time, My Time (Capitol) picture disc lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

FERRO, GABO Canciones Que Un Hombre No Deberia Cantar (Costurera Carpintero) lp 14.98

FESTIVAL OF DEAD DEER The Many Faces Of Mental Illness (Three.One.G) cd 13.98
Loud, disjointed and full of youthful rage and angst. This is raw, noisy, twisted music constantly on the verge of combustion. On the super cool San Diego-based record label run by The Locust's Justin Pearson.

FETISH 69 Dysfunctions and Drones (Trost) 2cd 26.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fetish 69. The name says everything, right? Well, perhaps not on this double CD of remixes and collaborations. With a name as bad as Fetish 69 (implying some horrid diva-house disaster or worse a My Life With The Thrill Kill Kult sex-horror-shock industrial parody), it's quite a relief to discover the deep dub electronics of Austria's Fetish 69 sound almost exactly like Scorn -- right down to the big rolling basslines, isolationist atmospheres, and slinky trip hop beats. On this double CD, the first chapter ("Dysfunctions") is comprised of the more beat oriented material (with contributions / remix work from James Plotkin, Spectre, Scorn's Mick Harris, Toxic Lounge, etc.) The second CD ("Drones") isn't so much drones (like Hazard or Andrew Chalk) as it is sort of downtempo noir sound not unlike Barry Adamson, with Tribes of Neurot, Fritz Ostyermayer, and Krupica contributing. Pita adds the most notable and intriguing exception to the set with a digitally obliterated remix of the original, that really has nothing to do with what Fetish 69 sounds like (or what they used to sound like, 'cause when we first encountered this band back in the early '90s they were a metallic/industrial noise-rock outfit responsible for a few fairly heavy and now deleted cds on the Nuclear Blast label, so it was quite a surprise to find them still active, and with such friends).

album cover FETUS EATERS Manticore (Hells Headbangers) lp 11.98
Yeah, the band is called Fetus Eaters. And their particular brand of metallic grind is called vomitcore, which for a particular strain of weirdo music obsessives, is pretty much all it should take to get you interested in these musical misanthropes. And for those who might be put off, well, odds are this is not your cup of black bloody fetus laced tea. But for the rest of you, this is some primo grind-metal heaviness, replete with furious blast beats, wild shredding guitars, insectoid riffing, twisted effects, heavy vocals, lots of warped production and processing, and yeah of course plenty of weird samples. Full length number five finds the band slightly more polished, but really only slightly, it's still raw and blown out, punk as fuck, super noisy, and downright psychedelic at times, most of the songs clocking in around the minute mark, which is more than enough to cram in loads of tangled shreddery and blasting headbanging crunch, with the occasional foray into lumbering doominess, face melting noise rock, and grim black buzz, but really, FE are grinders at heart, and a quick listen to "Fetal Sushi Delight" or "Embryonic Chow" of "I'll Snap Your Spine" makes that pretty clear. Not sure why we never listed anything by these guys before, cuz we're digging this big time. Anyone into the various strains of grind, from old school grind, to grinding death metal, to gore grind, to just flat out WTF grind weirdness, might find themselves surprisingly into 'vomitcore' all of a sudden, and fear not, we're right there with you.
Pressed on bloody red vinyl, includes a printed insert/lyric sheet/poster.
MPEG Stream: "You Hate I"
MPEG Stream: "Fetus Sushi Delight"
MPEG Stream: "Praise Fetus"
MPEG Stream: "Zen Clown"

album cover FEU THERESE Ca Va Cogner (Constellation) cd 15.98
The second full length from Feu Therese, the Montreal group captained by Jonathan Parent (former guitarist for Fly Pan Am), continues along the dark mysterious path they explored on their 2006 self-titled debut, but it's not without stretches of levity. In fact, the album opens with an unexpected jaunty guitar and synth line and a charming gent singing in French. Far more melodically inclined than its predecessor and far less bleakly brooding, Ca Va Cogner draws much inspiration from classic kraut, prog and space rock with some tracks being quite reminiscent of vintage works by Richard Pinhas, Kraftwerk and Cluster. Layers of synthesizers and electric guitars sweep across the steady, pulse-like drum beats and occasional male utterances and croonings. Nice.
MPEG Stream: "Visage Sous Nylon"
MPEG Stream: "La Nuit Est Une Femme"

album cover FEU THERESE s/t (Constellation) cd 14.98
Yet another somber (mostly) instrumental ensemble from the Godspeed You Black Emperor collective! This new group's sound is distinguished by layers of rich tremoloed guitar, organ drones and jazz inflected horns. Their closest kin in that Montreal music community is easily the heady improv jam driven Fly Pan Am, and their sonic resemblance is no coincidence. Feu Therese is the project of FPA guitarist Jonathan Parant, and as with most every branch of the mighty GYBE tree, folks from the other groups join in. Their self titled debut is a brooding dedication to Luc Ferrari. Five stormy disparate tracks ranging from six to twelve minutes.
MPEG Stream: "Ferrari En Feu"
MPEG Stream: "Tu N'Avais Qu'Une Oreille"

FEUD, THE Versus yr Unuiverse (Rosewood Union) cd 13.98
Tripped out, jazzy post rock from New York City: super varied and intersting; from droning Kraftwerkian electronica work outs to full bore free jazz freakouts to dirgey Slint rock instrumentals. On Rosewood Union, a British label that has become the new home for really cool and fucked up underground 'post rock.'

FEUHLER s/t (Ostinato Schallplatten/Dephine Knormal) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The relative ease with which this German band outshines the post-rock-fanboy holy-grail trio Don Caballero (keeping in mind that we really like Don Cab), makes one wish that the general indie rock audience at large was harder to please. Then perhaps more bands would try to expand on the Don Cab sound instead of incessantly aping it, and more records would sound as jaw droppingly brilliant as this one. In place of Damon Che's non stop avalanche of 'Moby Dick'isms and DonCab's metal-in-post-rock's-clothing is a complex sonic tapestry of hypnotic drones and cyclical riffs. Feuhler take the droning single note repetition of Tony Conrad, the scraping stones of Loren Chasse, the heavy prog of Voivod, the dynamics of Slint, and the slowly evolving Reich-ish rock of Circle, and fashion a music at once emotive and heavy, intellectual and kick ass.

album cover FEVER RAY s/t (Mute) cd 14.98
Fever Ray is the solo project for one Karin Dreijer Andersson, better known as half of the Swedish oddball electro-pop duo The Knife. Her voice, with all of the helium-tinged falsettos and pitch-shifted growlings, had always been one the most compelling aspects of The Knife. In that schizophrenia of multi-tracked voices and personalities, she sang duets with herself, adopting masculine roles in the downpitched vocals and her naturally pixie voice taking the feminine perspective, which she often affects in unnatural ways through harmonic phaseshifts and chorus effects. With the bouncing lurch of The Knife's rhythms, her tales took on seductively nightmarish proportions, with a grotesque witchiness and atypical Goth blackness which had much more Wolfgang Press to it than Siouxsie. So for her solo project, her voice with its inscrutable yet pansexual personalities finds itself even more central to the music.
This is certainly due to the more downbeat electronic arrangements that she produces on her debut album, which is wholly devoid of those awkward yet sleek big beat techno numbers which punctured The Knife's Silent Shout. Musically, she creates a plastic exoticism, which relates to no particular indigenous music but instead has been filtered from Martin Denny through Chris & Cosey to arrive here with fake bird sounds, canned congo drums and faux marimba vibes flitting amidst sweeps of digital synthesis and softened drum machine beats. It may be more low-key than The Knife, but Karin's still an oddly brilliant tweaker. There had been some rumors (you know, from the Internet) which raised questions as to if The Knife would be 'breaking up.' If that were indeed rooted in fact, Fever Ray should stand as a pretty great phoenix rising from those ashes.
MPEG Stream: "Triangle Walks"
MPEG Stream: "Now's The Only Time I Know"

album cover FEVER RAY s/t (Rabid Records) lp 17.98
Fever Ray is the solo project for one Karin Dreijer Andersson, better known as half of the Swedish oddball electro-pop duo The Knife. Her voice, with all of the helium-tinged falsettos and pitch-shifted growlings, had always been one the most compelling aspects of The Knife. In that schizophrenia of multi-tracked voices and personalities, she sang duets with herself, adopting masculine roles in the downpitched vocals and her naturally pixie voice taking the feminine perspective, which she often affects in unnatural ways through harmonic phaseshifts and chorus effects. With the bouncing lurch of The Knife's rhythms, her tales took on seductively nightmarish proportions, with a grotesque witchiness and atypical Goth blackness which had much more Wolfgang Press to it than Siouxsie. So for her solo project, her voice with its inscrutable yet pansexual personalities finds itself even more central to the music.
This is certainly due to the more downbeat electronic arrangements that she produces on her debut album, which is wholly devoid of those awkward yet sleek big beat techno numbers which punctured The Knife's Silent Shout. Musically, she creates a plastic exoticism, which relates to no particular indigenous music but instead has been filtered from Martin Denny through Chris & Cosey to arrive here with fake bird sounds, canned congo drums and faux marimba vibes flitting amidst sweeps of digital synthesis and softened drum machine beats. It may be more low-key than The Knife, but Karin's still an oddly brilliant tweaker. There had been some rumors (you know, from the Internet) which raised questions as to if The Knife would be 'breaking up.' If that were indeed rooted in fact, Fever Ray should stand as a pretty great phoenix rising from those ashes.
MPEG Stream: "Triangle Walks"
MPEG Stream: "Now's The Only Time I Know"

FEVER RAY s/t (Deluxe Edition) (Mute) 2cd + dvd 21.00

MPEG Stream: "If I Had A Heart"
MPEG Stream: "Now's The Only Time I Know"
MPEG Stream: "Been Here Before"
MPEG Stream: "Seven (Live In Lulea)"

album cover FIELD BOSS / HEY COLOSSUS split (At War With False Noise / Black Horizons / Crucificados) 7" 11.98
A crushing double dose of extreme low end downtuned heaviness from these two UK heavyweights, up first, long time aQ faves Hey Colossus, who tackle an unlikely cover, Andre Williams' "Jailbait", and transform it into some seriously creepy crawly doom blues. A monstrous chugging plod underneath distorted mush mouthed rambling vocalizing, sounding much like a sludgier Oxbow, or maybe the Melvins covering King Snake Roost. As the track progresses, the vocals get more and more garbled, and the background chugs grow more and more intense, transforming from churning riffage into a blurred sheet of black buzz, undulating beneath the relentless pound and chug. AWESOME.
Field Boss, formerly known as Tractor (as they're credited on the 7" label) kick right back with some of their own low slung creep, all thick ropy bass, coruscating sheets of feedback, a sound that's equal parts old school AmRep crush and industrial pound, the song title "Headache" maybe referencing legendary noise rockers Big Black, which would make sense, cuz there's definitely that sort of vibe about this. The track slowly unfolds into keening slo-mo super distorted guitar leads that tangle and become more and more atonal, draped in layers over the churning sonic sludge, until finally, the song explodes into a final tangle of grinding blasting punkish crush, pelted with swirling clouds of hissing distorted static. So good.
Some essential heaviness for sure, and gorgeously packaged in a super swank silk screened black on metallic silver, cardstock 6 panel fold out sleeve, LIMITED TO 300 COPIES!!

album cover FIELD MICE, THE For Keeps (LTM) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been loving the sweet, lush and lilting sounds of the Trembling Blue Stars for ages now, but we had no idea until recently that TBS frontman Bobby Wratton was also responsible for the genius twee pop of the Field Mice. From 1989 to 1991, the Field Mice were the jewel in the legendary Sarah Records' pop crown, making three records and a handful of singles, of some of the most gorgeously effervescent indie jangle pop ever. Super twee and fey, dreamy and drifty, with crystalline fingerpicked guitar, moody melancholy melodies, over shuffling electronic beats, simple acoustic drumming, wandering basslines, otherworldly female vocals, loads of precious indie jangle and of course Wratton's reverb drenched, dreamy soft boy vocals. Even a cursory listen reveals that certain modern bands (Belle And Sebastian anyone?) owe everything they are to these long forgotten musical rodents. So obviously, fans of Belle and Sebastian, who aren't already hoarding secret stashes of long lost Sarah singles, will be in swirling soft pop heaven, but folks who like stuff like Felt, Durutti Column, the Smiths, Trembling Blue Stars (obviously), Unrest, Teenage Fanclub, The Decemberists, Arcade Fire and other similar sorts of quirky blissed out pop shimmer should most definitely check out the Field Mice. This cd reissue contains For Keeps, their final album originally released in 1991, with all the tracks from the singles September's Not So Far Away and Missing the Moon. By the time For Keeps was released, the Field Mice had expanded to a five piece, and sounded like it, with big arrangements and lush production, extended drone-y jams and blissed out ambient jangle, definitely setting the stage for Belle And Sebastian and a legion of other twee pop outfits to come...
MPEG Stream: "Five Moments"
MPEG Stream: "Star Of David"

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