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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.


FLAMING LIPS, THE / MASTADON A Spoonful Weighs A Ton (Warner Bros. / Reprise) 7" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

FLAMING LIPS, THE WITH STARDEATH AND WHITE DWARFS WITH HENRY ROLLINS AND PEACHES Doing Dark Side Of The Moon (Warner Brothers) lp 29.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover FLAMING STARS Ginmill Perfume: The Story So Far 1995-2000 (Alternative Tentacles) cd 13.98
Alternative Tentacles brings the sounds of UK band Flaming Stars to this side of the Atlantic. They've been around for over five years with a handful of releases on Vinyl Japan, but nary a peep in the U.S. until now. Imagine a melding of the Tindersticks' brooding deep vocals, Calexico's shadowy twang and maybe a bit of the lanky swagger of Jazz Butcher and Velvet Underground too, for good measure. Quite nice.
RealAudio clip: "A Place In The Sun"

album cover FLAMING STARS, THE Named and Shamed (Alternative Tentacles) cd 14.98
The Flaming Stars' previous release on Alternative Tentacles, Ginmill Perfume: The Story So Far 1995-2000, received quite a warm response around these parts, and Named And Shamed seems destined for a similar welcome. While checking out the album's first few tunes, Andee thought that lead singer Max Decharne's dark and deep voice brought to mind a cross between Nick Cave and Lou Reed. However, by the time the sixth song "The Parade's Gone By" came around, Allan had joined the listenin' party and commented that it sounded like Jonathan Richman. So... if you have a particular penchant for (or aversion to) those aforementioned singers you might wanna take appropriate action (i.e, get this right away, or, stay away).
As for the rest of the Flaming Stars' sound, for the most part Descharne's keyboards stick with his vocals and Paul Dempsey's steady bass guitar in the lower register creating an overall low, simmering brood-mood. Joe Whitney's drumming and the dual post-punkish electric guitar attack of Huck Whitney and Mark Hosking occasionally jab and poke through the heavy shadows. The band saves the best song for last -- "Locked In Tight" is a somber late night heartbreaker.
MPEG Stream: "The Parade's Gone By"
MPEG Stream: "Locked In Tight"

album cover FLAMING TUNES (GARETH WILLIAMS AND MARY CURRIE) s/t (ReR) cd 21.00
Finally one of the legendary lost This Heat related recordings gets its first proper release! Originally released as a tape in 1985, recorded by This Heat's Gareth Williams and Mary Currie and friends, shortly after Williams left This Heat, Flaming Tunes is a gorgeous, quirky collection of lo-fi experimental moody textural avant pop, originally conceived as something totally removed from the much more abrasive and rhythmic music he made in This Heat. Unavailable ever since its original cassette release, minus a bootleg which included the tape in its entirety but described it as This Heat's final demo recordings, Flaming Tunes in some ways reminds us of Charles Hayward's Camberwell Now project, in that some of the sounds are familiar and still somewhat This Heat sounding, but the record is much more vocal based, and song oriented, resulting in a sound, that while appealing to This Heat obsessives, offered a whole new window into Williams' approach to sound and songwriting, and in that, a once removed glimpse of some of the elements that helped make This Heat what it was.
The record opens with a looped piano wrapped in sizzling electronic buzz, peppered with strange bursts of sonic crunch, stuttery fragmented rhythms, not hard to see why folks believed this could be a blueprint for new This Heat material. But the second song is more of what Flaming Tunes is all about. Tunes. Sing songy weary vocals over plonked piano, squeaking horns, skittery percussion, lots of drones, plenty of tape hiss and amp buzz, definitely lo-fi, some cool synth melodies, the sound definitely reminiscent of the first two Brian Eno records or that classic Flying Nun sound, bands like the Tall Dwarfs or the Pin Group or This Kind Of Punishment or The Children's Hour or even the Dead C at their most poppy. And that's the sound that makes up most of Flaming Tunes, a hazy, gauzy, low fidelity (but strangely lush) bedroom pop, lots of piano, wreathed in reverb, warm warbly bass, occasional strings, programmed rhythms, detuned tangles of minor key guitar, plenty of jangle and chime, with intermittent forays into cool abstract experimentation, but even then, those tracks still sound a little song-y and don't at all disrupt the flow of the record. "Raindrops From Heaven", with a field recording of rainfall, insects, beneath some clattery, muted parlor skitter, or the brooding muddy piano drone of "It's Madness" with its disembodied vox and haunting creepy creaking Victorian vibe, with sampled strings and mysterious textures, before the record closes with a surprisingly Beatles-esque ballad called "Generous Moon", that sort of classic pop, rendered a little bit warped and woozy, the guitars twangy, and the background melodies a sea of whirring keyboards, locking into a looped dreamlike dirge before finally fading out.
So nice. This Heat fanatics will flip for sure, and no doubt some have tapes or bootlegs of this already, but it sounds so much better now, and comes in a super deluxe digipak, with tons of photos, artwork and liner notes. And even if you've never heard This Heat (what the hell is wrong with you?), this will still appeal to folks into twisted dark lo-fi pop.
MPEG Stream: "Another Flaming Tune"
MPEG Stream: "A To B"
MPEG Stream: "Raindrops From Heaven"

FLASHING LIGHTS Where The Change Is (Spin Art) cd 14.98
Who are the Flashing Lights? Well, first perhaps a little Canadian pop history lesson for you. The Superfriendz were a great Halifax-based power pop group of the mid-90s. Full of maddeningly catchy hooks and vocal harmonies, not to mention plenty of youthful vim and vigor. Although they were often lumped in with and overshadowed by fellow Nova Scotians, Canadian pop superstars Sloan, Matt Murphy -- an excellent songwriter in his own right -- and company drew a strong, loyal following across the country. After the Superfriendz' demise a couple of years ago, Matt decided to start anew. Voila! The Flashing Lights. The result? A super summertime record if I've ever heard one. And one that is very much a sweet buoyant continuation to those of his former band. Mr. Murphy just might be the only person who can name a song "Talk To The Hand" and not be beaten to a pulp. Note: this cd was first released in Canada on Matt's own label, but here re-issued on SpinArt, it boasts two bonus tracks.

album cover FLASKET BRINNER The Swedish Radio Recordings 1970-1975 (Mellotronen) 4cd 88.00
Thought we'd list this, 'cause we've had one copy for a while that's been sitting up behind/above the counter, alone and unlooked-at, alongside the our other box sets like that ZZ Top "barbeque shack" thing Allan said he'd buy if we didn't sell it by January 1st 2004 (hmm, it's still here...Allan?).
Flasket Brinner were a psychedelic, proggy, symphonic, very jazzy ensemble that featured key members of the '70s Swedish underground rock/jazz scene, and were known for their live performances (being what today might be called a "jam band" I guess). Thus a four-cd box set like this one, collecting their live radio sessions from the early '70s, is quite an appropriate release, presumably long-awaited by fans of the band. Perhaps of special note to AQ-customers is that you'll find featured on about half of this set, the Hammond organ of Bo Hansson! Indeed, these discs include several medleys of material drawn from Hansson's Lord Of The Rings album, plus other Hansson compositions. But Flasket Brinner's collective mood was wide-ranging, from Hansson's Middle Earth vibes to Ennio Morricone to traditional Turkish music to tongue-in-cheek covers of rock staples like "Wild Thing". Bewarned: you've gotta like extended jamming, and flutes and sax, to get into this. The box includes a big booklet full of photos and text, with notes on each session and song, along with a history of the band and an exhaustive discography of recordings by the various band members that makes it seem likely that Flasket Brinner alumni played on almost every cool record released in Sweden in the '70s, including LPs by such AQ faves as Algarnas Tradgard and Turid.
MPEG Stream: "Gunnars Dilemma"
MPEG Stream: "Lothlorien"

album cover FLAT EARTH SOCIETY / THE LOST Waleeco / Space Kids (Arf! Arf!) cd 16.98

FLAVIOLA Eo Bando Do Sol (World Psychedelia) cd 17.98

album cover FLEET FOXES Helplessness Blues (Sub Pop) cd 14.98
It took us a while to be won over. But once we were, we couldn't get enough. We've been anxiously awaiting this new Fleet Foxes for ages, and it's everything we hoped it would be. An utterly gorgeous collection of dark shimmery folk, of harmony-heavy country (indie) rock. Like their debut, Helplessness Blues is just simply beautiful and timeless twangy pop. All the stuff we loved about the first record remains, and if anything, the band have stretched out even further. The Beach Boys harmonies, the warm hushed, reverby production, the seventies Laurel Canyon vibe, but this time around, there are horns, the drums seem to play a bigger part, some of the tracks downright bombastic, the sound is way more varied, from hushed whispery drift to wild skronky free jazz freakouts, from strummy, hazy, psychedelic folk to lush, almost cabaret sounding pop.
And the vocals, as incredible as before, Robin Pecknold's croon crystalline and clear, and the harmonies impossibly rich and lush, the vocals bathed in echo and reverb, making every track sound like it was recorded in some dusty old dancehall, exactly as they should. And the songs, like most second records, not as immediately catchy as the first, but upon repeated listens, blossoming and revealing themselves as the perfect pop songs they truly are. The sound is still equal parts Neil Young, Crosby, Stills and Nash, the Beach Boys, the Eagles, Simon And Garfunkel, and still those sounds are filtered though more modern influences like Animal Collective, as displayed by the record's lush layers and dense vocal arrangements, but Helplessness Blues is not just more of the same, the sound, the songs, the arrangements, everything this time around is somehow more, and better, and we can't seem to stop listening.
MPEG Stream: "Montezuma"
MPEG Stream: "Bedouin Dress"
MPEG Stream: "Sim Sala Bim"

album cover FLEET FOXES Helplessness Blues (Sub Pop) 2lp 17.98
It took us a while to be won over. But once we were, we couldn't get enough. We've been anxiously awaiting this new Fleet Foxes for ages, and it's everything we hoped it would be. An utterly gorgeous collection of dark shimmery folk, of harmony-heavy country (indie) rock. Like their debut, Helplessness Blues is just simply beautiful and timeless twangy pop. All the stuff we loved about the first record remains, and if anything, the band have stretched out even further. The Beach Boys harmonies, the warm hushed, reverby production, the seventies Laurel Canyon vibe, but this time around, there are horns, the drums seem to play a bigger part, some of the tracks downright bombastic, the sound is way more varied, from hushed whispery drift to wild skronky free jazz freakouts, from strummy, hazy, psychedelic folk to lush, almost cabaret sounding pop.
And the vocals, as incredible as before, Robin Pecknold's croon crystalline and clear, and the harmonies impossibly rich and lush, the vocals bathed in echo and reverb, making every track sound like it was recorded in some dusty old dancehall, exactly as they should. And the songs, like most second records, not as immediately catchy as the first, but upon repeated listens, blossoming and revealing themselves as the perfect pop songs they truly are. The sound is still equal parts Neil Young, Crosby, Stills and Nash, the Beach Boys, the Eagles, Simon And Garfunkel, and still those sounds are filtered though more modern influences like Animal Collective, as displayed by the record's lush layers and dense vocal arrangements, but Helplessness Blues is not just more of the same, the sound, the songs, the arrangements, everything this time around is somehow more, and better, and we can't seem to stop listening.
MPEG Stream: "Montezuma"
MPEG Stream: "Bedouin Dress"
MPEG Stream: "Sim Sala Bim"

album cover FLEET FOXES Mykonos (Sub Pop) 7" 5.98

album cover FLEET FOXES s/t (Sub Pop) cd 14.98
We weren't all that into Fleet Foxes when we heard this record the first time. Not sure if it was us reacting to the usual way-too-much-hype that seems to surround so many debut releases these days. Or if the music just didn't move us. So we had sort of written them off as another 'whatever' band, decent enough to carry, but not special enough for us to worry about reviewing. But then we saw them perform live, and something changed. It was a revelation. It's difficult to pinpoint what it was exactly, but they sounded amazing, lush, timeless, sort of rocking, the vocals impossibly beautiful, harmonies to die for. It might have been hearing them LOUD, it could have been the fact that they were performing in a sun dappled glade, surrounded by tress and green grassy hills, probably a little of both. Whatever it was, it opened our ears, and the beauty of Fleet Foxes was revealed to us. A lush seventies Laurel Canyon sort of countryish pop folk. Crosby, Stills and Nash are the obvious reference, maybe the Eagles too. But also mix in some Beach Boys, some Big Star, the pop element is undeniable, the sound fuzzy and sun dappled, the percussion orchestral, the arrangements grand and epic, but somehow, it all sounds so intimate and personal. Sunshiney, melancholy, dreamy, intricate steel string guitars, shuffling drums, hand claps, all just a background for the lovely vocals, a high crystal clear croon, that easily slips into a falsetto, before swooping back down again, and the harmonies, oh the harmonies, absolutely divine. So much so we sometimes find ourselves just waiting for the parts where the band pulls back leaving just the vocals, perhaps an acoustic guitar, those are the moments that make this band so fantastic. Thus returning to the record, we have a whole different take. All of the above describes the sounds within pretty perfectly, not sure why it took seeing them play live, but for whatever reason, we're glad we did. Otherwise we would have missed out on Fleet Foxes' lush loveliness. Just listen to "White Winter Hymnal" and if you're not sold, well then, figure out a way to get these guys to set up and play for you in some field or forest, it will be well worth it.
MPEG Stream: "White Winter Hymnal"
MPEG Stream: "Sun It Rises"

album cover FLEET FOXES s/t (Sub Pop) 2lp 15.98
We weren't all that into Fleet Foxes when we heard this record the first time. Not sure if it was us reacting to the usual way-too-much-hype that seems to surround so many debut releases these days. Or if the music just didn't move us. So we had sort of written them off as another 'whatever' band, decent enough to carry, but not special enough for us to worry about reviewing. But then we saw them perform live, and something changed. It was a revelation. It's difficult to pinpoint what it was exactly, but they sounded amazing, lush, timeless, sort of rocking, the vocals impossibly beautiful, harmonies to die for. It might have been hearing them LOUD, it could have been the fact that they were performing in a sun dappled glade, surrounded by tress and green grassy hills, probably a little of both. Whatever it was, it opened our ears, and the beauty of Fleet Foxes was revealed to us. A lush seventies Laurel Canyon sort of countryish pop folk. Crosby, Stills and Nash are the obvious reference, maybe the Eagles too. But also mix in some Beach Boys, some Big Star, the pop element is undeniable, the sound fuzzy and sun dappled, the percussion orchestral, the arrangements grand and epic, but somehow, it all sounds so intimate and personal. Sunshiney, melancholy, dreamy, intricate steel string guitars, shuffling drums, hand claps, all just a background for the lovely vocals, a high crystal clear croon, that easily slips into a falsetto, before swooping back down again, and the harmonies, oh the harmonies, absolutely divine. So much so we sometimes find ourselves just waiting for the parts where the band pulls back leaving just the vocals, perhaps an acoustic guitar, those are the moments that make this band so fantastic. Thus returning to the record, we have a whole different take. All of the above describes the sounds within, pretty perfectly, not sure why it took seeing them play live, but for whatever reason, we're glad we did. Otherwise we would have missed out on Fleet Foxes' lush loveliness. Just listen to "White WInter Hymnal" and if you're not sold, well then, figure out a way to get these guys to set up and play for you in some field or forest, it will be well worth it.
MPEG Stream: "White Winter Hymnal"
MPEG Stream: "Sun It Rises"

album cover FLEET FOXES Sun Giant (Sub Pop) cd ep 5.98

album cover FLEETWOOD MAC Rumours (Reprise) 2cd 22.00


album cover FLEETWOOD MAC s/t (Reprise) cd 13.98

album cover FLEETWOOD MAC Tusk (Reprise) 2cd 22.00



album cover FLEISCHMANN, B. Angst Is Not A Weltanschauung (Morr) cd 16.98

album cover FLESH EATERS A Hard Road To Follow (Atavistic) cd 14.98

album cover FLESH EATERS A Minute To Pray, A Second To Die (Superior Viaduct) cd 15.98
Superior Viaduct does it again, bringing us much needed reissues of not only one but two classic LA underground records from 1981: The Flesh Eaters' amazing A Minute To Pray, A Second To Die, and The Gun Club's incredible debut, Fire of Love. We're gonna (gotta!) make 'em both Records Of The Week!
Death, drugs, sex, voodoo, evil blues, macabre horror and a sublimely detached southern gothic sensibility pervades the sound of these two bands who sat somewhere between the margins of the "death rock" and "cowpunk" or "gothabilly" genres in the LA punk scene of the late seventies and early eighties without fitting neatly into either.
Chris Desjardins, or Chris D., was the central force behind The Flesh Eaters as well as producer for The Gun Club, and other bands of the era such as Tex and The Horseheads (featuring his then girlfriend Texicala Jones) and his later band, The Divine Horsemen. Once a writer for the popular underground fanzine Slash, Chris D assembled The Flesh Eaters from many bands of the scene, such as The Blasters, Wall of Voodoo, Los Lobos, and X, and indeed no Flesh Eaters record had quite the same line-up. Their second release, A Minute to Pray, A Second to Die remains the band's most critically regarded effort and it's easy to see why. Featuring John Doe and DJ Bonebrake from X on bass and marimbas respectively, Dave Alvin and Bill Bateman from The Blasters on guitar and drums and Steve Berlin from Los Lobos on sax, the band's swampy but driving voodoo rhythms marked most notably by the unusual use of marimbas and saxophone and Chris D's horror-spun lyricism and guttural vocals put them in a similar scene as bands like 45 Grave and The Cramps, but with a fiercer edge and far less campy aesthetic. Instead, A Minute to Pray, A Second to Die is like a dark spaghetti western full of werewolf marauders, evil curses, night fevers, grave-digging and a rollicking hell-bent fury. Essential listening for fans of The Birthday Party, Nick Cave and The Bad Seeds, and any of the bands mentioned above.
MPEG Stream: "Digging My Grave"
MPEG Stream: "Divine Horseman"
MPEG Stream: "River of Fever"
MPEG Stream: "Satan's Stomp"

album cover FLESH EATERS A Minute To Pray, A Second To Die (Superior Viaduct) lp 17.98
Superior Viaduct does it again, bringing us much needed reissues of not only one but two classic LA underground records from 1981: The Flesh Eaters' amazing A Minute To Pray, A Second To Die, and The Gun Club's incredible debut, Fire of Love. We're gonna (gotta!) make 'em both Records Of The Week!
Death, drugs, sex, voodoo, evil blues, macabre horror and a sublimely detached southern gothic sensibility pervades the sound of these two bands who sat somewhere between the margins of the "death rock" and "cowpunk" or "gothabilly" genres in the LA punk scene of the late seventies and early eighties without fitting neatly into either.
Chris Desjardins, or Chris D., was the central force behind The Flesh Eaters as well as producer for The Gun Club, and other bands of the era such as Tex and The Horseheads (featuring his then girlfriend Texicala Jones) and his later band, The Divine Horsemen. Once a writer for the popular underground fanzine Slash, Chris D assembled The Flesh Eaters from many bands of the scene, such as The Blasters, Wall of Voodoo, Los Lobos, and X, and indeed no Flesh Eaters record had quite the same line-up. Their second release, A Minute to Pray, A Second to Die remains the band's most critically regarded effort and it's easy to see why. Featuring John Doe and DJ Bonebrake from X on bass and marimbas respectively, Dave Alvin and Bill Bateman from The Blasters on guitar and drums and Steve Berlin from Los Lobos on sax, the band's swampy but driving voodoo rhythms marked most notably by the unusual use of marimbas and saxophone and Chris D's horror-spun lyricism and guttural vocals put them in a similar scene as bands like 45 Grave and The Cramps, but with a fiercer edge and far less campy aesthetic. Instead, A Minute to Pray, A Second to Die is like a dark spaghetti western full of werewolf marauders, evil curses, night fevers, grave-digging and a rollicking hell-bent fury. Essential listening for fans of The Birthday Party, Nick Cave and The Bad Seeds, and any of the bands mentioned above.
MPEG Stream: "Digging My Grave"
MPEG Stream: "Divine Horseman"
MPEG Stream: "River of Fever"
MPEG Stream: "Satan's Stomp"

FLESH EATERS No Questions Asked (Atavistic) cd 14.98

FLESH EATERS No Questions Asked (Mono) lp 17.98

FLESH LIGHTS Muscle Pop (Twistworthy Records) lp 12.98

album cover FLESH WORLD s/t (La Vida En Un Mus) lp 16.98

FLESHIES Kill The Dreamer's Dream (Alternative Tentacles) cd 13.98
This Punk band from the East Bay has been around for two years. Its members had been previously playing in other punk bands like the 3Tards Sledwreck, and The Dairy Queens, and have put out songs on a variety of compilations and split singles with such bands as the Phantom Limbs and Federation X. This, their first full length release, debuts on Alternative Tentacles & consists of 17 ugly drunk loud crass angry punk songs. If you like that sort of thing you'll be happy.
RealAudio clip: "Yes, I'm Starting Shit"

album cover FLESHIES The Game of Futbol (Adeline) cd ep 9.98
Local boys who were on a split 7" with Phantom Limbs now have released this ep. The first song sadly reminded me of typical East Bay punk, the second song was a weird ballad about 'futbol' and the third song sounded just like Drive Like Jehu or Pitchfork (which isn't a bad thing). It went on like that. The record is all over the place but mostly soft punk (ya know, with a heart). It's a lot lighter than I would have thought knowing that they are cohorts of the notorious Phantom Limbs.
RealAudio clip: "Fists of Mercy"
RealAudio clip: "Bon Bons"
RealAudio clip: "The Game of Futbol"

album cover FLIED EGG Dr. Siegel's Fried Egg Shooting Machine (Universal Japan) cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Freaky early '70s psych rock from Japan here folks, as you may know already on account of how we highlighted the reissue of this band's second album on our last list. This one, with a truly hard-to-beat title, was Flied [sic] Egg's debut, released originally in 1972, on Vertigo -- with Flied Egg one of the few, if not only, Japanese acts to appear on the roster of that legendary UK-based label known for proto-metal, jazz-prog and other "hairy funk" delights. This album dishes such delights all over the place, ranging from the Blue Cheer meets Uriah Heep heaviness of "Rolling Down The Broadway" to the weird choral interlude of "15 Seconds Of Schizophrenic Sabbath" to the classical prog flourishes of "Oke-Kus" (sounding like a warped version of ELP) to the sheer hippie psych-pop lunacy of the title track. And more! All in all, this is quite as crazy as its Dali-esque cover painting indicates. Definitely an essential for our Japanese '70s psych section, and anyone who loves them some acid rock guitar!
MPEG Stream: "Dr. Siegel's Fried Egg Shooting Machine"
MPEG Stream: "Burning Fever"

album cover FLIED EGG Dr. Siegel's Fried Egg Shooting Machine (Phoenix) cd 17.98
Another reissue of freaky early '70s psych rock from Japan here folks, one we've had before, but that was a more expensive version, out of print for a while anyway. But now this has been reissued again, not by Bamboo (who recently reissued the same band's 2nd album, Goodbye, a few months back) but by another UK label, Phoenix... though we sorta suspect they're the same label anyway.
In any case, good to have it available again. This one, with a truly hard-to-beat title, was Flied [sic] Egg's debut, released originally in 1972, on Vertigo - with Flied Egg one of the few, if not only, Japanese acts to appear on the roster of that legendary UK-based label known for proto-metal, jazz-prog and other "hairy funk" delights. This album dishes such delights all over the place, ranging from the Blue Cheer meets Uriah Heep heaviness of "Rolling Down The Broadway" to the weird choral interlude of "15 Seconds Of Schizophrenic Sabbath" to the classical prog flourishes of "Oke-Kus" (sounding like a warped version of ELP) to the sheer hippie psych-pop lunacy of the title track. And more! All in all, this is quite as crazy as its Dali-esque cover painting indicates. Definitely an essential for our Japanese '70s psych section, and anyone who loves them some acid rock guitar!
This new reissue comes in a cardboard "wallet" style sleeve, a numbered limited edition of 1000.
MPEG Stream: "Dr. Siegel's Fried Egg Shooting Machine"
MPEG Stream: "Burning Fever"

album cover FLIED EGG Good Bye (Universal Japan) cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Yes that's right, Flied not Fried Egg. Uh, 'cause they're Japanese. Think about it. Hey, it's their joke. Anyway, this one's for all you '70s heaviness lovin' proto-metal fans, it's something that we got in along with the Flower Travellin' Band reissues we listed last time. Goodbye is Flied Egg's second of two albums (both '72, and both on the famed Vertigo label, best known as the home of Black Sabbath). We also intend to review their first one, with the marvelous title of Dr. Siegel's Fried Egg Shooting Machine, which as you might guess is some pretty wild acid psych. We decided to list Goodbye first, though, just 'cause we can simply say it's a no-brainer for Blue Cheer fans.
Basically, this album is distinctly (even on cd) split between two sides, the first half recorded live, possibly at their farewell concert, we'd guess from the title. This in-concert portion is the heaviest, it's all bad ass fuzzed out blooze rawk swagger that makes us think Blue Cheer, Blue Cheer, Blue Cheer! (Also Grand Funk/Cactus/Mountain.) Hear 'em rile up a cheering crowd with these party-pleasers: "Leave Me Woman", "Rolling Down The Broadway" (a stompin' composition that appears in a studio version on their debut), Josea/King's "Rock Me Baby", and the twelve-minute-plus "Five More Pennies", which includes a drum solo in addition to all the acid guitar excess. Following all that, the studio half of the album gets a bit more proggy and wigged out (ending with a multi-part piece entitled "521 Seconds Schizophrenic Symphony"!) while also containing a couple of mellower melodic numbers, the sad and gentle "Out To Sea" and "Goodbye My Friends".
Members of Flied Egg also did time in some other hard rockin' underground Japanese psych acts whose reissues we've previously reviewed, including Strawberry Path and Brush!?... if you dig those, or the likes of FTB, Blues Creation, Speed Glue & Shinki, or Too Much, then Flied Egg is for you too.
MPEG Stream: "Rolling Down The Broadway (live)"
MPEG Stream: "Five More Pennies (live)"

album cover FLIED EGG Good Bye (Bamboo) cd 17.98
Along with Speed, Glue & Shinki's debut Eve, we've got another Japanese psychrock reish this week, Good Bye by Flied Egg, which we haven't had for a while. And this Bamboo label reissue (in a cardboard wallet sleeve) is a bit cheaper than the out of print Japanese import cd we used to stock.
Yes that's right, Flied not Fried Egg. Uh, 'cause they're Japanese. Think about it. Hey, it's their joke. Anyway, this one's for all you '70s heaviness lovin' proto-metal fans who may have missed it before. Good Bye was Flied Egg's second of two albums (both '72, and both on the famed Vertigo label, best known as the home of Black Sabbath). Hopefully Phoenix will also soon reissue first one, with the marvelous title of Dr. Siegel's Fried Egg Shooting Machine, which as you might guess is some pretty wild acid psych. Good Bye, however, is the heavier of the two, and we can simply say it's a no-brainer for Blue Cheer fans. Basically, this album is distinctly (even on cd) split between two sides, the first half recorded live, possibly at their farewell concert, we'd guess from the title. This in-concert portion is the heaviest, it's all bad ass fuzzed out blooze rawk swagger that makes us think Blue Cheer, Blue Cheer, Blue Cheer! (Also Grand Funk, Cactus, and Mountain.) Hear 'em rile up a cheering crowd with these party-pleasers: "Leave Me Woman", "Rolling Down The Broadway" (a stompin' composition that appears in a studio version on their debut), BB King's "Rock Me Baby", and the twelve-minute-plus "Five More Pennies", which includes a drum solo in addition to all the acid guitar excess. Following all that, the studio half of the album gets a bit more proggy and wigged out (ending with a multi-part piece entitled "521 Seconds Schizophrenic Symphony", wow!) while also containing a couple of mellower melodic numbers, namely the sad and gentle "Out To Sea" and finale "Goodbye My Friends". FYI, not a favorite of Julian "Japrocksampler" Cope, but WE like it. Members of Flied Egg also did time in some other hard rockin' underground Japanese psych acts whose reissues we've previously reviewed, including Strawberry Path, Brush!?, and Food Brain... if you dig those, or the likes of Flower Travellin' Band,
Blues Creation, Speed Glue & Shinki, or Too Much, then Flied Egg is for you too.
MPEG Stream: "Rolling Down The Broadway (live)"
MPEG Stream: "Five More Pennies (live)"

album cover FLIED EGG Good Bye (Bamboo) lp 24.00
This Japanese psychrock reish, now available on vinyl!
Yes that's right, it's Flied not Fried Egg. Uh, 'cause they're Japanese. Think about it. Hey, it's their joke. Anyway, this one's for all you '70s heaviness lovin' proto-metal fans who may have missed it before. Good Bye was Flied Egg's second of two albums (both '72, and both on the famed Vertigo label, best known as the home of Black Sabbath). The first one, with the marvelous title of Dr. Siegel's Fried Egg Shooting Machine, is as you might guess is some pretty wild acid psych. Good Bye, however, is the heavier of the two, and we can simply say it's a no-brainer for Blue Cheer fans. Basically, this album is distinctly split between two sides, the first half recorded live, possibly at their farewell concert, we'd guess from the title. This in-concert portion is the heaviest, it's all bad ass fuzzed out blooze rawk swagger that makes us think Blue Cheer, Blue Cheer, Blue Cheer! (Also Grand Funk, Cactus, and Mountain.) Hear 'em rile up a cheering crowd with these party-pleasers: "Leave Me Woman", "Rolling Down The Broadway" (a stompin' composition that appears in a studio version on their debut), BB King's "Rock Me Baby", and the twelve-minute-plus "Five More Pennies", which includes a drum solo in addition to all the acid guitar excess. Following all that, the studio half of the album gets a bit more proggy and wigged out (ending with a multi-part piece entitled "521 Seconds Schizophrenic Symphony", wow!) while also containing a couple of mellower melodic numbers, namely the sad and gentle "Out To Sea" and finale "Goodbye My Friends". FYI, not a favorite of Julian "Japrocksampler" Cope, but WE like it. Members of Flied Egg also did time in some other hard rockin' underground Japanese psych acts whose reissues we've previously reviewed, including Strawberry Path, Brush!?, and Food Brain... if you dig those, or the likes of Flower Travellin' Band, Blues Creation, Speed Glue & Shinki, or Too Much, then Flied Egg is for you too.
By the way, d'oh, it sez "Flied Rice" on the spine!
MPEG Stream: "Rolling Down The Broadway (live)"
MPEG Stream: "Five More Pennies (live)"

FLIES INSIDE THE SUN Le Mal D'Archive (Metonymic) cd 14.98
Flies Inside The Sun is the out-rock / free-jazz trio comprised of New Zealand stalwarts Kim Pieters, Peter Stapleton, and Brian Crook. Collectively, they've worked in a number of projects that have varied from the angry-pop of Scorched Earth Policy to the Kranky label approved drone-rock of Dadamah to the angular improvisations of Rain. By and large, each of the bands carries over a signature lugubriousness which certainly migrates into the Flies Inside The Sun. Imagine Movietone or Crescent turning even further to the tropes of jazz, than you come close to the sounds of Flies Inside The Sun.

album cover FLIES, THE Complete Collection 1965-1968 (Acme Gramophone / Lion) cd 16.98
Frat-rockish '60s garage reish.

FLIGHT OF THE CONCHORDS Pencils In The Wind / Albi The Racist Dragon (Record Store Day) (Sub Pop) 7" 5.50

album cover FLIGHT OF THE CONCHORDS s/t (Sub Pop) cd 14.98
We were pretty skeptical when we first hear about Flight Of The Conchords. Who in their right mind would dare try follow in the footsteps of Tenacious D? And we're talking just the original six HBO episodes. Never has a shitty open mic, dual acoustic guitar band been so metal, so funny, and so fucking genius as Tenacious D.
So when we first checked out New Zealand's Flight Of The Conchords, our reaction was that these guys were just ripping off the D. But the more we watched, the more they demonstrated that they were definitely their own thing. The duo, Bret and Jemaine (NOT Jermiane) are super charming, and super hilarious in a weirdly deadpan way. If you haven't seen the show, definitely check it out. Their manager Murray steals the show, as does their only fan Mel, and their dirtbag only friend, the guy who runs the pawn shop. And the songs are pretty funny too, loosely tied into whatever happens to be going on in that episode, and occasionally the whole show is tied instead into the concept of the song, which results in much more tweaked and whatthefuck goings on.
So yeah, love the show, and love the music, which might pose the only problem. As with Tenacious D, we love the songs EXACTLY as they are on the show, the same instrumentation, the same arrangement, the same production, THOSE are the songs we want to hear. So it's frustrating to hear them re-recorded as they are here, the vibe is definitely more polished and less loose, but thankfully still can't take way from the charm of these songs.
Fans of the show might feel the same, taking a while to warm up to these alternate versions, but a lot of this stuff wasn't really focused on in the show, or maybe not in the show at all, and the ones that were, you've probably been dying to hear again. And for fans, all the hits are here: "The Most Beautiful Girl (In The Room)", "Business Time", the amazing rap track "Hiphopopotamus Vs. Rhymenocerous (Featuring Rhymenocerous And The Hiphopapoatumus)", the dancehall jam of "Boom", and of course the awesome 'binary solo' in "Robots". Not only are the lyrics funny, but the songs are catchy as hell. Not sure how this would play to someone who hadn't seen the show, but if you haven't, what the heck is wrong with you anyway? Buy it, or rent it, and you might as well buy this too, you're gonna want to hear these songs over and over, since after one viewing they stick in your head like crazy. And if you're not interested in the show, but dig clever goofy silly novelty folk, then this will definitely hit the spot.
The packaging is pretty excellent too, a six panel digipak with a cool pop up of Bret and Jemaine, behind which is the cd and a massive poster.
MPEG Stream: "The Most Beautiful Girl (In The Room)"
MPEG Stream: "Robots"
MPEG Stream: "Hiphopopotamus Vs. Rhymenocerous (Featuring Rhymenocerous And The Hiphopopotamus)"

album cover FLIGHT OF THE CONCHORDS s/t (Sub Pop) lp 15.98
We were pretty skeptical when we first hear about Flight Of The Conchords. Who in their right mind would dare try follow in the footsteps of Tenacious D? And we're talking just the original six HBO episodes. Never has a shitty open mic, dual acoustic guitar band been so metal, so funny, and so fucking genius as Tenacious D.
So when we first checked out New Zealand's Flight Of The Conchords, our reaction was that these guys were just ripping off the D. But the more we watched, the more they demonstrated that they were definitely their own thing. The duo, Bret and Jemaine (NOT Jermiane) are super charming, and super hilarious in a weirdly deadpan way. If you haven't seen the show, definitely check it out. Their manager Murray steals the show, as does their only fan Mel, and their dirtbag only friend, the guy who runs the pawn shop. And the songs are pretty funny too, loosely tied into whatever happens to be going on in that episode, and occasionally the whole show is tied instead into the concept of the song, which results in much more tweaked and whatthefuck goings on.
So yeah, love the show, and love the music, which might pose the only problem. As with Tenacious D, we love the songs EXACTLY as they are on the show, the same instrumentation, the same arrangement, the same production, THOSE are the songs we want to hear. So it's frustrating to hear them re-recorded as they are here, the vibe is definitely more polished and less loose, but thankfully still can't take way from the charm of these songs.
Fans of the show might feel the same, taking a while to warm up to these alternate versions, but a lot of this stuff wasn't really focused on in the show, or maybe not in the show at all, and the ones that were, you've probably been dying to hear again. And for fans, all the hits are here: "The Most Beautiful Girl (In The Room)", "Business Time", the amazing rap track "Hiphopopotamus Vs. Rhymenocerous (Featuring Rhymenocerous And The Hiphopapoatumus)", the dancehall jam of "Boom", and of course the awesome 'binary solo' in "Robots". Not only are the lyrics funny, but the songs are catchy as hell. Not sure how this would play to someone who hadn't seen the show, but if you haven't, what the heck is wrong with you anyway? Buy it, or rent it, and you might as well buy this too, you're gonna want to hear these songs over and over, since after one viewing they stick in your head like crazy. And if you're not interested in the show, but dig clever goofy silly novelty folk, then this will definitely hit the spot.
MPEG Stream: "The Most Beautiful Girl (In The Room)"
MPEG Stream: "Robots"
MPEG Stream: "Hiphopopotamus Vs. Rhymenocerous (Featuring Rhymenocerous And The Hiphopopotamus)"

album cover FLIGHT OF THE CONCHORDS The Distant Future (Sub Pop) cd ep 3.98
First thing you gotta do to truly enjoy Flight Of The Conchords, is to pretend you've never heard or seen Tenacious D, and if for some crazy reason you -haven't- seen Tenacious D, and we're talking about the HBO show not the movie, then for chrissakes go get it now. You will not see a funnier, more totally wacked show, or hear more amazing metal tinged acoustic rock songs EVER. So once you've seen, and enjoyed Tenacious D, and then immediately begun to pretend that you haven't, then it's okay to dig into Flight Of The Conchords, a similarly damaged acoustic comedy duo.
But FOTC are a lot more feel good than Tenacious D. The D had a serious sinister edge, with songs rooted in HEAVY METAL, swearing and screaming, blood and chaos and mayhem, where as the Conchords are more friendly, more deadpan, like the TV show, a more sort of Napoleon Dynamite vibe, long pauses, non sequiturs, a sort of rumpled discomfort instead of the D's in your face full frontal comedic pummel. And while we love the D, there is definitely a place for the Conchords. And while they don't seem as inspired as the D, the show is pretty dang funny, and some of their songs are awesome, "Robots" being the most obvious, a tale of the distant future, the year 2000, complete with a kick ass 'binary solo', the band rapidly reciting ones and zeros over madly strummed guitars. "Business Time" is pretty funny too, sexy and silly, and more of that deadpan style.
The live tracks are the best, mostly cuz the duo have killer chemistry, and are able to riff endlessly on the stupidest and most minute things, but the upshot is it leaves you wanting to see a whole set of their stand up, or at least the show (which is peppered with homemade videos for all of their songs), but for now, until you get a chance to see them live, or finally get HBO, this little chunk of goofy toonage should hold you over nicely.
MPEG Stream: "Robots (live)"
MPEG Stream: "Business Time"
MPEG Stream: "If You're Into It"

album cover FLIM Ohne Titel (Korm Plastics) cd 19.98
An album of pure pathos, Ohne Titel by the German multi-instrumentalist Enrico Wuttke (aka Flim whose previous albums have graced the fine electronica-pop label TomLab) is his response to the death of his 8 year old daughter. Both a lilting tribute of atmospheric, instrumental melancholy and a work-through-the-pain therapy session, Wuttke's album exposes all of his emotions through his sorrowful tunes of elegantly smeared compositions for piano, organ, his daughter's toy metallophones, and plenty of computer processing. While this album falls squarely in the empathic gloominess also found in the work of Sigur Ros, William Basinski, and those Alva Noto / Ryuichi Sakamoto collaborations, a few moments of sparkling exuberance march across the album as if Wuttke were racing through the memories of his daughter to find those that were most precious to him, but all the while captured by the weighty sadness of his loss. For all of the poignancy in the album, it is also achingly beautiful.
MPEG Stream: "Schellenegel"
MPEG Stream: "Luftschloss"

album cover FLIPPER Generic Flipper (Water) cd 15.98
At long last, reissues of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Their debut album, Generic, is classic - a crushing, pounding, drug-addled nightmare of existential angst and torment. Lyrically hateful - yet hopeful - Flipper seems like a band at war with the audience and themselves. Their music is an utter trainwreck - it's often out of time and out of tune. You get the feeling that the band could really give a damn about playing well or recording quality. It's cynical, blase and yet utterly hypnotizing. It's also occasionally hilarious. From the opener "Ever," with its caustic lyrics (complemented by hand clapping!) to the seriously dark and murky "(I Saw You) Shine," to its ultimate peak with the optimistic "Life" ("Life is the only thing worth living for"), it's a glorious, fucked up listening experience.
Ending with the 8 minute long epic "Sex Bomb" - a punk "Louie Louie" if there ever was one - Flipper managed to create an album that epitomizes alienation and discomfort. It's pure poetry.
Reissue contains additional photos and obligatory liner notes by Nirvana's Krist Novoselic, who joined the band a few years ago.
MPEG Stream: "(I Saw You) Shine"
MPEG Stream: "Life"
MPEG Stream: "Sex Bomb"

album cover FLIPPER Generic Flipper (4 Men With Beards) lp 17.98
At long last, they're doing vinyl reissues (in addition to the recent cd editions) of the four best works by San Francisco's own Flipper! Starting with this one.
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Their debut album, Generic, is classic - a crushing, pounding, drug-addled nightmare of existential angst and torment. Lyrically hateful - yet hopeful - Flipper seems like a band at war with the audience and themselves. Their music is an utter trainwreck - it's often out of time and out of tune. You get the feeling that the band could really give a damn about playing well or recording quality. It's cynical, blase and yet utterly hypnotizing. It's also occasionally hilarious. From the opener "Ever," with its caustic lyrics (complemented by hand clapping!) to the seriously dark and murky "(I Saw You) Shine," to its ultimate peak with the optimistic "Life" ("Life is the only thing worth living for"), it's a glorious, fucked up listening experience.
Ending with the 8 minute long epic "Sex Bomb" - a punk "Louie Louie" if there ever was one - Flipper managed to create an album that epitomizes alienation and discomfort. It's pure poetry.
MPEG Stream: "(I Saw You) Shine"
MPEG Stream: "Life"
MPEG Stream: "Sex Bomb"

album cover FLIPPER Gone Fishin' (Water) cd 15.98
At long last, reissues of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Flipper's second album finds them better recorded, although it almost doesn't sound right - like an ill-fitting suit. And no suit can make this band sound any less dirty - Gone Fishin' is still full of lurching, menacing bass lines and repetitive, drug-fried riffs. And occasional piano. And horns. And xylophone. It almost sounds like a UK post-punk band at times, until the vocals kick in and it degenerates into a sloppy, group sing-a-long. It's a mess.
Best songs include the triumphant opener "The Light, The Sound," the chilling "Sacrifice" (since covered by the Melvins, yes, on Lysol), and the disorienting "Talk is Cheap."
The cover reproduces a scaled-down version of the original LP art, which is an interactive cut-out model of their tour van and band members. You could cut this one out, but it's not recommended.
Reissue contains additional photos and highly entertaining liner notes by Buzz Osborne of the Melvins, who rightfully gives thanks.
MPEG Stream: "The Light, The Sound"
MPEG Stream: "Sacrifice"
MPEG Stream: "Talk's Cheap"

album cover FLIPPER Gone Fishin' (Water) lp 16.98
At long last, they're doing vinyl reissues (in addition to the recent cd editions) of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Flipper's second album finds them better recorded, although it almost doesn't sound right - like an ill-fitting suit. And no suit can make this band sound any less dirty - Gone Fishin' is still full of lurching, menacing bass lines and repetitive, drug-fried riffs. And occasional piano. And horns. And xylophone. It almost sounds like a UK post-punk band at times, until the vocals kick in and it degenerates into a sloppy, group sing-a-long. It's a mess.
Best songs include the triumphant opener "The Light, The Sound," the chilling "Sacrifice" (since covered by the Melvins, yes, on Lysol), and the disorienting "Talk is Cheap."
The cover reproduces a scaled-down version of the original LP art, which is an interactive cut-out model of their tour van and band members. You could cut this one out, but it's not recommended.
Reissue contains additional photos and highly entertaining liner notes by Buzz Osborne of the Melvins, who rightfully gives thanks.
MPEG Stream: "The Light, The Sound"
MPEG Stream: "Sacrifice"
MPEG Stream: "Talk's Cheap"

album cover FLIPPER Public Flipper Limited (Water) 2cd 19.98
At long last, reissues of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Live albums are often throw-aways, but this one is so NOT. On this masterful double CD compilation, Flipper demonstrates more than a casual flirtation with Public Image Ltd, at whom the band enacts revenge for allegedly stealing the "Generic" concept years prior. It's a sprawling, chaotic selection of some of Flipper's best songs, and many that don't appear on any other readily available release. Gloriously muddy, deranged swampfests of feedback, documenting the oft-touted rowdy live experience that their studio-recorded output may not have conveyed. This release definitely captures the best elements of Flipper - humor, depravity and a sloppy yet confident self-critique of what it means to be a band playing rock music.
Did we mention on-stage banter?
"Don't dance, I don't give a shit!"
"Is everybody on speed? I'm getting a contact high like a motherfucker!"
"Are you satisfied yet? Can we leave?"
The cover reproduces a scaled-down version of the original LP art, which was an interactive board game based on Flipper's touring life on the road. You could cut it out and construct it, but it's not really recommended.
Reissue contains additional photos and liner notes by writer Steven Blush, who still needs to explain why the movie made from his American Hardcore book chose Flipper as San Francisco's contribution to said 'American Hardcore', and not Crucifix, the Fuck Ups, Code of Honor, or even Fang.
MPEG Stream: "The Game's Got A Price"
MPEG Stream: "Love Canal"
MPEG Stream: "We Don't Understand"

album cover FLIPPER Sex Bomb Baby! (Water) cd 15.98
At long last, reissues of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Sex Bomb Baby! is a compilation of the band's singles, several of which were released before their seminal debut album Generic. Recorded in a trash can, their dirgey, feedbacky songs somehow transcend. Add cheap studio effects, the occasional arty sample or spoken monologue, and Flipper's trademark angst/sneer/fucked up genius definitely shows through. This album is a good companion to Generic but the uninitiated should start there first, not here. Aside from different versions of "Sex Bomb" and "Ever" from Generic, there's the insanely creepy "Ha Ha Ha," a live version of their most overtly political song "Sacrifice," and the bludgeoning "Earthworm." There are other nuggets here, but also quite a few jokey songs that were probably funnier to a teenaged-bong-smoking Flipper freek than the Flipper freek of today.
Reissue contains additional photos and decently entertaining liner notes by Henry Rollins, who was responsible for the last reissue of this oft-reissued disc.
MPEG Stream: "Ha Ha Ha"
MPEG Stream: "Ever"
MPEG Stream: "Earthworm"

album cover FLIPPER Sex Bomb Baby! (Water) lp 16.98
At long last, they're doing vinyl reissues (in addition to the recent cd editions) of the four best works by San Francisco's own Flipper!
Founded in 1979, Flipper was an anomaly. Though featured in the 2006 documentary "American Hardcore," alongside bands like Minor Threat and Bad Brains, they seemed totally miscategorized. They were far easier understood in the context of SF artpunk, but their shitty production values, menacing lyrics and nihilistic attitude ingratiated them with the hardcore crowd.
Often credited with inspiring a thousand sludge rock bands, there's no doubt that their influence runs far and wide. From '80s contemporaries like No Trend and Drunks with Guns, to Rick Rubin's copycat band Hose, to bands with later, greater success like the Melvins and Nirvana, the impact of Flipper is formidable. In fact, the Melvins in particular owe so much to Flipper; having recorded SO MANY covers of their songs - and obviously influenced by Flipper's hollow, sparse, plodding drum style - they may be Flipper's number one fans. But unlike their disciples, Flipper's music remains far less polished, less categorizable and more enigmatic, in our humble opinion.
Sex Bomb Baby! is a compilation of the band's singles, several of which were released before their seminal debut album Generic. Recorded in a trash can, their dirgey, feedbacky songs somehow transcend. Add cheap studio effects, the occasional arty sample or spoken monologue, and Flipper's trademark angst/sneer/fucked up genius definitely shows through. This album is a good companion to Generic but the uninitiated should start there first, not here. Aside from different versions of "Sex Bomb" and "Ever" from Generic, there's the insanely creepy "Ha Ha Ha," a live version of their most overtly political song "Sacrifice," and the bludgeoning "Earthworm." There are other nuggets here, but also quite a few jokey songs that were probably funnier to a teenaged-bong-smoking Flipper freek than the Flipper freek of today.
Reissue contains additional photos and decently entertaining liner notes by Henry Rollins, who was responsible for the last reissue of this oft-reissued disc.
MPEG Stream: "Ha Ha Ha"
MPEG Stream: "Ever"
MPEG Stream: "Earthworm"

FLOATING BRIDGE s/t (Aurora) cd 17.98

album cover FLOGGING MOLLY Drunken Lullabies (Side One Dummy) cd 14.98
For those of you who love the Pogues, and miss the Pogues and need more raucous drinking music for those wild nights out, salvation is at hand. Initially, the only reason we had any interest in this band was the fact that the vocalist fronted Fastway, one of Andee and Allan's favorite eighties metal bands and they have been playing the Warp tour for some strange reason. But damn if this band hasn't gotten really good at what they do. And what they do is ape the Pogues to a T. And as with a lot of things, you might think, bah...how unoriginal, but the bottom line is, this band sounds great. They just kind of sound like the Pogues. Rollicking and rocking big barroom fun with the occasional misty eyed ballad. So hoist your ales and jump in the pit.
RealAudio clip: "Drunken Lullabies"
RealAudio clip: "What's Left Of The Flag"

album cover FLOGGING MOLLY Within A Mile of Home (Side One Dummy) cd 14.98
Allan and Andee's interest in this band was based entirely on the fact that the lead vocalist of Flogging Molly was also, in his much younger days, once the frontman for eighties metallers Fastway, featuring guitarist Fast Eddie Clark from Motorhead. Wow. We love Fastway. Who could have predicted that one. Well, he is Irish after all. And one can only deny one's roots for so long. Basically, Flogging Molly are the heirs to the throne long held by the Pogues. Where Flogging Molly one-up their musical forebearers, is they take their rollicking Irish jigs and make them HEAVY. Yep heavy. This is Celtic rock for the Warp Tour set. Which is actually a good thing. Imagine a supercharged Pogues, who were actually pretty supercharged to begin with. You can definitely imagine a drunken night of stage diving and jumping wildly around to FM's wild Irish Pogue-ery!
MPEG Stream: "The Seven Deadly Sins"
MPEG Stream: "Factory Girls"

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