JESUS LIZARD Head (Touch & Go) lp 22.00
NOW ON VINYL!!!
We love the Jesus Lizard. Hell, who doesn't? But with the band's entire Touch And Go discography now reissued, we're faced with the awkward task of reviewing records that are so ingrained in our minds that we're almost at a loss for words. What exactly do you say about albums that are pretty much beyond any sort of criticism? Well, first of all, we can tell you that these Albini/Weston remasters sound better than EVER, and if for some freakish reason you missed out the first time around, or maybe you were just too young, GET THESE NOW!!! And to those with worn out copies of these essential albums, likewise, GET THESE NOW!!! The best thing about re-examining these discs, however, is the fact that the Jesus Lizard sound as powerful, menacing, and balls out INSANE as they always did and always will. There's no further need to approach the Jesus Lizard discography with some bullshit pseudo-intellectual attempt to place this band within a certain point in history (which is not to downplay their significance within time or place by any means, duh). Instead, you can simply bask in the furious glow of one of the best rock bands of the last 25 years (at the very least)!!! Still, as record purveyors, we feel it necessary to dish out a brief description before talking about the albums individually.
Shit. Where do you begin when describing this band? David Wm. Sims and Mac McNeilly, on bass and drums respectively, are one of the tightest and most intimidating rhythm sections in the history of indie rock (which, honestly, is probably not the best genre to lump a band like the Jesus Lizard in, but it sure is better than calling them a "pigfuck" band). On pretty much every song, Sims and McNeilly sound like they're walking you through the soundtrack to your potential murder, a quality that is only enhanced by David Yow's completely unhinged vocals. And what do you say about a guy like David Yow? He is without precedent and totally peerless, his crazed delivery and bizarre lyrics were the perfect ingredient to make the Jesus Lizard one of the best and most unique bands to ever walk the earth. Oh, but then we certainly can't forget the band's brilliant guitarist, the legendary Duane Denison, whose unique, super trebly guitar playing slashed alongside the band's muscular rhythm section like a rusty, disease-ridden knife. The Jesus Lizard are indeed one of those bands where every member was equally essential in bringing forth their amazing trademark sound.
Head was Jesus Lizard's debut full length, and while perhaps out heart will always belong to Goat, Head is nipping at its heels as THEE definitive Jesus Lizard record, The band had only recently switched from drum machine to love drummer, but the effect was immediate, what was once a throbbing mechanical post industrial noise rock juggernaut, was now something else entirely. Goat seemed to be where everything clicked, but Head was basically almost there, heavy and dense and mathy and now listening to this again, it's easy to see why we all freaked out about this band. The songs are gnarled and grotesque, but at the same time melodic and impossibly catchy, dark and ominous and seriously creepy, but also totally rocking and HEAVY. These guys moved the noise rock bar so high, few that followed could even come close. There's plenty of Slint going on too, hard to say who influenced who, but Albini managed the boards for both. Listen to the sound samples, heck, just buy all four of these reissues, you won't be sorry. And if somehow you've made it this far without ever hearing these guys, you are in for just about the biggest musical epiphany of your life.
The reissue tacks on some bonus tracks, available on the vinyl as MP3 downloads, a killer Chrome cover, and two live tracks, as well as all new liner notes.
MPEG Stream: "One Evening"
MPEG Stream: "S.D.B.J."
MPEG Stream: "Blockbuster"
MPEG Stream: "Bloody Mary"

JESUS LIZARD Head / Pure (Touch & Go) cd 14.98
We love the Jesus Lizard. Hell, who doesn't? But with the band's entire Touch And Go discography now reissued, we're faced with the awkward task of reviewing records that are so ingrained in our minds that we're almost at a loss for words. What exactly do you say about albums that are pretty much beyond any sort of criticism? Well, first of all, we can tell you that these Albini/Weston remasters sound better than EVER, and if for some freakish reason you missed out the first time around, or maybe you were just too young, GET THESE NOW!!! And to those with worn out copies of these essential albums, likewise, GET THESE NOW!!! The best thing about re-examining these discs, however, is the fact that the Jesus Lizard sound as powerful, menacing, and balls out INSANE as they always did and always will. There's no further need to approach the Jesus Lizard discography with some bullshit pseudo-intellectual attempt to place this band within a certain point in history (which is not to downplay their significance within time or place by any means, duh). Instead, you can simply bask in the furious glow of one of the best rock bands of the last 25 years (at the very least)!!! Still, as record purveyors, we feel it necessary to dish out a brief description before talking about the albums individually.
Shit. Where do you begin when describing this band? David Wm. Sims and Mac McNeilly, on bass and drums respectively, are one of the tightest and most intimidating rhythm sections in the history of indie rock (which, honestly, is probably not the best genre to lump a band like the Jesus Lizard in, but it sure is better than calling them a "pigfuck" band). On pretty much every song, Sims and McNeilly sound like they're walking you through the soundtrack to your potential murder, a quality that is only enhanced by David Yow's completely unhinged vocals. And what do you say about a guy like David Yow? He is without precedent and totally peerless, his crazed delivery and bizarre lyrics were the perfect ingredient to make the Jesus Lizard one of the best and most unique bands to ever walk the earth. Oh, but then we certainly can't forget the band's brilliant guitarist, the legendary Duane Denison, whose unique, super trebly guitar playing slashed alongside the band's muscular rhythm section like a rusty, disease-ridden knife. The Jesus Lizard are indeed one of those bands where every member was equally essential in bringing forth their amazing trademark sound.
Head was Jesus Lizard's debut full length, and while perhaps out heart will always belong to Goat, Head is nipping at its heels as THEE definitive Jesus Lizard record, The band had only recently switched from drum machine to love drummer, but the effect was immediate, what was once a throbbing mechanical post industrial noise rock juggernaut, was now something else entirely. Goat seemed to be where everything clicked, but Head was basically almost there, heavy and dense and mathy and now listening to this again, it's easy to see why we all freaked out about this band. The songs are gnarled and grotesque, but at the same time melodic and impossibly catchy, dark and ominous and seriously creepy, but also totally rocking and HEAVY. These guys moved the noise rock bar so high, few that followed could even come close. There's plenty of Slint going on too, hard to say who influenced who, but Albini managed the boards for both. Listen to the sound samples, heck, just buy all four of these reissues, you won't be sorry. And if somehow you've made it this far without ever hearing these guys, you are in for just about the biggest musical epiphany of your life.
As if Head weren't enough, this reissue (and the original cd version) tacks on the Jesus Lizard's first ep, when they were still drummerless, the drum machine, giving the sound a definite Big Black vibe, total Midwestern pigfuck noise rock, Touch And Go, Homestead, AmRep, the hundreds of bands that called those labels home, somehow they all seemed inferior to the Jesus Lizard, maybe they were. The Jesus Lizard defined and refined noise rock and OWNED it. And check out "Bloody Mary", Pure is sonically sometimes so similar to Slint's Tweez it's scary, but it makes sense, that sort of cross pollination is how all these bands were born, some fully formed, some slowly morphing from derivative to original, and very few, like the Jesus Lizard, while borrowing bits and pieces, and definitely influenced by much of what was going on at the time, managed to sound like no one else. And that unique sound definitely existed in one form or another from day one, and just got more and more refined as time went on, without losing any of their ferocity or integrity.
The reissue tacks on some bonus tracks, a killer Chrome cover, and two live tracks, as well as all new liner notes.
MPEG Stream: "One Evening"
MPEG Stream: "S.D.B.J."
MPEG Stream: "Blockbuster"
MPEG Stream: "Bloody Mary"

JESUS LIZARD Liar (Touch & Go) cd 14.98
We love the Jesus Lizard. Hell, who doesn't? But with the band's entire Touch And Go discography now reissued, we're faced with the awkward task of reviewing records that are so ingrained in our minds that we're almost at a loss for words. What exactly do you say about albums that are pretty much beyond any sort of criticism? Well, first of all, we can tell you that these Albini/Weston remasters sound better than EVER, and if for some freakish reason you missed out the first time around, or maybe you were just too young, GET THESE NOW!!! And to those with worn out copies of these essential albums, likewise, GET THESE NOW!!! The best thing about re-examining these discs, however, is the fact that the Jesus Lizard sound as powerful, menacing, and balls out INSANE as they always did and always will. There's no further need to approach the Jesus Lizard discography with some bullshit pseudo-intellectual attempt to place this band within a certain point in history (which is not to downplay their significance within time or place by any means, duh). Instead, you can simply bask in the furious glow of one of the best rock bands of the last 25 years (at the very least)!!! Still, as record purveyors, we feel it necessary to dish out a brief description before talking about the albums individually.
Shit. Where do you begin when describing this band? David Wm. Sims and Mac McNeilly, on bass and drums respectively, are one of the tightest and most intimidating rhythm sections in the history of indie rock (which, honestly, is probably not the best genre to lump a band like the Jesus Lizard in, but it sure is better than calling them a "pigfuck" band). On pretty much every song, Sims and McNeilly sound like they're walking you through the soundtrack to your potential murder, a quality that is only enhanced by David Yow's completely unhinged vocals. And what do you say about a guy like David Yow? He is without precedent and totally peerless, his crazed delivery and bizarre lyrics were the perfect ingredient to make the Jesus Lizard one of the best and most unique bands to ever walk the earth. Oh, but then we certainly can't forget the band's brilliant guitarist, the legendary Duane Denison, whose unique, super trebly guitar playing slashed alongside the band's muscular rhythm section like a rusty, disease-ridden knife. The Jesus Lizard are indeed one of those bands where every member was equally essential in bringing forth their amazing trademark sound.
Liar is the band's third record, originally released in 1992. The album begins in classic Jesus Lizard form with the sonic beatdown of "Boilermaker". Exactly as we love them, the band sounds out for blood and just plain mean, despite Yow claiming "I'm calm now", as "calm" is probably the last descriptor that would enter your mind when hearing this song. Up next is "Gladiator", with the monolithic pounding of the rhythm section and bursts of slashing, percussively charged guitar work. It feels like everything in the song is the result of counterintuitive upstroked chords combined with Yow's truly insane screaming and an ending that puts most metal bands to shame in terms of sheer brutality. "Puss" rides wildly with tight as fuck, atonal guitar chords and underlying distorted backing vocals as the bass winds frantically over McNeilly's merciless pounding. In the middle is an awesome, simple Dennison guitar solo before everyone locks back into the evil groove. "Rope" sounds a bit like a manic, Jesus Lizard styled hoedown with its super fast, tight as hell playing, and instrumentation that is both mean sounding and kind of... wacky? Maybe. It's a good 'un no matter how you try to describe it. A demented country influence is also on display with "Zachariah," a slow moving piece that brings to mind all kinds of demented evil that must be looming in David Yow's mind. Closing number "Dancing Naked Ladies" brings Liar to its fever inducing conclusion, with Yow grunting and screeching over the serpentine melodies and rumbling low end.
Like all the Jesus Lizard reissues, Liar comes packed with some tasty bonus cuts (all previously available on Inch, but whatever), including their cover of the Dicks' "Wheelchair Epidemic", a single version of "Dancing Naked Ladies", and demos for "Gladiator" and "Boilermaker". GET THIS NOW!!!
MPEG Stream: "Boilermaker"
MPEG Stream: "Gladiator"
MPEG Stream: "Rope"

JESUS LIZARD Liar (Touch & Go) lp 24.00
NOW ON VINYL!!!
We love the Jesus Lizard. Hell, who doesn't? But with the band's entire Touch And Go discography now reissued, we're faced with the awkward task of reviewing records that are so ingrained in our minds that we're almost at a loss for words. What exactly do you say about albums that are pretty much beyond any sort of criticism? Well, first of all, we can tell you that these Albini/Weston remasters sound better than EVER, and if for some freakish reason you missed out the first time around, or maybe you were just too young, GET THESE NOW!!! And to those with worn out copies of these essential albums, likewise, GET THESE NOW!!! The best thing about re-examining these discs, however, is the fact that the Jesus Lizard sound as powerful, menacing, and balls out INSANE as they always did and always will. There's no further need to approach the Jesus Lizard discography with some bullshit pseudo-intellectual attempt to place this band within a certain point in history (which is not to downplay their significance within time or place by any means, duh). Instead, you can simply bask in the furious glow of one of the best rock bands of the last 25 years (at the very least)!!! Still, as record purveyors, we feel it necessary to dish out a brief description before talking about the albums individually.
Shit. Where do you begin when describing this band? David Wm. Sims and Mac McNeilly, on bass and drums respectively, are one of the tightest and most intimidating rhythm sections in the history of indie rock (which, honestly, is probably not the best genre to lump a band like the Jesus Lizard in, but it sure is better than calling them a "pigfuck" band). On pretty much every song, Sims and McNeilly sound like they're walking you through the soundtrack to your potential murder, a quality that is only enhanced by David Yow's completely unhinged vocals. And what do you say about a guy like David Yow? He is without precedent and totally peerless, his crazed delivery and bizarre lyrics were the perfect ingredient to make the Jesus Lizard one of the best and most unique bands to ever walk the earth. Oh, but then we certainly can't forget the band's brilliant guitarist, the legendary Duane Denison, whose unique, super trebly guitar playing slashed alongside the band's muscular rhythm section like a rusty, disease-ridden knife. The Jesus Lizard are indeed one of those bands where every member was equally essential in bringing forth their amazing trademark sound.
Liar is the band's third record, originally released in 1992. The album begins in classic Jesus Lizard form with the sonic beatdown of "Boilermaker". Exactly as we love them, the band sounds out for blood and just plain mean, despite Yow claiming "I'm calm now", as "calm" is probably the last descriptor that would enter your mind when hearing this song. Up next is "Gladiator", with the monolithic pounding of the rhythm section and bursts of slashing, percussively charged guitar work. It feels like everything in the song is the result of counterintuitive upstroked chords combined with Yow's truly insane screaming and an ending that puts most metal bands to shame in terms of sheer brutality. "Puss" rides wildly with tight as fuck, atonal guitar chords and underlying distorted backing vocals as the bass winds frantically over McNeilly's merciless pounding. In the middle is an awesome, simple Dennison guitar solo before everyone locks back into the evil groove. "Rope" sounds a bit like a manic, Jesus Lizard styled hoedown with its super fast, tight as hell playing, and instrumentation that is both mean sounding and kind of... wacky? Maybe. It's a good 'un no matter how you try to describe it. A demented country influence is also on display with "Zachariah," a slow moving piece that brings to mind all kinds of demented evil that must be looming in David Yow's mind. Closing number "Dancing Naked Ladies" brings Liar to its fever inducing conclusion, with Yow grunting and screeching over the serpentine melodies and rumbling low end.
Like all the Jesus Lizard reissues, Liar comes packed with some tasty bonus cuts (all previously available on Inch, but whatever, and on the vinyl they're included as downloads), including their cover of the Dicks' "Wheelchair Epidemic", a single version of "Dancing Naked Ladies", and demos for "Gladiator" and "Boilermaker". GET THIS NOW!!!
MPEG Stream: "Boilermaker"
MPEG Stream: "Gladiator"
MPEG Stream: "Rope"

JESUS LIZARD Shot (Capitol) cd 14.98

JESUS LIZARD, THE Inch (Record Store Day) (Touch And Go) 9 x 7" 36.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

JESUS LIZARD, THE Live (MVD Visual) dvd 16.98

JESUS WITH ME s/t (Psycho-path) cd 11.98
Not sure what that band name really is all about. This ain't gospel music by a long shot! Jesus With Me was a quartet of Russian-Americans based in New York City, and this cd is a posthumous release documenting the recorded remains of their noisy, energetic, fucked-up jamming, inspired by Japanese psych, krautrock, and (perhaps) their spiritual yearnings. Thus, you get pounding drum clatter and throbbing bass rumble amid a miasmatic cloud of crazed dual guitar distortion on the two long tracks here, with some anguished screams thrown into the mix as appropriate. Imagine Acid Mothers Temple all had a really, really bad day (car towed, guitar stolen, bong busted, beard caught in zipper, lost eBay auction for Gong rarities, that kind of a day) and were trying to cathartically capture it on tape. It's loud, improvised, heavy duty psychedelic free rock freakery not far removed from, say, that Burnt Hills disc we listed a few weeks back, as per the thing we said in that review about "getting super high and diving head first into a huge pile of drums and guitars".
MPEG Stream: "Silence In The Space Of Half An Hour (excerpt 1)"
MPEG Stream: "Silence In The Space Of Half An Hour (excerpt 2)"

JET Jet / Even More Light Than Shade (RPM / Cherry Red) 2cd 29.00
Sparks fans: Alert! You should hear Jet.
No, not the contemporary Aussie rockers. This Jet, an English band, blasts in from the wonderful, glam rock '70s, and was a short-lived semi-super-group of sorts featuring ex-members of The Nice, John's Children, Sparks, Jook, and Roxy Music. (And after Jet's brief career, some of the band later went on to form new wavers Radio Stars.)
This deluxe double cd reissue consists of Jet's self-titled, sole album, originally released on CBS in 1975, on disc one; while disc two, entitled More Light Than Shade, collects various demos, live cuts (including a few from a recent reunion), and other rare odds n' sods. You're getting the complete Jet package here, and then some, in other words.
And for another word, how 'bout: WHOO! 'Cause this is certainly an over the top, energetic display of power pop / glam rock capabilities of the highest order. Quite catchy, quirky, clever, and theatrically Queen-like (none other than Roy Thomas Baker produced their lp), Jet thus also come across as more than a lot like Sparks, no surprise there really, as two of the gents in Jet were part of the Mael brothers' band's UK lineup at one point, including bassist Martin Gordon, the main songwriter in the Jet crew. Then there's the precious high vox of Andy Ellison (who sang in John's Children alongside a pre-T.Rex Marc Bolan), sounding a heckuva lot like Russell Mael from Sparks. Mix that up with the loud shining guitar licks, and fancy studio tricks, some ritzy-glitzy piano and infectious melodiousness, and, ta-dah!, this reish is an awesome find for anyone into early Sparks, The Sweet, 10cc, The Quick, and other fave glam jams of the era. So glad for the reissue, Jet shouldn't be so obscure. Nicely packaged with full liner notes, etc. And dig that awesome retro sci-fi cover art. Ah, the '70s!
MPEG Stream: "Start Here"
MPEG Stream: "Nothing To Do With Us"
MPEG Stream: "My River"

JET FUEL Give It Hell (Black Top Fade) cd ep 7.98
Many moons ago before he started Jet Fuel, guitarist Chris Naab gave me (Jim) a mix tape simply entitled "Hey Joe." Given his predilection for the Butthole Surfers and early Alice Cooper, this cassette was probably not anything too ordinary. Lo and behold it completely kicked ass; 90 minutes of the best covers of "Hey Joe" that Mr. Naab could find in his extensive collection of '60s psychedelic pop and '70s glam rock. While it made me appreciate every single artist that sought innovation over tradition (i.e. Nick Cave, Johnny Rivers, The Golden Cups, to name a few), the cassette also convinced me that Chris Naab himself was a bit of a genius for having this obsession. So when Naab struck out to start a band, my ears were clearly piqued, futhermore because they openly admit being influenced by the likes of Witchfinder General and obscure proto-metallers Stray. Yet, despite citing these influences boldly in their liner notes, Jet Fuel is quite a bit glammier than that, being actually all about feathered hair, tight jeans, and '70s rock anthems. So for those of you seeking the stoned doom and sludge similar to many of the things we hype all the time, Jet Fuel might not exactly float your boat; but if you can handle some fantastic glam-rock / punk showboating (i.e. Iggy Pop, Stiv Bators, The Sweet, etc.) along with some heavy riffs, then drink up some Jet Fuel right now! These super catchy bubblegum pop melodies bottoming-out with low-slung basslines and wonderfully tacky waltzing power ballads would have been classics in 1974. So what if it's 30 years too late?
MPEG Stream: "14K"
MPEG Stream: "DKR"

JET FUEL Give It Hell (Black Top Fade) 12" 7.98
Many moons ago before he started Jet Fuel, guitarist Chris Naab gave me (Jim) a mix tape simply entitled "Hey Joe." Given his predilection for the Butthole Surfers and early Alice Cooper, this cassette was probably not anything too ordinary. Lo and behold it completely kicked ass; 90 minutes of the best covers of "Hey Joe" that Mr. Naab could find in his extensive collection of '60s psychedelic pop and '70s glam rock. While it made me appreciate every single artist that sought innovation over tradition (i.e. Nick Cave, Johnny Rivers, The Golden Cups, to name a few), the cassette also convinced me that Chris Naab himself was a bit of a genius for having this obsession. So when Naab struck out to start a band, my ears were clearly piqued, futhermore because they openly admit being influenced by the likes of Witchfinder General and obscure proto-metallers Stray. Yet, despite citing these influences boldly in their liner notes, Jet Fuel is quite a bit glammier than that, being actually all about feathered hair, tight jeans, and '70s rock anthems. So for those of you seeking the stoned doom and sludge similar to many of the things we hype all the time, Jet Fuel might not exactly float your boat; but if you can handle some fantastic glam-rock / punk showboating (i.e. Iggy Pop, Stiv Bators, The Sweet, etc.) along with some heavy riffs, then drink up some Jet Fuel right now! These super catchy bubblegum pop melodies bottoming-out with low-slung basslines and wonderfully tacky waltzing power ballads would have been classics in 1974. So what if it's 30 years too late?
Oh, yeah, the vinyl has an extra track on it!
MPEG Stream: "14K"
MPEG Stream: "DKR"

JET FUEL Straight For '88 (Black Top Fade Records) 7" 2.99
Another blast of hot-shit glam-rock revival from Jet Fuel, the vastly underappreciated band out of Los Angeles who've really been working to bring the rock to the kids. Seriously, they used to rent ballrooms at the Ramada Inn for all-ages shows and now they've got a big converted space where they host similar gigs; and now they've got this great 7" of strutting rhythms, slippery guitar leads, and one great frontman in James Luna belting out ecstatic lyrics about sex, death, and rock 'n' roll. What more would you want in a candy-red 7"? Perhaps an 8-track to go with your shag carpeting and feathered hair? Yeah, that would be fuckin' cool.

JETS TO BRAZIL Four Cornered Night (Jade Tree) cd 14.98
Wow. This record was quite a surprise. Having never been a huge Jawbreaker fan, and having not paid too much attention to the last Jets To Brazil record, I sure wasn't expecting this: super poppy, almost twangy at times, jangley indie pop! Hints of Weezer, Elliott Smith, Built to Spill. So much that I kept having to check and see what we were listening to, because, I thought to myself, this couldn't be the Jets To Brazil! Since I imagine any bitter Jawbreaker fans have already been put off by the first JTB record, fans of the above mentioned bands as well as open minded pop-punkers should definitely check this out.

JETS TO BRAZIL Four Cornered Night (Jade Tree) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Wow. This record was quite a surprise. Having never been a huge Jawbreaker fan, and having not paid too much attention to the last Jets To Brazil record, I sure wasn't expecting this: super poppy, almost twangy at times, jangley indie pop! Hints of Weezer, Elliott Smith, Built to Spill. So much that I kept having to check and see what we were listening to, because, I thought to myself, this couldn't be the Jets To Brazil! Since I imagine any bitter Jawbreaker fans have already been put off by the first JTB record, fans of the above mentioned bands as well as open minded pop-punkers should definitely check this out.

JETS TO BRAZIL Orange Rhyming Dictionary (Jade Tree) cd 10.98
New New-York-City-based band featuring Blake Schwarzenbach, ex-Jawbreaker.

JETS TO BRAZIL Orange Rhyming Dictionary (Jade Tree) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
New New-York-City-based band featuring Blake Schwarzenbach, ex-Jawbreaker.

JETS TO BRAZIL Perfecting Loneliness (Jade Tree) cd 14.98
Jets To Brazil return refreshed and energized with an album overflowing with infectious emo and power pop tunes. If you like the sounds of the Posies, Weezer, Flop, Silver Sun, Weakerthans, well, you know what I'm talkin' about... Great pop bands with a superior grasp of the elusive hook! Jets To Brazil are all fired up right from the get go with the opening track "The Frequency". Guitars ring out fuzzy and full. Occasionally when things slow down a bit, a piano will takes over the main melody in the verses. Really effective! On the more upbeat numbers, it joins forces with the guitars on choruses that verge on the anthemic. Throughout, the sensitive boyish vocals sing of hope and heartbreak. Oh, and they close this 67 minute long (!) album off with a cover of "Rockey Boy". A final note: I just now realized the bad pun I unintentionally made earlier, "fired up", "jets" - groan! My apologies!
RealAudio clip: "The Frequency"
RealAudio clip: "Lucky Charm"

JETS TO BRAZIL Perfecting Loneliness (Jade Tree) 2lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Jets To Brazil return refreshed and energized with an album overflowing with infectious emo and power pop tunes. If you like the sounds of the Posies, Weezer, Flop, Silver Sun, Weakerthans, well, you know what I'm talkin' about... Great pop bands with a superior grasp of the elusive hook! Jets To Brazil are all fired up right from the get go with the opening track "The Frequency". Guitars ring out fuzzy and full. Occasionally when things slow down a bit, a piano will takes over the main melody in the verses. Really effective! On the more upbeat numbers, it joins forces with the guitars on choruses that verge on the anthemic. Throughout, the sensitive boyish vocals sing of hope and heartbreak. Oh, and they close this 67 minute long (!) album off with a cover of "Rockey Boy". A final note: I just now realized the bad pun I unintentionally made earlier, "fired up", "jets" - groan! My apologies!

JETT, JOAN Bad Reputation (Blackheart) cd 16.98
Ahh, the almighty reissue! They bring your old forgotten faves back into your line of vision 'n' hearing and perhaps give you those warm nostalgic fuzzies for days past. We have to admit that we seldom hear anyone proclaiming to be a big Joan Jett fan, but we know you're out there! Now's the time to celebrate 'cause we just got two of her reissues in stock ready to join her brand new full length Sinner. Bad Reputation was her second album which was originally released back in 1981, and its return had a bit of a preliminary resurfacing in 1999 when the classic title track was chosen as the opening theme music for the awesome cult tv series Freaks And Geeks a few years back. But Ms Jett has never really been that far outta earshot, has she? Still kicks the furious bad girl ass this many years later. Recently remastered and sporting a handful of bonus tracks and live footage from '82, '83 and '98. Raw rawkin' rebel grrrrrl fun.
MPEG Stream: "Bad Reputation"
MPEG Stream: "Do You Wanna Touch Me (Oh Yeah)"

JETT, JOAN Sinner (Blackheart) cd 16.98
After over ten years of (studio album) silence from Ms Joan Jett, we get a veritable deluge. Some fresh new stuff to go along with her recently reissued oldie-but-goodie early albums. Have to say that we approached Sinner with a little apprehension due to the rather glammed up Joan on the cover, but our fears were eased once the first song got rolling. She's still kickin' butt. As snarky as ever and still possessing great taste not only in tunes to cover (Sweet's "A.C.D.C." and The Replacements' "Androgynous") but also in folks to pen her songs with (Linda Perry, Jim Vallance and Kathleen Hanna). Many songs on Sinner also brought to mind melodic punky popsters such as The Muffs. Welcome back Ms Jett!
MPEG Stream: "A.C.D.C."
MPEG Stream: "Five"

JETT, JOAN AND THE BLACKHEARTS I Love Rock N' Roll (Blackheart) cd 16.98
Ahh, the almighty reissue! They bring your old forgotten faves back into your line of vision 'n' hearing and perhaps give you those warm nostalgic fuzzies for days past. We have to admit that we seldom hear anyone proclaiming to be a big Joan Jett fan, but we know you're out there! Now's the time to celebrate 'cause we just got two of her reissues in stock ready to join her brand new full length Sinner. I Love Rock N' Roll was her third album -- and first with her backing band The Blackhearts -- which was originally released back in 1981. Still kicks the furious bad girl ass this many years later. Recently remastered and sporting a handful of bonus tracks and live footage from '83 and '84. Raw rawkin' rebel grrrrrl fun.
MPEG Stream: "I Love Rock N' Roll"
MPEG Stream: "(I'm Gonna) Run Away"

JEX THOTH Witness (I Hate Records) cd ep 13.98
Yay, we mean uh oh, we mean yay, heck it's a new ep from the controversial ('round here anyway) psychedelic doom chanteuse Jex Thoth and her band of the same name. Controversial? Well, let's just say her trademark theatrical vocal stylings are a subjective, love 'em or hate 'em proposition, though we all pretty much agree the band's heavy, hazy music is awesome. And among the AQ staff, Allan at least has finally succumbed entirely (it was inevitable) and now proudly declares himself a true Jex Thoth fan, which means he was quite happy to see 'em play last week at the Roadburn Festival in Holland. In live performance, Jex's apparent thespian background proved quite effective, she had excellent stage presence not to mention witchy sex appeal, cape-draped and with candles burning. They played to a packed house and it was quite obvious they had lots of fans in the audience!
We also know Jex has plenty of fans out there among the AQ faithful, and they'll be pleased with Witness, comprised of three new recordings, suitably dramatic and lugubrious, clocking in at just over 15 minutes total: "Raven Nor The Spirit", "Slow Rewind", and "Mr. Rainbow", the latter a cover of a song by '70s European art rockers Slapp Happy (a good choice, if you didn't know better you'd think it was a Jex Thoth original). Bearing a dedication to the late Jack Rose, and again graced with cover art by Reverend Bizarre's Sami "Albert Witchfinder" Hynninen, this ep is a fine continuation of the eccentric underground doom-prog sounds heard on Jex Thoth's 2008 self-titled full-length, although apparently there's been another lineup change in the band since that release (for one thing, Silas Paine, aka Jewelled Antler's Glenn Donaldson, is no longer playing guitar). However, they still sound like a bit like Curved Air taking downers with Electric Wizard (or something), totally vintage, bass heavy '70s psych sounds with prominent Hammond organ action, both bombastic and atmospheric, over which Jex's cleanly-sung, clearly enunciated vocals soar. Probably if you're at all interested in this ep, you've already got the earlier full-length, and if you liked that, you'll like this, need we say much more? Uh, how 'bout for fans of Jacula, Blood Ceremony, The Devil's Blood, and Witchcraft (capital 'W' and otherwise)?
MPEG Stream: "Raven Nor The Spirit"
MPEG Stream: "Mr. Rainbow"

JEX THOTH Witness (I Hate Records) 12" 24.00
Now, as it should be, this is here on vinyl, import (and import-priced)...
Yay, we mean uh oh, we mean yay, heck it's a new ep from the controversial ('round here anyway) psychedelic doom chanteuse Jex Thoth and her band of the same name. Controversial? Well, let's just say her trademark theatrical vocal stylings are a subjective, love 'em or hate 'em proposition, though we all pretty much agree the band's heavy, hazy music is awesome. And among the AQ staff, Allan at least has finally succumbed entirely (it was inevitable) and now proudly declares himself a true Jex Thoth fan, which means he was quite happy to see 'em play last week at the Roadburn Festival in Holland. In live performance, Jex's apparent thespian background proved quite effective, she had excellent stage presence not to mention witchy sex appeal, cape-draped and with candles burning. They played to a packed house and it was quite obvious they had lots of fans in the audience!
We also know Jex has plenty of fans out there among the AQ faithful, and they'll be pleased with Witness, comprised of three new recordings, suitably dramatic and lugubrious, clocking in at just over 15 minutes total: "Raven Nor The Spirit", "Slow Rewind", and "Mr. Rainbow", the latter a cover of a song by '70s European art rockers Slapp Happy (a good choice, if you didn't know better you'd think it was a Jex Thoth original). Bearing a dedication to the late Jack Rose, and again graced with cover art by Reverend Bizarre's Sami "Albert Witchfinder" Hynninen, this ep is a fine continuation of the eccentric underground doom-prog sounds heard on Jex Thoth's 2008 self-titled full-length, although apparently there's been another lineup change in the band since that release (for one thing, Silas Paine, aka Jewelled Antler's Glenn Donaldson, is no longer playing guitar). However, they still sound like a bit like Curved Air taking downers with Electric Wizard (or something), totally vintage, bass heavy '70s psych sounds with prominent Hammond organ action, both bombastic and atmospheric, over which Jex's cleanly-sung, clearly enunciated vocals soar. Probably if you're at all interested in this ep, you've already got the earlier full-length, and if you liked that, you'll like this, need we say much more? Uh, how 'bout for fans of Jacula, Blood Ceremony, The Devil's Blood, and Witchcraft (capital 'W' and otherwise)?
MPEG Stream: "Raven Nor The Spirit"
MPEG Stream: "Mr. Rainbow"

JIM YOSHII PILE-UP Picks Us Apart (Absolutely Kosher) cd 13.98
On their third cd release for Absolutely Kosher these five East Bay fellows take us in a new direction. On Picks Us Apart, they move further away from their earlier prominent Slint / Mogwai influences. They've replaced their past post-rock loud-quiet leanings with gentle pop song structures comprised of decidedly sweet sensitive boy vocals, strummy multi-layered guitars reminiscent of mid-to-late '80s The Cure. Although some might be a little disappointed that they've chosen a different path, others will surely find that the band are just as adept at crafting a solid pop tune as they are at weaving an atmospheric soundscape. In fact, it struck us that these days they've more aligned themselves with the charming indie pop likes of Pinback and Death Cab For Cutie.
MPEG Stream: "Heart My Home"
MPEG Stream: "Low Rent Horror"

JIM YOSHII PILE-UP, THE cdep 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Debut self-released album from local guys who're channelling the ghost of Slint. Emotional and epic and pretty. Also will appeal to fans of Codeine and Low.

JIM YOSHII PILE-UP, THE It's Winter Here (Absolutely Kosher) cd 12.98
Brimming with confidence and charm, it's the Jim Yoshii Pile-Up. These bay area boys have brought forth their first full-length of sensitive, lovely quiet-quiet-loud music that's leaps and bounds from their first release (the self-released self-titled ep from 1999). Polished, pretty, and appropriately titled - the album at times shimmers like frosty morning air and at others, glows like the welcome warmth of a hearth. Never ones to shy away from showing their appreciation of their faves Mogwai, the JYPU draw inspiration from and comparisons to those Glaswegians, as well as Slint and Low.

JIM YOSHII PILE-UP. THE Homemade Drugs (Absolutely Kosher) cd 12.98
"Homemade Drugs" finds Jim Yoshii Pile-Up leaving behind overt quiet/loud dynamics to focus mostly on the quiet. Less Slint-y angularity, more slowly building post-rock beauty, developed through delicate three-guitar interplay and liquidly gorgeous vocals. These days, you can have your emo-tional pop in an MTV-ready pretty boy package, but (pretty though they may be) Jim Yoshii come across as much more honest than all that. So honest, in fact, that it's almost wrong to listen in on these tales of intimacy and heartbreak. Their tendency to turn their backs to the audience when playing live seems appropriate; wearing your heart on your sleeve just isn't conducive to being in-your-face. But don't be fooled by all my talk of sensitivity. These boys can rock hard when they want to, as moments of "Homemade Drugs" prove before being subsumed by more subdued melodies- which I guess would reflect the presence of quiet/loud dynamics, wouldn't it? Still, the overall feeling of this album is firmly in the realm of the contemplative, personal and melancholy. Really, really nice.
RealAudio clip: "Distance"
RealAudio clip: "In Focus"
RealAudio clip: "A Deep Deep Lake"

JIMMY CAKE Dublin Gone. Everybody Dead. (Pilatus) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Dubliners The Jimmy Cake return with record number two and we're happy to report it is even better than the first. Their debut "Brains" was a gorgeous, bittersweet collection of post rock epics, rhythmic and langorous, lush and dreamy, bringing to mind Mogwai, Godspeed and Arab Strap. "Dublin Gone. Everybody Dead." finds the lineup expanded, the sound even more lush and expansive, and probably most surprising/exciting, a new found aggressiveness that really highlights the band's mastery of mood and dynamics. Loping minor key rhythms build and build, layers of sorrowful strings and weepy accordion add density as riffs stretch out into droning epic jams. Gorgeous finger-picked guitars and free noise/jazz interludes add to the melee as the songs twist and turn and struggle for air, horns skronk, guitars feed back. Instrumental cinematic soundscapes writhe and heave, palpitate and pulsate, building into crescendos of staccato minor key blasts. Really intense and beautiful. Some weird mix of AQ faves Magyar Posse, Hwyl Nofio, Godpeed You Black Emperor, and the Tindersticks, but with a jagged edge that keeps the melancholia and gloominess sharp and prickly instead of dull and overwrought. So so good.
MPEG Stream: "The Width Of The Black"
MPEG Stream: "The Opposite Of Addiction"

JIMMY CAKE, THE Brains (Pilatus) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Aaaah, thought you'd heard all the post rock you could possibly need? Hold yer horses, 'cause up pops The Jimmy Cake with an albumful of very pleasingly pretty, and most importantly, original post-rock. This sizeable Irish ensemble spill lush washes of warm and beautiful chords all over taut and tight post rock rhythm section, weaving a lush soundscape with instruments uncommon to rock (clarinets, accordions, and trumpets) and guitars that alternate between dronecore wash and angular chopiness. The Jimmy Cake adeptly succeed in filling this sound with a hazy bittersweetness that occasionally delves into the morose melancholy of fellow Scotsmen like Mogwai and Arab Strap. Fans of Tristeza and the Temporary Residence label will not be disappointed!
RealAudio clip: "Ignite The Doom Carriage"
RealAudio clip: "Elevenses"

JIMMY CAKE, THE Spectre & Crown (Pilatus) cd 17.98
Hard to believe it's been 6 years since we last heard from Ireland's The Jimmy Cake. Back in 2002, we were heavily digging their second record, Dublin Gone. Everybody Dead., which found the band getting more and more aggressive. Their sound went from a drifty post rock to a dense blend of Godspeed, Magyar Posse, Explosions In The Sky, Salvatore, Hwyl Nofio, long sweeping epics, sweeping vistas of cinematic sound peppered with intense crescendos and stretches of free jazz freakout.
Six years later, the band has really mellowed out, harkening back to their debut, Brains, but with even more of an emphasis on the cinematic side of things. Utilizing an unlikely arsenal of instruments (at least for an ostensibly 'rock' band), clarinet, trumpet, saxophone, piano synths and accordion along with the usual guitar bass and drums, the band use the piano as the focal point, crafting swirling slow building epics, that really do sound like music pulled from some strange indie soundtrack. It's all instrumental too, so it's easy to hear bits of the Tindersticks, the Dirty 3, Arab Strap, in the Jimmy Cake's melancholy moodiness. The horns are used more for texture and drone out in dark harmonies, the guitars are spidery and minimal, the drums often a subtle shuffle, the gorgeous blend of strings and horns and accordions afford each track a distinct grandness that glows regally. Another definite reference point is the Rachel's, the sound is distinctly chamber music-esque, but set in a more post rock context. Think the Drift, old Tarentel, very evocative and strangely Eastern European in places, with some more experimental tracks of long shimmery dronemusic and drifting harmonics here and there, separating the more (almost) rocking tracks, as a whole creating the perfect imaginary soundtrack for a movie filled with dark moonlit nights, lonely strolls, cobblestone streets, rolling hills, grey skies, rain against windows, and brief bits of sunlight. Lovely.
MPEG Stream: "Red Tony"
MPEG Stream: "Jetta's Palace"

JIMMY CASTOR BUNCH, THE It's Just Begun (RCA Victor) lp 12.98
Picked this album up at a garage sale as a kid, just 'cause of the crazy cover art, and have been a big fan ever since. Here it is reissued on vinyl, a definite '70s funk classic (from '72 to be precise), Jimmy's freakiest by far, stuff that could have made Funkadelic proud, both fuzzy and funky and a little Latin too. Or as we've said before about a Castor comp, "for fans of early Kool & the Gang, Parliament, B.T. Express, that sort of thing, but the best stuff here's got a dosed and primordial edge unlike anything else excavated from the early '70s era." And that "best stuff" is mostly all here on It's Just Begun. The title track is a heavy acid funk freakout, then there's the cave man classic "Troglodyte", and the trippy vibes of "L.T.D. (Life, Truth, Death)", and more... And it's all wrapped in that awesome, astrologically symbolic cover painting (featuring a slum building, in a wasteland, with not one but two giant Jimmy Castors looming over it, alongside a floating armored egg, tubes and troglodytes). There's an explanation of all the images' significance to be found on the back cover, dig it.
MPEG Stream: "It's Just Begun"
MPEG Stream: "Troglodyte (Cave Man)"

JIMMY EAT WORLD Futures (Interscope) cd 14.98
The music of major label mainstream emo bands such as Jimmy Eat World has been scientifically formulated for maximum appeal -- sorta like a Cola or maybe Cheetos. Its target? Primarily teenagers everywhere. Reaching its sharp hooks out to both male and female listeners with fist-pumping angst anthemics and heartstring-pullin' sentiments respectively, these songs speak straight at the young adult. However some post-teens do fall into the crosshairs every so often... uh, like Andee! Lead singer Jim Adkins bares his heart in the most earnest fashion articulating hopeful crushes, shattering heartaches and unrequited love. Totally Hollywood teen movie soundtrack perfect.
MPEG Stream: "Just Tonight..."
MPEG Stream: "Futures"

JJ No.3 (Secretly Canadian) cd 15.98
Something about Sweden that just breeds suave irresistible pop. JJ are a duo we've been hearing a lot about, but their records had been hard to come by stateside. Luckily Secretly Canadian has released their latest, No.3, domestically, so we can all catch the soft sonic breeze their subtle and exquisite songs offer. Imagine Saint Etienne or Everything But The Girl doing Red House Painters covers, or Beach House or Taken By Trees interpreting Sade, and you start to get an idea of the dreamy world of JJ. It's not an immediately catchy record, but one that with repeated listens totally wreathes you in a soft haze and lilting seduction that just feels so damn good. Another one of those records just made for Sunday mornings, as there is something so comforting about its ease and dreaminess. Very nice!
MPEG Stream: "My Life"
MPEG Stream: "Voi Parlate, Lo Gioco"
MPEG Stream: "No Escapin' This"

JK FLESH Posthuman (3BY3) cd 16.98
We had been hearing about this record for ages, mostly that it was the best thing Justin Broadrick had done since Godflesh! Which would be discounting everything he'd done as Jesu, much of which we hold near and dear, so while we're actually inclined to agree with the above sentiment, it might be more accurate to say that, besides Jesu, which is an entirely different beast, we haven't dug a Broadrick project this much since the days of classic Godflesh. Which makes sense really. The first hint was the name, Broadrick having resurrected a name he used back in the Techno Animal days, and in fact, JK Flesh reminds us a lot more of Techno Animal than Godflesh. The jams here all remind us of the kind of weirdo experimental electronic stuff Broadrick was doing on the side, when he was still doing Godflesh. The sort of jams that you'd hear on some obscure comp alongside Alec Empire, or Porter Ricks or Spectre or Scorn, if you remember those Macro Dub Infection comps from back in the day (if not, you should track them down, they are incredible!) or remember any of the more obscure Broadrick alter-egos, Curse Of The Golden Vampire, the Sidewinder, Techno Animal of course, especially the opening track on Posthuman, which lays down a spare lurching beat over buzzing droned out guitars, and features some super intense heavily effected vokills that sound unlike anything else we've heard from Broadrick. And instead of being heavy, it's more a sort of brooding malevolence, a hypnotic lumber that borders on some sort of industrial demonic dub. And had the whole record sounded like that, we would have been just fine. But the other thing we'd been hearing about JK Flesh, is that it was like Godflesh, but with dubstep beats, which may have had some folks crying foul, it actually sounded pretty goddamn good to us, and we're happy to report that it does in fact sound about as good as we imagined it would.
The same sonic template as the opening track for the most part, but with distinctly dubstep beats, and the thing is, it totally works, the dubstep element really becomes secondary, as Broadrick unfurls some of his fiercest and heaviest guitar work in ages, his vocals a thick, hellish bellow, far removed from the shouty vocals that marred the last few Godflesh records, this is some sick, fierce, and yeah, slightly groovy heaviness. But think how radical the drum machine driven Godflesh was back in the day, playing alongside all these crusty grind bands and straight up metal bands, that actually translates pretty well to the now, with JK Flesh, melding that sort of crusty chugging heaviness to a more modern beat. The first few tracks really don't even really get dubsteppy at all, instead, seeming to ease the listener into this brave new world, two massive slabs of massive downtuned machine-doom heaviness that kills. It's not until "Devoured" that things get crazy, when the beat is actually skittery, sounding a bit like Clubroot remixing Godflesh, which is obviously not a bad thing AT ALL. The title track too, is all manic skitter, wreathed in an impossibly thick gristly patina of crumbling super distorted buzz, and it's a crazy killer mix. The sort of thing that just might have metalheads tempted to poke their heads out onto the dancefloor, but should most definitely have the dancefloor heaving, with what is essentially some of THEE heaviest dubstep EVER. "Earthmover" introduces some of that blown out bass wobble, but it's mostly lost amidst all the churning metallic riffery and squalls of effects. The record finishes with another weird one, a good bookend for that opener, a sort of abject creeping doom dirge, driven by a skittery beat, but not so overtly dubsteppy, instead, a pounding lumbering lurch, with some seriously sick vokills, and while there is a kind of drop, it turns into something much more washed out and psychedelic, with clean vocals, and thick washed out guitars, the result sort of dreamy and druggy, and a little bit like a darker noisier heavier Jesu.
For those of you, like us, who always found yourselves way more into Broadrick's extracurricular sonic activities, this is a no brainer, it pushes all our Techno Animal buttons big time, but it definitely is the closest thing we've heard to Godflesh in a while, but still different enough to be fresh and exciting. Needless to say, this totally rules, and is WAY WAY WAY recommended (& anyone who digs Necro Deathmort, in particular, should check this out).
MPEG Stream: "Kunckledragger"
MPEG Stream: "Punchdrunk"
MPEG Stream: "Devoured"

JK FLESH Posthuman (3BY3) 2lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
THIS RECENT RECORD OF THE WEEK, NOW ON VINYL!! We had been hearing about this record for ages, mostly that it was the best thing Justin Broadrick had done since Godflesh! Which would be discounting everything he'd done as Jesu, much of which we hold near and dear, so while we're actually inclined to agree with the above sentiment, it might be more accurate to say that, besides Jesu, which is an entirely different beast, we haven't dug a Broadrick project this much since the days of classic Godflesh. Which makes sense really. The first hint was the name, Broadrick having resurrected a name he used back in the Techno Animal days, and in fact, JK Flesh reminds us a lot more of Techno Animal than Godflesh. The jams here all remind us of the kind of weirdo experimental electronic stuff Broadrick was doing on the side, when he was still doing Godflesh. The sort of jams that you'd hear on some obscure comp alongside Alec Empire, or Porter Ricks or Spectre or Scorn, if you remember those Macro Dub Infection comps from back in the day (if not, you should track them down, they are incredible!) or remember any of the more obscure Broadrick alter-egos, Curse Of The Golden Vampire, the Sidewinder, Techno Animal of course, especially the opening track on Posthuman, which lays down a spare lurching beat over buzzing droned out guitars, and features some super intense heavily effected vokills that sound unlike anything else we've heard from Broadrick. And instead of being heavy, it's more a sort of brooding malevolence, a hypnotic lumber that borders on some sort of industrial demonic dub. And had the whole record sounded like that, we would have been just fine. But the other thing we'd been hearing about JK Flesh, is that it was like Godflesh, but with dubstep beats, which may have had some folks crying foul, it actually sounded pretty goddamn good to us, and we're happy to report that it does in fact sound about as good as we imagined it would.
The same sonic template as the opening track for the most part, but with distinctly dubstep beats, and the thing is, it totally works, the dubstep element really becomes secondary, as Broadrick unfurls some of his fiercest and heaviest guitar work in ages, his vocals a thick, hellish bellow, far removed from the shouty vocals that marred the last few Godflesh records, this is some sick, fierce, and yeah, slightly groovy heaviness. But think how radical the drum machine driven Godflesh was back in the day, playing alongside all these crusty grind bands and straight up metal bands, that actually translates pretty well to the now, with JK Flesh, melding that sort of crusty chugging heaviness to a more modern beat. The first few tracks really don't even really get dubsteppy at all, instead, seeming to ease the listener into this brave new world, two massive slabs of massive downtuned machine-doom heaviness that kills. It's not until "Devoured" that things get crazy, when the beat is actually skittery, sounding a bit like Clubroot remixing Godflesh, which is obviously not a bad thing AT ALL. The title track too, is all manic skitter, wreathed in an impossibly thick gristly patina of crumbling super distorted buzz, and it's a crazy killer mix. The sort of thing that just might have metalheads tempted to poke their heads out onto the dancefloor, but should most definitely have the dancefloor heaving, with what is essentially some of THEE heaviest dubstep EVER. "Earthmover" introduces some of that blown out bass wobble, but it's mostly lost amidst all the churning metallic riffery and squalls of effects. The record finishes with another weird one, a good bookend for that opener, a sort of abject creeping doom dirge, driven by a skittery beat, but not so overtly dubsteppy, instead, a pounding lumbering lurch, with some seriously sick vokills, and while there is a kind of drop, it turns into something much more washed out and psychedelic, with clean vocals, and thick washed out guitars, the result sort of dreamy and druggy, and a little bit like a darker noisier heavier Jesu.
For those of you, like us, who always found yourselves way more into Broadrick's extracurricular sonic activities, this is a no brainer, it pushes all our Techno Animal buttons big time, but it definitely is the closest thing we've heard to Godflesh in a while, but still different enough to be fresh and exciting. Needless to say, this totally rules, and is WAY WAY WAY recommended (& anyone who digs Necro Deathmort, in particular, should check this out).
MPEG Stream: "Kunckledragger"
MPEG Stream: "Punchdrunk"
MPEG Stream: "Devoured"

JOAN AS POLICE WOMAN Real Life (Reveal) lp 14.98
Now on vinyl. Here's the cd review from a few lists back:
We've been hearing quite a lot of buzz and hype surrounding this New York outfit led by Joan Wasser, who has been playing music in one form or another since she was 8 years old. Along the way she's paid her dues playing in the Damnbuilders, and some lesser known bands in the '90s who featured some soon to be big name indie rockers like Mary Timony and Al Larson (Shudder To Think) and she has played violin for everyone from Antony & The Johnsons to Rufus Wainwright, Lou Reed to the Scissor Sister and even Sheryl Crow. The combination of those folks' music gives a sort-of-snapshot as to what to expect from Joan As Policewoman. Sounding a little bit like a more sweeping and orchestral version of Feist, this is a record sure to have a wide appeal and with good reason. With a very likable voice and strong instrumentation this will for sure hit the spot for folks waiting god knows how long until Fiona Apple comes out with another record. Oh and keeping up his very busy guest appearance schedule, Antony (of Antony & The Johnsons) adds his always stunning voice to one track on Real Life as well. And the first batch of these we got comes with a bonus disc of b-sides which includes a Bowie cover and a song dedicated to Condoleezza Rice. Weird.
MPEG Stream: "Real Life"
MPEG Stream: "I Defy"

JOAN AS POLICE WOMAN To Survival (Chrysalis) cd 13.98

JOAN AS POLICEWOMAN Real Life (CLR) cd 14.98
We've been hearing quite a lot of buzz and hype surrounding this New York outfit led by Joan Wasser, who has been playing music in one form or another since she was 8 years old. Along the way she's paid her dues playing in the Damnbuilders, and some lesser known bands in the '90s who featured some soon to be big name indie rockers like Mary Timony and Al Larson (Shudder To Think) and she has played violin for everyone from Antony & The Johnsons to Rufus Wainwright, Lou Reed to the Scissor Sister and even Sheryl Crow. The combination of those folks' music gives a sort-of-snapshot as to what to expect from Joan As Policewoman. Sounding a little bit like a more sweeping and orchestral version of Feist, this is a record sure to have a wide appeal and with good reason. With a very likable voice and strong instrumentation this will for sure hit the spot for folks waiting god knows how long until Fiona Apple comes out with another record. Oh and keeping up his very busy guest appearance schedule, Antony (of Antony & The Johnsons) adds his always stunning voice to one track on Real Life as well. And the first batch of these we got comes with a bonus disc of b-sides which includes a Bowie cover and a song dedicated to Condoleezza Rice. Weird.
MPEG Stream: "Real Life"
MPEG Stream: "I Defy"

JOAN OF ARC How Can Any Thing So Little Be Any More? (Jade Tree) cd 10.98
Well, once we got past the first few tracks (that included a mildly annoying song about fucking strangers and a recording of a child singing some '70s ballad) things settled into quite a nice spartan mellowness for this posthumous Joan of Arc EP. Seemingly randomly scattered acoustic guitar and piano melodies make friends with spacy drones and distortion. And throughout, the plaintive voice of Tim Kinsella meanders. Culled from tracks recorded during sessions for (but not included on) their final album The Gap.

JOAN OF ARC So Much Staying Alive And Lovelessness (Jade Tree) cd 13.98
Okay, so what's goin' on with Joan Of Arc? Shortly after the release of their last album The Gap a couple of years ago, they officially called it quits. Then less than a year later providing a little more closure, there was a posthumous cdep. It seems though that there's something in the water that makes Kinsella bros' bands come back to life. Case in point? Another of their early combos, The Owls were quickly ressurrected filling the postrock-y emo space vacated by JOA. Now, this new cd has surfaced. Yes, they're back -- sounding quite refreshed we might add, but much more subdued and controlled. The somewhat tedious jazzy noodling and intrusive experimentations on The Gap have been honed and better encorporated into the big picture. There's a nicely arranged interplay between the soft, emotive vocals, gently meandering keyboards and guitars. Pleasing, delicate post-rock. Welcome back JOA.
RealAudio clip: "Mean To March"

JOAN OF ARC The Gap (Jade Tree) cd 10.98
Gastr Del Sol meets Red House Painters, or maybe The Promise Ring. Either way, kinda pretentious and not quite intelligent enough to know when to stop the 'avant-garde' noodling. And, the record is named after The Gap.

JOAO, KARE 2 (Jester) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second album (duh) from this Norwegian rock band led by a former Turbonegro roadie. We did like their first one, Sideman, quite a bit, but this one seems a bit too poppy and polished for us, this time out. It's just awkwardly balanced on the cusp of cool '80s retro (Hacienda-era Factory bands could be what they're going for) and maybe not so cool '80s retro (The Fixx?), with a definite nod to more modern radio-friendly fare of the Britpop persuasion. Spiritualized might be one comparison. So, the spacey, psychedelic elements we dug about the debut aren't totally gone, but it's hardly the Floyd/MBV/Spacemen Three styled trip we were hoping for based on the successes of Sideman. Check out the sound clips, though, if you liked the poppier parts of that album.
MPEG Stream: "Don't Don't"
MPEG Stream: "Too Soon, Too Fast"

JOAO, KARE Sideman (Jester) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Jester (the unclassifiable Norwegian record label run by frontman Garm of the formerly but no longer black metal band Ulver) has rapidly become one of our favorite labels, what with releases by When, Ulver, Arcturus, Rotoscope, Esperanza, Bogus Blimp, Single Unit, and Origami Galaktika -- we've liked 'em all, actually! So whenever Jester puts out something new, even if we've never heard of the artist before (which is often the case) we make sure to check it out. Thus we ordered a few of this album by Norwegian musician Kare Joao without knowing at all what to expect. Turns out it's a psychedelic rock record along the lines of Pink Floyd (or even the Beta Band), Spacemen Three, Pharoah Overlord, and My Bloody Valentine. We've since learned that Kare was a roadie and sometime singer for AQ dirty rock faves Turbonegro! Some guys from that band, along with Garm himself, play on this. As for the sound, we were immediately enthralled by the "Tomorrow Never Knows" vibe of the seven-minute-plus lead-off track "Captain Trips", full of heavy psych guitar wash, echoey seagull synth sounds, tripped out guitar effects, and, last but not least, repetitive, catchy hooks. The rest of the album continues in this vein, pretty much. There's one track that's a little heavy on the vocals with backing Beach Boys style "oooh ooohs", maybe it's their stab at a Stranglers (or Strokes!) kinda song but it doesn't work that well for us in comparison to the rest of the disc, which definitely gets a big thumbs up. Hmm, high time we made a Jester section in our bins!
RealAudio clip: "Captain Trips"
RealAudio clip: "Channel Five"

JOBRIATH Creatures Of The Night (Collector's Choice Music) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As you might expect from "the world's first openly gay rock star" (or make that would-be rock star), the music of seventies singer Jobraith is pretty darn glammy and campy, a blend of '70s hard rock histrionics and even more overtly showtune tendencies (Jobriath had performed on Broadway, actually, in the musical Hair, and was also a trained classical pianist), full of over-the-top pop and not-so-ambiguous sexuality.
He's part David Bowie (very much David Bowie!), part Marc Bolan, part Elton John, part Mick Jagger, even part Bee Gees (that high voice)... You can hear all that for yourself on these two new cd reissues of Jobraith's two Elektra albums, his notoriously overhyped self-titled debut from 1973 and its '74 follow-up, Creatures Of The Night. We'd gotten familiar with Jobraith via an earlier collection, Lonely Planet Boy, which featured songs selected from these two records, but it's nice to hear 'em in their entirety, and it turns out that comp missed out on a few of the many gems to be found among Jobraith's compositions.
Unfortunately the Jobriath story is a tragic one, his career fizzling after these two albums (both expensive flops), his brushes with fame always far-fetched and fleeting, Jobriath ultimately dying in obscurity, a victim of the AIDS epidemic, in 1983... though about ten years later, according the the story recounted in the liner notes, Morrissey tried to find Jobraith to take him on tour, unaware that he'd passed away long before.
So, while in retrospect there's for sure a patina of sadness over Jobraith's music, it's better tribute perhaps to Jobriath's memory to enjoy these albums in the fun, flamboyant spirit in which they were intended.
Both albums have their merits, we don't know if we could choose between 'em. The debut boasts the oh-so-Bowie "Space Clown", along with the piano-ballad bombast of "Be Still" (somewhere, this MUST have been a hit). You can party down to the proto-disco prog of "World Without End" or the funky "Earthling", and rock out to the fuzzy "Rock Of Ages" or the braggadocious "I'm A Man". There's also a bunch more piano-y crooner tunes on the softer side: "Inside", "Blow Away", and "Movie Queen", all quite good (the latter, quite, umm, gay as well).
Creatures Of The Street perhaps veers even further into campy, cabaret territory than the debut (or maybe it's just that "Dietrich/Fondyke" is so much that way) but also offers up a fair bit of rockin' and also just plain weirdness. At times we're reminded of Sparks, and one of the best tracks here is a folky, quirky, quite catchy number entitled "Scumbag"! Other standouts include melodramatic opener "Heartbeat" and the walk on the wild side that is "Street Corner Love". As with the debut, there's plenty of piano, plenty of orchestration, and plenty of drama... The image/identity conscious Jobriath was always striking poses, both on album covers and in his lyrics.
While the world wasn't ready for Jobriath back in the '70s (even though his music is oh-so-'70s), obviously we've come a long way since then. Jobriath's excesses can be forgiven (those of his management too) and his cult status can only grow, as his actual music is still quite a kick. Heck I was in a bar the other night and the DJ was playing "I'm A Man"! Good to have these both individually reissued on cd at last, with liner notes by Ritchie Unterberger (author of, among other things, the excellent Unknown Legends Of Rock n' Roll, which didn't include Jobriath but probably should have).
MPEG Stream: "Heartbeat"
MPEG Stream: "Scumbag"

JOBRIATH Lonely Planet Boy (Attack) cd 17.98

JOBRIATH s/t (Collector's Choice Music) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
As you might expect from "the world's first openly gay rock star" (or make that would-be rock star), the music of seventies singer Jobriath is pretty darn glammy and campy, a blend of '70s hard rock histrionics and even more overtly showtune tendencies (Jobraith had performed on Broadway, actually, in the musical Hair, and was also a trained classical pianist), full of over-the-top pop and not-so-ambiguous sexuality.
He's part David Bowie (very much David Bowie!), part Marc Bolan, part Elton John, part Mick Jagger, even part Bee Gees (that high voice)... You can hear all that for yourself on these two new cd reissues of Jobriath's two Elektra albums, his notoriously overhyped self-titled debut from 1973 and its '74 follow-up, Creatures Of The Street. We'd gotten familiar with Jobriath via an earlier collection, Lonely Planet Boy, which featured songs selected from these two records, but it's nice to hear 'em in their entirety, and it turns out that comp missed out on a few of the many gems to be found among Jobriath's compositions.
Unfortunately the Jobriath story is a tragic one, his career fizzling after these two albums (both expensive flops), his brushes with fame always far-fetched and fleeting, Jobraith ultimately dying in obscurity, a victim of the AIDS epidemic, in 1983... though about ten years later, according the the story recounted in the liner notes, Morrissey tried to find Jobriath to take him on tour, unaware that he'd passed away long before.
So, while in retrospect there's for sure a patina of sadness over Jobraith's music, it's better tribute perhaps to Jobriath's memory to enjoy these albums in the fun, flamboyant spirit in which they were intended.
Both albums have their merits, we don't know if we could choose between 'em. The debut boasts the oh-so-Bowie "Space Clown", along with the piano-ballad bombast of "Be Still" (somewhere, this MUST have been a hit). You can party down to the proto-disco prog of "World Without End" or the funky "Earthling", and rock out to the fuzzy "Rock Of Ages" or the braggadocious "I'm A Man". There's also a bunch more piano-y crooner tunes on the softer side: "Inside", "Blow Away", and "Movie Queen", all quite good (the latter, quite, umm, gay as well).
Creatures Of The Street perhaps veers even further into campy, cabaret territory than the debut (or maybe it's just that "Dietrich/Fondyke" is so much that way) but also offers up a fair bit of rockin' and also just plain weirdness. At times we're reminded of Sparks, and one of the best tracks here is a folky, quirky, quite catchy number entitled "Scumbag"! Other standouts include melodramatic opener "Heartbeat" and the walk on the wild side that is "Street Corner Love". As with the debut, there's plenty of piano, plenty of orchestration, and plenty of drama... The image/identity conscious Jobriath was always striking poses, both on album covers and in his lyrics.
While the world wasn't ready for Jobriath back in the '70s (even though his music is oh-so-'70s), obviously we've come a long way since then. Jobraith's excesses can be forgiven (those of his management too) and his cult status can only grow, as his actual music is still quite a kick. Heck I was in a bar the other night and the DJ was playing "I'm A Man"! Good to have these both individually reissued on cd at last, with liner notes by Ritchie Unterberger (author of, among other things, the excellent Unknown Legends Of Rock n' Roll, which didn't include Jobraith but probably should have).
MPEG Stream: "I'm A Man"
MPEG Stream: "World Without End"
MPEG Stream: "Movie Queen"

JOCOY, JIM We're Desperate (powerHouse Books) book 28.00
Jim Jocoy's unnarrated book of photos, never published before this year, is an amazing collection of images captured in and during San Francisco and LA's fertile punk scene of '78-'80. Taken spontaneously at clubs, the images show youths dressed to the nines in all the leopard print, skinny jeans, and eyeliner you can handle. Aquarius is super proud to be hosting Jocoy's first San Francisco event celebrating the publication of his photos. Meanwhile, enjoy his book. Here's what others have said:
"Buildings crumble; social signifiers fissure and evaporate. This much is forever; art students simultaneously discovering perceived oppression and thrift-store shoppong. Maybe that's why We're Desperate packs such timeless reverb. As a student living in San Francisco in the late '70s, Jocoy reported from the front line of the burgeoning punk scene by training his eye on the fans. Using a camera purchased at a garage sale, Jocoy photographed scenesters posed against club walls, capturing their ripped nylons, pegged jeans, leather jackets, and vinyl anything. Bookended by an introduction by Marc Jacobs, who has repeatedly referenced the era's Converse-and-logo-tee aesthetic, and a tender elegy by Exene Cervenka, of L.A. punk band X fame. These are DIY Star Search episodes played to one hand clapping, lasting shots from a short runway." ÑV Magazine
"...the longer you look...the more you begin to see what it took to remake yourself as a freak, as a social idiot, as someone you weren't meant to be.... soon enough, you're seeing real people everywhere." ÑGreil Marcus' Real Life Rock Top 10, Salon.com

JODIS Secret House (Hydra Head) cd 14.98
What might you expect from a band made up of two parts Khanate, and one part Isis / Grey Machine / House Of Low Culture? Probably nothing as pretty and haunting as this. That's right, we said pretty. We were definitely expecting some crushing slo-mo heaviness, figured if that much of Khanate was involved it would have to be screechy and torturous.
And while Jodis is doomy, it's also moody, and atmospheric, slow and spare, spacious and strangely lovely. Occasionally the guitars rev up and get way louder, and it sounds like the band might explode into some sort of bellowing dirge, but instead, they sprawl into an ominous creep, the guitars shimmery, the notes spaced way out, as much about the decay and overtones as the initial note or the overall melody. The vocals are weary and washed out, reverbed and down in the mix. If anything this reminds us of some classic slowcore, maybe Codeine or Seam, albeit a little more abstract, a little less indie rock, but the same sort of moody drift, the same kind of minimal melody, emotional and dark and haunting and dreamlike.
Surprisingly, the drums are super restrained, in fact, the first few tracks sound almost drumless, minus a few cymbal shimmers, some flares and accents here and there. On "Secret House" the drums are active, flurries of fills all over the kit, but not for bombast, again for texture, almost like playing chords on the drums, there are some harsh vox on "Secret House", and they almost sound out of place, disrupting the strange slow tranquility. But once we move on to the next track, we're back to that gauzy melodic drift, the drums again super skeletal, the guitar drifting in the ether, the vocals choral, almost monk-like, super meditative and ethereal.
And the rest of the record plays out in a similar fashion, long drawn out slow burning epics writ small, the three exploring the space around the notes, finishing off with the gorgeous 9 minute "Slivers", the guitar unfurling a fuzzy blurry drone, the drums more active, a bit tribal, but still muted, and the vocals a falsetto off in the distance, the track, heaving and pulsing and shimmering, before slipping into a more abstract drone and then blinking out.
Some seriously gorgeous stuff, a surprise new favorite for sure, getting lots of play late at night, lights turned low, consciousness at rest, on the cusp of some other plane...
MPEG Stream: "Ascent"
MPEG Stream: "Continents"
MPEG Stream: "Secret House"

JODIS Secret House (Hydra Head) 2lp 25.00
NOW AVAILABLE ON VINYL! Two 180 gram lps, housed in a super thick, super swank full color gatefold sleeve, includes a bonus track not on the cd...
What might you expect from a band made up of two parts Khanate, and one part Isis / Grey Machine / House Of Low Culture? Probably nothing as pretty and haunting as this. That's right, we said pretty. We were definitely expecting some crushing slo-mo heaviness, figured if that much of Khanate was involved it would have to be screechy and torturous.
And while Jodis is doomy, it's also moody, and atmospheric, slow and spare, spacious and strangely lovely. Occasionally the guitars rev up and get way louder, and it sounds like the band might explode into some sort of bellowing dirge, but instead, they sprawl into an ominous creep, the guitars shimmery, the notes spaced way out, as much about the decay and overtones as the initial note or the overall melody. The vocals are weary and washed out, reverbed and down in the mix. If anything this reminds us of some classic slowcore, maybe Codeine or Seam, albeit a little more abstract, a little less indie rock, but the same sort of moody drift, the same kind of minimal melody, emotional and dark and haunting and dreamlike.
Surprisingly, the drums are super restrained, in fact, the first few tracks sound almost drumless, minus a few cymbal shimmers, some flares and accents here and there. On "Secret House" the drums are active, flurries of fills all over the kit, but not for bombast, again for texture, almost like playing chords on the drums, there are some harsh vox on "Secret House", and they almost sound out of place, disrupting the strange slow tranquility. But once we move on to the next track, we're back to that gauzy melodic drift, the drums again super skeletal, the guitar drifting in the ether, the vocals choral, almost monk-like, super meditative and ethereal.
And the rest of the record plays out in a similar fashion, long drawn out slow burning epics writ small, the three exploring the space around the notes, finishing off with the gorgeous 9 minute "Slivers", the guitar unfurling a fuzzy blurry drone, the drums more active, a bit tribal, but still muted, and the vocals a falsetto off in the distance, the track, heaving and pulsing and shimmering, before slipping into a more abstract drone and then blinking out.
Some seriously gorgeous stuff, a surprise new favorite for sure, getting lots of play late at night, lights turned low, consciousness at rest, on the cusp of some other plane...
MPEG Stream: "Ascent"
MPEG Stream: "Continents"
MPEG Stream: "Secret House"

JOEL, BILLY 52nd Street (Columbia) cd 5.00
**SALE **SALE* *SALE**