BAGS, THE All Bagged Up (Artifix) lp 14.98

BAGUNCA, PAULO E A TROPA MALDITA s/t (Discos Mariposa) cd 17.98
It's no surprise to learn that this album developed a strong underground following among Brazilian youth when it came out in 1973. With its forward thinking arrangements, perfectly played Moog and a merging of samba, afro-funk and American rock and folk, it was for sure a record that hinted at what smart weird pop music would sound like in the decades to come. Twenty years later in a different part of the globe groups like Olivia Tremor Control and the whole Elephant Six collective were playing this same brand of eclectic and oh-so-smart pop. But these guys were doing it way back in the seventies! You might remember Paulo Bagunca E A Tropa Maldita for their appearance on the Brazilian version of the Love Peace and Poetry series. Another nice reissue from Discos Mariposa. Good stuff.
MPEG Stream: "Grinfa Louca"
MPEG Stream: "Madalena"

BAIER, SIBYLLE Colour Green (Orange Twin) cd 16.98
Some of us here whose proclivities gravitate towards rare psych and folk have been bemoaning the recent flurry of "buried treasures" and "lost classics". It seems a day does not go by without a new release or re-issue of a forgotten or recently discovered artist rescued from obscurity passing before our attentive eyes and drooling mouths. Sometimes the "lost classic" status is not always deserved (not everything made in the sixties and seventies that didn't receive any attention is noteworthy, somethings are better off staying buried or lost), but it's sure keeping the reissue labels and revisionist musicologists busy as they map out an ever-growing expanse of the spheres of influence on music today. It's hard to keep up and also pay equal attention to all the great music that is being made right now. This makes us very happy on the one hand that amazing music continues to be discovered but it also drives us crazy us to see our paychecks quickly dwindling every week. Why just in the past month, we've seen re-issues from Bridget St. John, Kay Hoffman, John Jacob Niles, Kaleidoscope and Fairfield Parlour (all pretty amazing!) among others. And now on our plate are these previously unreleased home recordings of German underground folk singer, Sibylle Baier. We must admit when we first heard this, we suspected fraud. These recordings sound almost too contemporary to have been made in the early seventies. But after doing a little research, we found out this is no fraud. These intimate recordings fully deserve their "buried treasure" status, for whatever that's worth at this point. Baier, only previously known for a song on an early Wim Wenders film soundtrack, recorded these songs in her home from 1970-73 after a "spirit-renewing" trip through the Swiss Alps. She has the warm Sunday jam and tea voice reminiscent of Vashti Bunyan, but with the more spare guitar compositions and melancholy vocal delivery of someone like Chan Marshall. In fact, we sort of wish the new Cat Power or Beth Orton records were this good! Like Bunyan, Baier shunned what could have been a successful career in order to raise a family and it's because of her son, Robby, that these recordings are being heard at all. But unlike Bunyan, these songs don't derive from a back to nature hippie-folk aesthetic, but rather they come from a more delicate fragility where life's beauty and despair are interwoven with the tiny details of daily life. Beautiful! Totally recommended for seventies folk enthusiasts as well as fans of contemporary singer/songwriters.
MPEG Stream: "Tonight"
MPEG Stream: "I Lost Something in the Hills "

BAILIFF, JESSICA Feels Like Home (Kranky) cd 14.98

BAILIFF, JESSICA Hour of the Trace (Kranky) cd 13.98
Album number two finds Jessica again working with Alan from Low. This time around the songwriting has drastically improved, and the delicate yet dense washes of velvety guitar bear a remarkable resemblance to, yep, you guessed it, Low. Another beautiful release from Kranky. Recommended!

BAILIFF, JESSICA s/t (Kranky) cd 14.98
Whenever this album has been played in the store (which is plenty of times already!), folks have clambered to find out what the loveliness is. Well, it's the new Jessica Bailiff! She's singing a lot more this time around, and it's a welcome development. Her third full length is absolutely dreamy, quietly weaving together elements of spartan folk and spacious chamber music, with plenty of nods to fellow Kranksters Low (whose Alan Sparhawk produced her first album). Listening to this eponymous album almost feels like an intrusion, but each of her songs only draws you in further. These are the songs sung to the stars on a sleepless night. Quite often her softly murmured vocals are only accompanied by some hushed strings, piano or a barely strummed acoustic guitar - both hovering in the air like a frosty breath. And even when more sounds enter the stage - a sitar, a violin-uke, some digital effects - they're the sheerest of shimmering veils. Mesmerizing.
RealAudio clip: "Hour Of The Traces"
RealAudio clip: "Time Is An Echo"

BAILTER SPACE s/t (Flying Nun) cd 23.00
Bailter Space by now is all but defunct, with most of their records released through Matador in the US now deleted and unavailable. That's unfortunate, as the short lived career of this late '80s and early '90s New Zealand droned out, art-rock band offered a brilliantly unique parallel to the English shoegazing scene (dead ringers sometimes for Swervedriver) and Seattle's nascent grunge community.
Bailter Space was a trio, whose members performed as NZ legends The Gordons in the early '80s, developing a cantankerous post-punk sound whose short-fused riffs, off-kilter bursts of noise, and rhythmic teeth-gnashing had been one of the many influences on Sonic Youth. After their dissolution in the mid 80s and subsequent resolution as Bailter Space in 1987, the trio had softened some of the rough edges creating a signature sound that perfectly brought together Joy Division and the Velvet Underground within the bleary-eyed charm that seemed almost natural to every one else on Flying Nun (e.g. The Chills, Pin Group, This Kind Of Punishment, etc.).
It's a bit hard to figure out what's going on with this record, a compilation actually of tracks from other releases, a greatest hits sort of, there's no real info, and the album doesn't even say which track came from which album -- just a track listing and the legal stuff, that's it. Needless to say, they all rule, and it makes us want to listen ot ALL those records again. As we mentioned, all of their US albums are out of print (and it's unclear if the NZ releases are still available); so this anthology is certainly a welcome return for a band that had long been a favorite of Aquarius all the way back to our days on 24th Street. Here you'll find the spry rhythms of "Tanker" (which was the title track from their 1988 album) darkly forecasting the shimmer and drone of Ride and Slowdive; there's also the narcotic tunes of sci-fi shadow and murk from their last great album Vortura (e.g. "X" and "DarkBlue"); and plenty of distorted-then-blurred extended passages of drone guitar which really sound like they must have been the template for Justin Broadrick's Jesu. We love this band, we have for years, their Robot World record is one of Andee's ALL TIME favorites. If you don't know this band, you need to. And this is a pretty great way to discover them for the first time, and even if you're already a fan, it's a pretty bad ass Bailter Space mixtape.
MPEG Stream: "Robot World"
MPEG Stream: "SoLa"
MPEG Stream: "Tanker"

BAIRD, MEG Dear Companion (Drag City) cd 14.98
If Josephine Foster is the modern day equivalent of Shirley Collins, then Meg Baird would be the contemporary Anne Briggs. Here on her long-awaited yet sweetly low-key Drag City solo debut, Baird, who also fronts Philadelphia's Espers, has been channeling the old ghosts of British Folk (we got a glimpse on the disc of traditional numbers she recorded with Helena Espvall and Sharon Krause, a few lists back) through new and traditional numbers that feel contemporary and timeless without being too folksy or quaint. Sure the influence of folk music's past is anything but new these days, but Baird has been at it for a real long time, and while she has had some killer tracks on compilations now and again, including the ground-breaking "Golden Apples Of the Sun", it's nice to finally see a proper full length from this fair-headed lass who can strum a wistfully folky tune with the best of them. Lovely.
MPEG Stream: "Sweet William And Fair Ellen"
MPEG Stream: "All I Ever Wanted"

BAIRD, MEG Dear Companion (Drag City) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If Josephine Foster is the modern day equivalent of Shirley Collins, then Meg Baird would be the contemporary Anne Briggs. Here on her long-awaited yet sweetly low-key Drag City solo debut, Baird, who also fronts Philadelphia's Espers, has been channeling the old ghosts of British Folk (we got a glimpse on the disc of traditional numbers she recorded with Helena Espvall and Sharon Krause, a few lists back) through new and traditional numbers that feel contemporary and timeless without being too folksy or quaint. Sure the influence of folk music's past is anything but new these days, but Baird has been at it for a real long time, and while she has had some killer tracks on compilations now and again, including the ground-breaking "Golden Apples Of the Sun", it's nice to finally see a proper full length from this fair-headed lass who can strum a wistfully folky tune with the best of them. Lovely.
MPEG Stream: "Sweet William And Fair Ellen"
MPEG Stream: "All I Ever Wanted"

BAIRD, MEG / HELENA ESPVALL / SHARRON KRAUS Leaves From Off The Tree (Bo'Weavil) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Meg Baird and Helena Espvall, the string players and female vocalists of Espers, team up with British folkie, Sharron Kraus for a hazy afternoon's recording of traditional English and Appalachian folk songs. Sung simply and played sweetly on guitar, cello, and dulcimer by a trio well versed in the dulcet timelessness of the folk cannon, these nine songs recall the best work of Shirley Collins, Sandy Denny and Shelagh McDonald. Lovely!
MPEG Stream: "Now Westlin' Winds"
MPEG Stream: "False Sir John"

BAJA Maps / Systemalheur (Still) cd 16.98
Baja is a German collective revolving around a composer by the name of Daniel Vujanic. By the sound of things, Baja see themselves in neither Germany nor Mexico, but in Chicago circa 1995 when Gastr Del Sol was deconstructing any number of musical tropes into their own rigid signature sound. Both of the two long-form Baja tracks are decentered compositions of angular guitar plucking, ECM jazz motifs, elliptical bass riffs, painterly splatters of multiple horns, and stumbled percussive rhythms.
MPEG Stream: "Maps"
MPEG Stream: "Systemalheur"

BAKAMONO Long Time Cain (Super8) cd 12.98
Local favorites, loud, raw, and crunchy, packaged in a pretty cardboard'n'gold digipak.

BAKER, AIDAN Songs Of Flowers And Skin (Beta-Lactam Ring) cd 16.98
Originally released (albeit only digitally) in 2005, Songs Of Flowers & Skin reveals a side of Aidan Baker we love, but only rarely get to see, and it's his slowcore side, channeling the spirit of groups like Codeine and Bedhead and Seam, creating dark, drifting slow motion pop songs, that creep and crawl and unfurl gorgeously and gradually. Like we said, those moments do surface in his discography, especially solo, where he seems more inclined to introspection and less to doomgaze, but this record offers up a whole disc of proper songs, slow, languorous, dark, haunting, melancholy songs, with singing and lyrics and proper rock band instrumentation, augmented by trumpet and violin, it's really quite lovely.
The record opens with "Skin Like Sand", a serpentine guitar figure wraps around simple minimal skeletal drumming, vocals are crooned softly, actually sung, but this IS Aidan Baker, so it's not nearly that simple, the track is laced with bits of glitch, streaks of crackle, and the vocals are strangely processed, so in the background, little vocal snippets echo the main voice, making it sound ghostly and dreamlike. The next few tracks get almost jazzy sounding, upping the tempo a bit, but keeping the mood dour and depressive, "Dance Dance Dance" is a smoky trumpet flecked ballad, all reverbed guitar and sizzling cymbals, "Second Selves" sounds almost Spanish, a little bit of a Morricone vibe, a regal almost march, the horns and strings, sweeping and dramatic, very cinematic, "Take Me Out Of My" is another skittery slow groove, that sounds almost like it could be American Music Club, if it weren't for the strange static and whirling organ drones.
Almost the entire second half of the disc is taken up by the nearly half hour long "Flowerskin" (although some of that is silence hiding a secret track, more on that in a second), begins as a slowly building driftscape of long tones, mysterious electronic glitches and truncated rhythms, before the song proper kicks in, another brooding meander, the glitch and crackle and hiss even more pronounced here, sometimes almost blotting out the song completely, there is an almost Nadja worthy climax, but it's more soft focus and subdued, a swirling cloud of warm washed out drones and tangled streaks of buzz, before sputtering out and leaving nothing but silence. Which is eventually supplanted by a gorgeously dark and melancholy dirge folk ballad, just acoustic guitar and vocals, hushed and haunting and quite beautiful.
Maybe not for the Nadja doombliss dronemetal obsessives, but fans of past AB solo outings, as well as anyone into dark, intimate, minimal slowcore and dark brooding doom pop, will definitely want to check this out.
MPEG Stream: "Sand Like Skin"
MPEG Stream: "Feed Me Yr Kiss"
MPEG Stream: "Dance Dance Dance"

BAKER, AIDAN / NOVELLER Colorful Disturbances (Divorce) lp 17.98
A pretty perfect matchup, Aidan Baker, 1/2 of doom drone duo Nadja, and avant-drone guitarist / filmmaker Sarah Lipstate aka Noveller, who both offer up some of their prettiest sounds for this collection of Colorful Disturbances.
Lipstate starts things off with a gorgeous smoldering driftscape, a sea of tinkling chiming high end melodies draped over soft swells of buzz and crunch, while within a pulsing blur holds it all together. Dreamy and divine, definitely the sort of track that could have been double or triple the length. Her second contribution is just as good, a bit more minimal, slightly glitchier and buzzier, but still serene and dreamlike, with a slightly ominous vibe, reverbed guitars are left to float in a constantly swirling cloud of sonic grit and soft focus hiss, that hiss constantly changing shapes and revealing partially obscured sounds and voices and melodies. So nice, this too could have filled up the whole side and we would have been perfectly happy.
Baker contributes a single 20 minute sidelong drift, all washed out glimmery tones, long and blurred and smeary and indistinct, creating a slow shifting layered landscape of gauzy soft focus colors, sun dappled and prismatic, warm and muted and totally lovely. Easily one of the prettiest tracks we've heard from AB for sure. Like we said, a perfect match!
Vinyl only and limited, so grab one before they disappear...

BALBOA / ROSETTA Project Mercury (Level Plane) cd 13.98
As we've no doubt mentioned before, metallic post rock seems to be its own little cottage industry, spawning more bands that it's possible to keep up with, and causing lots of bands to suddenly shift their sound, to be either more metal (for the post rock bands), or more post rock (for the metal bands). But as we've also mentioned before, it's tough to complain about a sound that combines two of our favorite musics. Metal, heavy and crushing, doomy and massive, and post rock, with its mathy rhythms, moody melodies, and soaring arrangements.
One of our favorite purveyors of this sound is Rosetta, from Philadelphia, who gave us one of our favorite postrockmetal records a few years back in the form of The Galilean Satellites. The approach for that release was unique, in that one disc was song based, with all the requisite crushing riffs and mathy metallic crush, while the second disc was all ambient, long tracks of swirl and shimmer, drone and rumble.
With the postrockmetal feeding frenzy, we were sure Rosetta were on the fast track to being big names in the scene, but they seem to still remain just below the spotlights, which seems to have done them no harm in terms of new music, their half of this split destroys. Albeit beautifully and dramatically. Two tracks, both topping 10 minutes. Both beginning with plenty of soaring jangle and Godspeed like cinematic build. Guitars chime and ring out, the drums are simple, perfectly supporting the rest of the instruments as they drift skyward. The first track builds and builds in intensity, only becoming truly metallic near the end, when the chiming high end guitars drift off leaving a churning downtuned riff, but even that riff is wrapped in effervescent streaks of glistening far away guitar harmonics, and strange vocal snippets, and rumbling whirring low end drones.
The second track follows a similar pattern, but the heavy parts STAY heavy, with howled guttural vocals, and a very Neurosis-y riff, but again, still surrounded by all sorts of incandescent guitars and dense swirls of ambient buzz.
Rosetta are teamed up with fellow Philly noisemakers Balboa, who also do their own version of the metal math rock, but theirs has a foot firmly planted in punk rock, hardcore to be exact. The first track starts off like a super charged nineties math rock jam, with angular guitars and BIG drums, vocals that are sort of sad boy, but build into full on howls, when all of a sudden, the band lurches into an almost blast beat, a furious punk rock blast, that shifts gears again, into a seriously hooky hardcore groove, sounds like a weird mix, but it sounds amazing. And a perfect foil to the languid expansiveness of Rosetta. The other two songs, don't get as punk rock as the opener, instead, mining more of that nineties math rock sound, Polvo, Dazzling Killmen, Hoover, the songs are loping stretched out grooves, the bass and guitar locked in tight, the drums almost tribal, everything crashing together in huge bursts of metallic emo fury. Pretty great.
And as if that weren't enough, the two bands combine forces for the closer, the title track, which to be honest sounds like it could be either band, as easy as both, BUT, it's amazing, a seriously gorgeously executed, heavy and hooky chunk of mathy metallic rock. From the beginning, a propulsive, almost krautrock jam, that slowly and steadily builds into a seriously thick bout of massive roiling guitars, and chaotic drumming, all downtuned and dripping with distortion, the only hint that this is actually two bands is about three quarters of the way through, when the drummers engage in a relentless double kick dual, over which ALL the guitarists spit out spidery glistening guitar lines, a huge glimmering tangle of melodies that sparkles and shimmers, and as you might expect is quickly sucked under another crushing wave of grinding growling guitar. Awesome stuff. Fans of the usual suspects (Isis, Baroness, Mogwai, Explosions In The Sky, Pelican, Tides, Conifer, Minsk, etc..) most definitely NEED this.
MPEG Stream: BALBOA "Kaddish"
MPEG Stream: ROSETTA "Tma-1"

BALDWIN, MATT Paths Of Ignition (American Dust) cd 14.98
We love our modern Appalachia, tangled steel strings, gorgeous sprawling avant bluegrass, Fahey, Jack Rose, James Blackshaw, Ilyas Ahmed, it's a crowded field, but all the key players manage to create something much more special than just a Fahey rehash. Sure there are tons of folks out there with a guitar, a heavily worn copy of Death Chants, and not an original musical idea in their head, but there are the few, like the above folks mentioned, who took that sound, and were inspired to create their own soundworlds. You can add Matt Baldwin to that list.
It's a little hard to put a finger on what exactly makes Baldwin's sound so special, it could be more of a focus on classic melody, than on pick and strum, the opening track on Paths Of Ignition darkly unfurls into a warm whirring pastoral guitarscape, lots of major key melodies, unlikely harmonies, strange bits of slippery slide, and plenty of electric guitar buzz, some soaring growling leads, all woven into some haunting raga infused psychedelic space folk. The whole track is laced with tangles of wild almost-shredding guitar, deep resonant drones, swirling little melodic flourishes, it all transforms -his- take on Appalachia into something much more tripped out, psych rock and almost poppy in its prettiness.
The rest of the disc hews a little closer to the neo-Appalachia party line, but even then, his tracks slither and buzz, lots of haunting guitar rumble, intricate finger picking, delicate melodies, dreamy and drifty, mysterious and timeless. Except the one cover, the song that actually got us interested in Baldwin in the first place. It's only 4 minutes long, but it's a killer. Baldwin takes on Judas Priest's "Winter" and nails it. The main riff of the original sounds perfect on a steel string, brooding and ominous, beneath that guitar deep swells of buzzing guitardrone pulses and throbs, and the vocals, Baldwin does a pretty excellent Halford, a reverb drenched high pitched croon, complete with vibrato and little trills, the track finishes off with some killer lead guitar, sprawled over that gorgeous languorous main riff, that seems to slither and drift on forever.
Any one into the current crop of modern Appalachian / neo-folk / whatever-you-call-it guitar music will definitely dig this, and while it's worth it for the Priest cover alone, the whole record is pretty fantastic. Now it's up to Blackshaw to cover some old Scorpions, or Rose to take on a classic UFO or Uriah Heep track, so if either of you guys is reading this...
MPEG Stream: "Winter"
MPEG Stream: "Weissensee"

BALDWIN, MATT Paths Of Ignition ( American Dust) lp 14.98
This list highlight from a couple weeks back is NOW ON VINYL! And, we noticed, also now the Record Of The Month for July on Julian Cope's Head Heritage website, which we love. Read our review, then go read his... from which we learned something we should have realized, that the first track is a Neu! cover! So, here's what we said before about the cd version:
We love our modern Appalachia, tangled steel strings, gorgeous sprawling avant bluegrass, Fahey, Jack Rose, James Blackshaw, Ilyas Ahmed, it's a crowded field, but all the key players manage to create something much more special than just a Fahey rehash. Sure there are tons of folks out there with a guitar, a heavily worn copy of Death Chants, and not an original musical idea in their head, but there are the few, like the above folks mentioned, who took that sound, and were inspired to create their own soundworlds. You can add Matt Baldwin to that list.
It's a little hard to put a finger on what exactly makes Baldwin's sound so special, it could be more of a focus on classic melody, than on pick and strum, the opening track on Paths Of Ignition darkly unfurls into a warm whirring pastoral guitarscape, lots of major key melodies, unlikely harmonies, strange bits of slippery slide, and plenty of electric guitar buzz, some soaring growling leads, all woven into some haunting raga infused psychedelic space folk. The whole track is laced with tangles of wild almost-shredding guitar, deep resonant drones, swirling little melodic flourishes, it all transforms -his- take on Appalachia into something much more tripped out, psych rock and almost poppy in its prettiness.
The rest of the disc hews a little closer to the neo-Appalachia party line, but even then, his tracks slither and buzz, lots of haunting guitar rumble, intricate finger picking, delicate melodies, dreamy and drifty, mysterious and timeless. Except the one cover, the song that actually got us interested in Baldwin in the first place. It's only 4 minutes long, but it's a killer. Baldwin takes on Judas Priest's "Winter" and nails it. The main riff of the original sounds perfect on a steel string, brooding and ominous, beneath that guitar deep swells of buzzing guitardrone pulses and throbs, and the vocals, Baldwin does a pretty excellent Halford, a reverb drenched high pitched croon, complete with vibrato and little trills, the track finishes off with some killer lead guitar, sprawled over that gorgeous languorous main riff, that seems to slither and drift on forever.
Any one into the current crop of modern Appalachian / neo-folk / whatever-you-call-it guitar music will definitely dig this, and while it's worth it for the Priest cover alone, the whole record is pretty fantastic. Now it's up to Blackshaw to cover some old Scorpions, or Rose to take on a classic UFO or Uriah Heep track, so if either of you guys is reading this...
MPEG Stream: "Winter"
MPEG Stream: "Weissensee"

BALROYNIGRESS Shampoo And Champagne (Kning Disk) cd 14.98
Here's another release of exceptional quality and artistry from the Kning Disk label, who have previous brought us fine disks from the disparate likes of James Blackshaw, Jerry Johansson, Steffen Basho-Junghans, Wolf Eyes, Giuseppe Ielasi & Nicola Ratti...
Subtly trippy and strangely entrancing, Balroynigress is an art-folk trio melting in the Swedish sun. We were immediately drawn to main man Erik Joer's withered, slightly druggy male vocals that alternately call to mind early Bowie and Mark Linkous of Sparklehorse. His and female vocalist Elvire Soyez's hushed voices wander tremulously amid the somber, bent and broken melodies woven from acoustic guitars, synths, melodica and piano... occasionally getting their boots stuck in the slushy sludge of the gently growling bass. Despite the album's title which to us suggests fizzy cosmopolitan festivities, the ten songs that comprise this Shampoo And Champagne potion are neither bubbly nor urbane. Ungrounded and seemingly far from city lights, they flow freely between the concrete and the intangible, the conscious and the subconscious, conjuring both the deepest of longings and glimmering hallucinations. We like! May also intrigue the fans of Devendra Banhart or Andrew Douglas Rothbard.
Don't dill-dally though! This is a very limited handmade pressing of 900!
MPEG Stream: "Postlove"
MPEG Stream: "The Landlord's Love Affair"

BALTHROP, ALABAMA Your Big Plans & Our Little Town (End Up) 2cd 12.98
Not a geographic location, Balthrop, Alabama is a singer/songwriter! Joining in the band naming tradition of the likes of Boston, Chicago, Kansas et al, former Bay Area now Brooklyn based solo singer/songwriter Pascal Balthrop's latest musical moniker is a place, but a fictional one, mind you! You might know him under his previous musical alias which was simply Pascal. With a new name and new hometown come new sounds, a broader scope, instrument palette and group of musicians to accompany him. On his brand new sprawling concept double (!) cd about big city encroachment on a small town, Balthrop's acoustic songcraft is definitely still very very indebted to Jeff Mangum, John Darnielle and the Elephant 6 Collective, but the telltale signs -- such as a very distinctly emotive singing delivery combined with unabashedly blatty horns -- are a little bit more subsumed into his own realm. His lyrical storytelling is less cryptic or surreal, and the downhome-y album unfolds like an indie pop country fair stage play. Some folks have likened his new songs such as "Love To Love You" to the Hidden Cameras in its peppy exuberance. Fans of all of the abovementioned, hop aboard!
MPEG Stream: "Angel"
MPEG Stream: "Tell The Stars"

BALTYCKIE SZEPTY s/t (Plus GSM) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Members of Polish avant-hippy collective Atman (aka Magic Carpathians) are involved with this project, the title of which we think translates into English as "Baltic Whisperings". Recordings of seals swimming in the Baltic Sea are augmented with moog, guitar, woodwinds, plus various other instruments and electronics. They've created an aquatic musical document of bathing, breathing creatures and drifting, gorgeous, and sometimes sinister, shimmering soundscapes. This is the kind of "new age" music we can like. Very limited availability.

BALUSTRADE ENSEMBLE Capsules (Dynamophone) cd 13.98
An uncommonly sumptuous array of releases was just presented to us courtesy of the young music label Dynamophone. They've only been around since mid-2006, but already have a bountiful catalog of releases, and many more on the way. We think your ears will welcome them with a warm embrace. Particularly if you've been recently enjoying the aquatic drone releases on the Mystery Sea label, you might wish to check out the seemingly likeminded, but more melodically inclined Dynamophone artists. Really, the label is a treasure trove of shimmering and dewy listening delights. Delve in immediately (also see: Disinterested, Halou, Po, Pornopop, A Lily, Curium, and R/R Coseboom)!
This is the label's new release from Balustrade Ensemble, a group which features Grant Miller (also of the very different Mandible Chatter), singer/songwriter/pianist Liam Singer, and Scott Solter (whose worked with the likes of Singer, Mountain Goats, Spoon and Tarentel). Their intricate (mostly) acoustic (mostly) instrumentals are artfully woven from familiar instruments piano, guitar, cello, and pedal steel, and the less common mellotron, orchestron, claviola, and celeste. Each one seems to glimmer out through Victorian lace curtains yellowed and slightly threadbare from age, through shatters of antique crystal goblets dappled with droplets of deep red, through a flaking, clouded gilt mirror, through deep sea greens and azures. Very cinematic, in fact, the Dynamophone folks beat us to the punch at raising the darkly whimsical filmmakers the Brothers Quay as a point of reference. Very recommended.
MPEG Stream: "Glorianders"
MPEG Stream: "Incarnadine"

BANANAFISH MAGAZINE Issue #18 (Tedium House) magazine + cd 10.98
Sadly, the last ever ish (so we're told) of this long-running avantgarde music n' art magazine... And it remains entertainingly dense with confusion to the last. Obscure isn't obscure until it's been celebrated (and futher obscured) in the pages of Bananafish. This final issue leaves us with info and interviews with Jim Leftwich ("experimental writer, visual poet..."), Burning Star Core ("violin/electronics/voice iconoclast"), Nelson Gastaldi ("Argentinean psych-spatial composer"), Montract ("group of beach-blanket acidheads"), and Joe Colley ("ex-Crawl Unit noise mumbler"). There's also "surreal, interdisiplinary" comics from Mecca Normal guitarist David Lester and of course pages and pages of reviews of all kinds of noisy, fucked up music -- reviews that quite often are more interesting than the music itself, we sometimes suspect. Plus the requisite bonus cd that comes with the magazine, with stuff from all the above mentioned artists, including lots of excerpts from cassettes found by Joe Colley. Ah Bananfish, we'll miss ya.

BAND OF BEES, A Free The Bees (Astralwerks) cd 17.98
A Band Of Bees have totally captured those psychedelic pop sounds of the 60's in all their full technicolor glory (think: Kinks, Byrds, Small Faces), but combined them with the ballsier guitar sounds of the 70's, and some old Stax-y soul grooves (think: Temptations, Bar-Kays, Booker T And The MGs) too! The band deftly brings together a broad array of sounds and influences from the past. They recreate them with startling accuracy and present them with a fresh enthusiasm. The results? A super feel good, all-weather album!
MPEG Stream: "These Are The Ghosts"
MPEG Stream: "Hourglass"

BAND OF ENDLESS NOISE, THE s/t (Endless Band) cd 17.98
Polish outfit with members of the Magic Carpathians, but not nearly as droney or avant-garde as you'd expect from that, or from their name. Instead, this is lighter fare, kind of an indie-rock thing, not as psychedelic or weird as might be assumed.

BAND OF HORSES Cease To Begin (Sub Pop) cd 14.98
Unlike their last album last year Everything All The Time, Band Of Horses' sophomore full length aligns itself moreso with the buoyancy of Built To Spill, Modest Mouse, and My Morning Jacket than the slow creep of Sparklehorse and Songs:Ohia. They craft the beloved modern yelp-pop that's characterized by warm, rounded jangly pop/rock instrumentation and boyish male vocals that are cling expressively to the upper register. Wistful, autumnal tunes perfect for this time of year!
MPEG Stream: "The First Song"
MPEG Stream: "The Great Salt Lake"

BAND OF HORSES Cease To Begin (Sub Pop) lp 14.98
Unlike their last album last year Everything All The Time, Band Of Horses' sophomore full length aligns itself moreso with the buoyancy of Built To Spill, Modest Mouse, and My Morning Jacket than the slow creep of Sparklehorse and Songs:Ohia. They craft the beloved modern yelp-pop that's characterized by warm, rounded jangly pop/rock instrumentation and boyish male vocals that are cling expressively to the upper register. Wistful, autumnal tunes perfect for this time of year!
MPEG Stream: "The First Song"
MPEG Stream: "The Great Salt Lake"

BAND OF HORSES Everything All The Time (Sub Pop) cd 14.98
Fans of My Morning Jacket, Sparklehorse, Songs Ohia, and Iron And Wine, you just might have another band jockeying for your affection! Mat Brooke and Ben Bridwell, two ex-members of Seattle pop band Carissa's Weird, have regrouped in a new combo that doesn't stray too far from their former band's slow, lush sound, but takes it into more of a rural setting. Some of us (staffers and customers alike) thought they were a deadringer for My Morning Jacket -- from Bridwell's high mournful vocal delivery to the duo's balance of haunting Southern gothic ballads and rockier numbers. For a full box of tissues example of the former, check out the final song "St. Augustine". But whereas MMJ blanket their shadowy melancholic recordings in cavernous cathedral reverb, Band Of Horses apply a lighter coat -- their sun-drenched guitars countering the heavy-heartedness of the vocals. Really really really good!
MPEG Stream: "The First Song"
MPEG Stream: "St. Augustine"

BAND OF HORSES Everything All The Time (Sub Pop) lp 12.98
Fans of My Morning Jacket, Sparklehorse, Songs Ohia, and Iron And Wine, you just might have another band jockeying for your affection! Mat Brooke and Ben Bridwell, two ex-members of Seattle pop band Carissa's Weird, have regrouped in a new combo that doesn't stray too far from their former band's slow, lush sound, but takes it into more of a rural setting. Some of us (staffers and customers alike) thought they were a deadringer for My Morning Jacket -- from Bridwell's high mournful vocal delivery to the duo's balance of haunting Southern gothic ballads and rockier numbers. For a full box of tissues example of the former, check out the final song "St. Augustine". But whereas MMJ blanket their shadowy melancholic recordings in cavernous cathedral reverb, Band Of Horses apply a lighter coat -- their sun-drenched guitars countering the heavy-heartedness of the vocals. Really really really good!
MPEG Stream: "The First Song"
MPEG Stream: "St. Augustine"

BAND OF HORSES Infinite Arms (Columbia) cd 14.98
We've given favorable reviews to these guys in the past, comparing them to aQ faves like Iron & Wine, Sparklehorse, Songs Ohia, My Morning Jacket, but it wasn't until this record, that the doubters and dissenters around here were truly convinced. For some reason, Band Of Horses were a band we just didn't want to like. They're the sort of band that gets featured on NPR, and played in Starbucks and ends up as background music on House or C.S.I. or as the soundtrack to yuppie kiddie carpools, but goddamn it, this record rules. Like the above mentioned bands, they weave gorgeous lush twang flecked folk pop, that manages to be intimate and moving, catchy and oh so lush, to the above mentioned bands we might also add all the various Joe Pernice projects: Scud Mountain Boys, Big Tobacco, Pernice Brothers, Chappaquiddick Skyline, the same sort of delicate earnest vox, and warm languid post country drift.
Band Of Horses go even further, incorporating what sounds like strings, making their folk country pop hybrid even more lush and expansive, and hell the songs are just so pretty, and hooky, whether the band are unfurling delicate tapestries of hushed melody, or rocking out county punk Uncle Tupelo style, it's hard to argue with how good this stuff is. So to the haters, we were haters once too, and we're happy to have finally switched sides, cuz this record is pretty dang great....
MPEG Stream: "Factory"
MPEG Stream: "Compliments"
MPEG Stream: "Laredo"

BAND OF HORSES No Ones Gonna Love You (Sub Pop) 7" 3.98

BANG Bang / Mother - Bow To The King (BANGmusic.com) cd 14.98
Dunno what it is -- maybe reading Martin Popoff's encyclopedic Collector's Guide To Heavy Metal Vol. 1: The Seventies (reviewed last list) -- but we've been on a real early '70s proto-metal hard rock kick of late. And one band essential to such listening is this one, so we've restocked a bunch of this cd reissue and thought we'd give it a re-list for those who missed it before. Here's what we wrote a while back when we first listed this:
Dust, Captain Beyond, Toad, Pentagram, Highway Robbery, T2, Buffalo, Budgie, Blue Cheer, Lucifer's Friend...if these names mean anything to you, you're probably one of our customers who dig that heavy '70s acid rock proto-metal stuff. Whenever we find a reissue of another lost gem from the era we try to share it with you. So, here, at last ... the legendary Bang, a trio from Florida (by way of Philly) circa '71-'73 who managed to crank out some Sabbath-like riffing to go with the very Ozzy-like vocals of lead singer and bassist Frank Ferrara!
Bang never got big -- although they did share stages with everyone from Alice Cooper to the Allman Brothers to Chuck Berry to Funkadelic to Black Sabbath themselves, apparently had a #1 hit in Hong Kong and at one point owned their own private plane! They released three albums in their career (for a US major label in fact) plus they recorded some singles and made an entire unreleased album as well. Their entire output has now been reissued on two cds, the first of which (this one) contains their self-titled debut, recorded in February of '72, as well as their follow-up sophomore album recorded that same year in November (groups back then didn't dilly dally with putting out one album every couple of years like today's bands).
As we said, Bang, especially on their first self-titled album, bore a remarkable resemblance to the Sabs, which was really unusual for their era, when heavy bands were more likely to copy Zeppelin or Purple or just be stuck in the '60s. Kinda lo-fi, but quite heavy, "Bang" delievers doomy hard rock, with a kinda Comus-y Pagan slant, that also brings to mind the most powerful early King Crimson. Like most heavy bands of the period, Bang weren't cognizant of the "metal" concept, and probably saw themselves as a pop rock group -- a dark and pyschedelic pop rock group to be sure -- and so sometimes the hard riffing lets up to allow for some happier or more gentle fare, which is not always a bad thing anyway (this a phenomenon we discussed in our review of the Dust albums not long ago).
Bang's 2nd album was oddly presented as two distinct side-long mini-albums, each with its own 'front' cover. Side one (the heavier) being "Mother" with side two dubbed "Bow To The King". Both sides together were not as Sabbathy as the debut perhaps, but still excellent '70s proto-metal indeed.
MPEG Stream: "Lions, Christians"
MPEG Stream: "Future Shock"
MPEG Stream: "Keep On"

BANG Bang Music / Death Of A Country / Three Lost Singles (BANGmusic.com) cd 14.98
Recorded in Hollywood, California in 1973, "Bang Music" was quite a bit more of your standard '70s rock/pop fare, not nearly as heavy as their earlier efforts. But it's nicely melodic and has a few rockin' tracks on it, like opener "Windfair".
Then we step back chronologically a couple of years for the conceptual "Death Of A Country", which was Bang's never-released first album, recorded in 1971 prior to their self-titled debut that came out the next year. With visions of societal corruption and ecological disaster, this album's doom-filled lyrics are certainly Sabbathian, although the music really doesn't get as apocalyptically heavy as what they came up with on "Bang". But still, a decent slab of downer psych-rock, more '60s hippie than '70s metal.
True heavy music connoisseurs really need this disc, though, for the two of the three "lost singles" included: the tracks "Slow Down" and "Feels Nice". They're the highlights here for sure. "Slow Down" woulda fit in well on their debut, while "Feels Nice" has more of Led Zep vibe.
Bang's slogan was always "Music Shot From Guns". Of the two cd reissues, it's the first ("Bang / Mother - Bow To The King") that's definitely using the higher caliber ordnance. But this one also gets off some good shots.
Note, unlike cd versions you might have seen before, these aren't bootlegs -- these reissues were done by the band themselves through their website. Initally they reissued 'em as cd-rs, but now they've done real cds, professionally printed. The cd booklets have the lyrics and credits, but we'd have liked some more art, photos, notes, etc. And as 2-on-1 releases, they've scrunched the cover art for two albums into each booklet's front panel, along with using some not-so-'70s Macintosh computer fonts. So, visually these could have been better, but oh well -- it's the music that matters. And much of Bang's music should definitely stoke those into early metal a la Black Sabbath and the aforementioned obscure greats.
RealAudio clip: "Windfair"
RealAudio clip: "Slow Down"
RealAudio clip: "Future Song"

BANGS Call And Response (Kill Rock Stars) cd 11.98
Ahhh. The Bangs are back with this cd ep of high energy, guitar riffin, punk rockin', high pitched yipping, sweet and sweaty Sleater Kinney-ish RAWK! The Bangs definitely sound like Olympia girl rock, big time. And Sleater Kinney comparisons are unavoidable; they also remind us of the Go-Go's but with a '70s rock edge. Cool stuff.
RealAudio clip: "Call And Response"
RealAudio clip: "Kinda Good"

BANGS Sweet Revenge (Kill Rock Stars) cd 12.98
This band can't help but draw numerous comparisons to other Kill Rock Stars and K Records feisty girl-fronted bands such as Bikini Kill or Bratmobile. Indeed they do sound like a younger more bubblegum-loaded incarnation of said bands, and indeed one Bangs member (Maggie Vail) is the younger sister of Bikini Kill's Toby. But y'know what? I think I've got a better point of comparison. The fifth track "Undo Everything" brings to mind one of the slower numbers on The Go-Go's self-titled album. Actually quite a lot of this record is sweetly reminiscent of Belinda, Jane and co. and we like it!

BANGS, LESTER AND THE DELINQUENTS Jook Savages on the Brazos (Moll) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Arguably the best music writer of all time, Bangs breaks out with powerful, loose-cannon garage rock that's kinda the counterpart to his prose. Recorded in Austin, Texas, in 1980, shortly before he died. Very rare German import.

BANHART, DEVENDRA Cripple Crow (XL Recordings) cd 13.98
For his latest full length, Banhart has taken a marked departure from the mystical woodland art-folk kingdom he conjured and inhabited on his first three albums. This is evident even before you hear a single note -- he opted for a Sgt. Pepper style collaged crowd photograph on the front cover rather than another of his illustrations. He's tempered his vocal delivery to a more approachable range -- this might disappoint some of his fans for whom his unmistakable 'old' voice was the thing they loved most about his music, on the other hand though it certainly has the potential to appeal to a much broader audience -- but he's ventured out stylistically in a number of directions and incorporated various different instrument combinations into the surprisingly lush arrangements with wonderful results. Take for example the second song "Santa Maria Da Feira" and the sixth "Quedateluna" which both brought to mind glimmers of a long lost Gilberto Gil album, the almost soft rock production of the third song "Heard Somebody Say", not to mention the fourth song "Long Haired Child" which possesses a primal electric guitar psychedelic bluesiness that recalls Arthur Brown's demonic '60s stomp "Fire" (albeit much less unhinged). Midway through the album, some songs crop up that are more akin to the Banhart of old such as the quirkily playful ninth tune "Some People Ride The Wave". 22 songs! Wow! So great!
MPEG Stream: "Santa Maria Da Feira"
MPEG Stream: "Long Haired Child"
MPEG Stream: "Some People Ride The Wave"

BANHART, DEVENDRA Cripple Crow (XL) 2lp 16.98
Now on vinyl with reconfigured cover art and a gatefold sleeve with eight extra tracks including the most recent reggae/afro-beat single "White Reggae Troll". Only four of the extra tracks have never been released, the rest come from the "Heard Somebody Say" and "I Feel Just Like A Child" singles. Still, that's 30 songs! The new cover art and gatefold expounds on the original Sgt. Pepper-inspired photomontage by adding tons of photos from friends as well as fans who were encouraged to submit images through Banhart's website (including our very own Scott!). Here is what we said about it the first time around:
For his latest full length, Banhart has taken a marked departure from the mystical woodland art-folk kingdom he conjured and inhabited on his first three albums. This is evident even before you hear a single note -- he opted for a Sgt. Pepper style collaged crowd photograph on the front cover rather than another of his illustrations. He's tempered his vocal delivery to a more approachable range -- this might disappoint some of his fans for whom his unmistakable 'old' voice was the thing they loved most about his music, on the other hand though it certainly has the potential to appeal to a much broader audience -- but he's ventured out stylistically in a number of directions and incorporated various different instrument combinations into the surprisingly lush arrangements with wonderful results. Take for example the second song "Santa Maria Da Feira" and the sixth "Quedateluna" which both brought to mind glimmers of a long lost Gilberto Gil album, the almost soft rock production of the third song "Heard Somebody Say" (along with title song "Cripple Crow", some of the best contemporary anti-war songs!), the Andrew Loog Oldham-sounding sitar groove of "Lazy Butterfly", not to mention the fourth song "Long Haired Child" which possesses a primal electric guitar psychedelic bluesiness that recalls Arthur Brown's demonic '60s stomp "Fire" (albeit much less unhinged). Midway through the album, some songs crop up that are more akin to the Banhart of old such as the quirkily playful ninth tune "Some People Ride The Wave". We could on and on about this! Wow! So great!
MPEG Stream: "Santa Maria Da Feira"
MPEG Stream: "Long Haired Child"
MPEG Stream: "Some People Ride The Wave"

BANHART, DEVENDRA Heard Somebody Say (XL) cd ep 3.98
Another lil' shortie from Mr. Banhart! Please note the vinyl and cd versions' track listings are not the same! The cd features the title song (taken from Devendra's most recent full length Cripple Crow) as well as two exclusive tracks not on the 7" ("Lickety Split" and "Chicken"). The 7" record features the title song plus one exclusive track not on the cdep ("La Pastorcita Perdida").
MPEG Stream: "Heard Somebody Say"
MPEG Stream: "Lickety Split"

BANHART, DEVENDRA Heard Somebody Say (XL) 7" 3.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another lil' shortie from Mr. Banhart! Please note the vinyl and cd versions' track listings are not the same! The cd features the title song (taken from Devendra's most recent full length Cripple Crow) as well as two exclusive tracks not on the 7" ("Lickety Split" and "Chicken"). The 7" record features the title song plus one exclusive track not on the cdep ("La Pastorcita Perdida").
MPEG Stream: "Heard Somebody Say"

BANHART, DEVENDRA I Feel Just Like A Child (XL) cd ep 3.98
Devendra tops off your tall glass of Cripple Crow with this 3-song ep. Wouldn't think of him as a singles kind of artist, but that's what this appears to be. Much like Sub Pop, XL Recordings have taken to releasing low-priced cd-singles shortly after the release of an artist's album. The title track also appears as the eighth song on the recently released full length. If you yourself are new to Mr. Banhart (or you want to turn a friend onto his music) this might do the trick, but keep in mind that this neo-folk troubadour's most recent more fully fleshed out and often downright rollicking music isn't really indicative of his musical output as a whole. Even with such a relatively short recording career (only 3-4 years?), his earlier (more barebones and obtuse) releases way back in 2002 are quite radically different from where he's at these days.
MPEG Stream: "I Feel Just Like A Child"
MPEG Stream: "Stewed Bark Of An Old Tree"

BANHART, DEVENDRA I Feel Just Like A Child (XL) 7" 3.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Devendra tops off your tall glass of Cripple Crow with this 3-song ep. Wouldn't think of him as a singles kind of artist, but that's what this appears to be. Much like Sub Pop, XL Recordings have taken to releasing low-priced cd and in this case 7" vinyl singles shortly after the release of an artist's album. The title track also appears as the eighth song on the recently released full length. If you yourself are new to Mr. Banhart (or you want to turn a friend onto his music) this might do the trick, but keep in mind that this neo-folk troubadour's most recent more fully fleshed out and often downright rollicking music isn't really indicative of his musical output as a whole. Even with such a relatively short recording career (only 3-4 years?), his earlier (more barebones and obtuse) releases way back in 2002 are quite radically different from where he's at these days.
MPEG Stream: "I Feel Just Like A Child"
MPEG Stream: "Stewed Bark Of An Old Tree"

BANHART, DEVENDRA Nino Rojo (Young God) cd 14.98
From the promise of a Banhartian Spring we find a Banhartian Autumn with a companion piece to Rejoicing In The Hands, Nino Rojo. This album, equally as stunning, features 16 songs assembled from 57 tracks recorded with Banhart mentor Michael Gira in Atlanta (see our review of Rejoicing for more info on the recording and production). Truly some of his most captivating and achingly beautiful songs to date with more elaborate finger-picked guitarwork and fleshed out backing vocals on songs such as the glistening "Owl Eyes" and the album closer "Electric Heart". One of our most favorite tracks, "At The Hop", is co-written by frequent Banhart collaborator Andy Cabic (Vetiver, Tussle). The enhancement of this enhanced-cd features a video for this song. Like its companion, Nino Rojo offers a Devendra Banhart with more polish, more freedom of movement and a little looser from the grip of self-awareness -- making for a more cohesive but no less eccentric and magical album.
MPEG Stream: "Wake Up, Little Sparrow"
MPEG Stream: "At The Hop"

BANHART, DEVENDRA Oh Me Oh My... (Young God) cd 14.98
Devendra Banhart -- who appears to be living his life as an indie-rock gypsy touring with whomever and squatting wherever, including a stint wowing locals here in SF -- crafts his neo-folk songs with the primitive instrumentation of voice and acoustic guitar, spanning a vast spectrum of fragmented emotions through a manic-depressive persona that can be as beautifully charming as it can be terrifyingly devastating. Michael Gira, who released this album through his Young God label, accurately described Banhart's voice with its skewed vibrato and unnerving warble as somewhere in between the magical voices of Marc Bolan, Karen Dalton, Syd Barrett, Tiny Tim, Daniel Johnston, and Nick Drake; and fortunately, Banhart uses that voice to tell a wholly unique set of stories that hold a succinct poetry. Hastily stitched from bizarre stream of consciousness associations and absurdist conditional clauses, Banhart's lyrics expand the realm of possibility into psychosexual surrealism. On occasion, Banhart's tales are anthropomorphic love songs, wistfully dreaming of archaic steam ships and the state of Michigan (yes, he pines for Michigan) with all of sexual cravings and romantic nuances of a young boy first pierced by Cupid's arrow; yet on other occasion, Banhart gnashes his teeth with such existential confusion that the targets of his epithets are blurred by his bilious rage. Within Banhart's language, reality has been realized as a swollen mass of malformed emotions compounded by the urgency that resonates within his voice.
Upon listening to this album, I've had the recurring, sinking feeling either that Banhart is destined to star in an upcoming Harmony Korine film or that he will be dead in a few years as victim of an unspecified gruesome tragedy. As I've tried and failed to assign such distinctly odd critical-doomspeak within various arguments and generalized thesis about the perception of the separation between art and life, I mention it because Banhart -- unlike any artist whom I've come across -- has been able to provoke such controversial thoughts. Far from me to wish Banhart or anybody ill-will, but true manifestations of horror defy logic and are very rare indeed. And this, gentle reader, is the real deal.
If you recall, Andee began his review of Woven Hand's album with the bold statement: "I hate to gush, but gush I must, this is my record of the year. Done deal." As for me (Jim, along with Marcy and Windy), the debut from Devendra Banhart needs to be given serious consideration as a contender for record of the year 2002.
MPEG Stream: "Animals"
MPEG Stream: "Tell Me Something"
MPEG Stream: "Cosmos And Demos"

BANHART, DEVENDRA Oh Me Oh My... (Mod Lang) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally available on vinyl! Here's what we said about the cd:
Devendra Banhart -- who appears to be living his life as an indie-rock gypsy touring with whomever and squatting wherever, including a stint wowing locals here in SF -- crafts his neo-folk songs with the primitive instrumentation of voice and acoustic guitar, spanning a vast spectrum of fragmented emotions through a manic-depressive persona that can be as beautifully charming as it can be terrifyingly devastating. Michael Gira, who released this album through his Young God label, accurately described Banhart's voice with its skewed vibrato and unnerving warble as somewhere in between the magical voices of Marc Bolan, Karen Dalton, Syd Barrett, Tiny Tim, Daniel Johnston, and Nick Drake; and fortunately, Banhart uses that voice to tell a wholly unique set of stories that hold a succinct poetry. Hastily stitched from bizarre stream of consciousness associations and absurdist conditional clauses, Banhart's lyrics expand the realm of possibility into psychosexual surrealism. On occasion, Banhart's tales are anthropomorphic love songs, wistfully dreaming of archaic steam ships and the state of Michigan (yes, he pines for Michigan) with all of sexual cravings and romantic nuances of a young boy first pierced by Cupid's arrow; yet on other occasion, Banhart gnashes his teeth with such existential confusion that the targets of his epithets are blurred by his bilious rage. Within Banhart's language, reality has been realized as a swollen mass of malformed emotions compounded by the urgency that resonates within his voice.
Upon listening to this album, I've had the recurring, sinking feeling either that Banhart is destined to star in an upcoming Harmony Korine film or that he will be dead in a few years as victim of an unspecified gruesome tragedy. As I've tried and failed to assign such distinctly odd critical-doomspeak within various arguments and generalized thesis about the perception of the separation between art and life, I mention it because Banhart -- unlike any artist whom I've come across -- has been able to provoke such controversial thoughts. Far from me to wish Banhart or anybody ill-will, but true manifestations of horror defy logic and are very rare indeed. And this, gentle reader, is the real deal.
If you recall, Andee began his review of the Woven Hand album (a recent AQ record of the week) with the bold statement: "I hate to gush, but gush I must, this is my record of the year. Done deal." As for me (Jim, along with Marcy and Windy), the debut from Devendra Banhart needs to be given serious consideration as a contender for record of the year 2002.
RealAudio clip: "Michigan State"
RealAudio clip: "Lend Me Your Teeth"
RealAudio clip: "Nice People"

BANHART, DEVENDRA Oh Me Oh My... (Young God) lp 14.98
Finally available on vinyl again!
Here is what we said about this all-time AQ favorite when it first hit our ears back in 2002:
Devendra Banhart -- who appears to be living his life as an indie-rock gypsy touring with whomever and squatting wherever, including a stint wowing locals here in SF -- crafts his neo-folk songs with the primitive instrumentation of voice and acoustic guitar, spanning a vast spectrum of fragmented emotions through a manic-depressive persona that can be as beautifully charming as it can be terrifyingly devastating. Michael Gira, who released this album through his Young God label, accurately described Banhart's voice with its skewed vibrato and unnerving warble as somewhere in between the magical voices of Marc Bolan, Karen Dalton, Syd Barrett, Tiny Tim, Daniel Johnston, and Nick Drake; and fortunately, Banhart uses that voice to tell a wholly unique set of stories that hold a succinct poetry. Hastily stitched from bizarre stream of consciousness associations and absurdist conditional clauses, Banhart's lyrics expand the realm of possibility into psychosexual surrealism. On occasion, Banhart's tales are anthropomorphic love songs, wistfully dreaming of archaic steam ships and the state of Michigan (yes, he pines for Michigan) with all of sexual cravings and romantic nuances of a young boy first pierced by Cupid's arrow; yet on other occasion, Banhart gnashes his teeth with such existential confusion that the targets of his epithets are blurred by his bilious rage. Within Banhart's language, reality has been realized as a swollen mass of malformed emotions compounded by the urgency that resonates within his voice. The debut from Devendra Banhart needs to be given serious consideration as a contender for record of the year 2002.
MPEG Stream: "Animals"
MPEG Stream: "Tell Me Something"
MPEG Stream: "Cosmos And Demos"

BANHART, DEVENDRA Rejoicing In The Hands & Nino Rojo (Young God) 2lp 17.98
Hola dear Devendra-adoring vinyl lovers! You no longer have to feel left out in the cold while others around you enjoy Mr. Banhart's music on cd because Young God has released his two most recent albums together (as they were meant to be!) as a double record set in a gatefold sleeve. If you're memory need refreshing, here's what we said about Rejoicing In The Hands album a little under a year ago:
Since the release of his evocative debut album Oh Me Oh My..., Devendra Banhart has deservedly catapulted to the status of an indie-rock icon. The critical acclaim for Banhart's work is based on the merits of his spectacular songwriting and uncanny ability to channel an incredible spectrum of emotional resonance. However, much of that success is also due to the hard work and dedication of Young God's bossman Michael Gira. The former Swan and current Angel Of Light has taken Banhart under his wing as his apprentice and has boldly asserted (and nurtured) Banhart's brilliance, majesty, and genius. His hard work has certainly paid off as almost every media outlet has sung Banhart's praises; but even so it was quite bizarre to hear Banhart's wavering croon on NPR's Morning Edition many moons ago.
Rejoicing In The Hands is Banhart's second proper album, following the short Black Babies UK EP which delved further into his piles of early 4-track recordings. For this new album, Gira took Banhart into a studio (which was located in an appropriately antique Southern home on the Georgia / Alabama border) and provided him with plenty of resources to flesh out his songs. In many ways, Rejoicing In The Hands follows the same strategy that Sub Pop employed for Iron & Wine's second album Our Endless Numbered Days: take one fantastic songwriter who made a great album of 4-track recordings, put him in the studio with some sympathetic musicians, and watch the magic happen. Thus, Rejoicing In The Hands has considerably more polish than its predecessor; and perhaps not surprisingly, the songs themselves are less dangerous, rabid, and self-consumed. Yet, the taming of Mr. Banhart is a relative process, as his work still invokes a mysticism of the unconscious through his complex metanyms and obtuse wordplay. His voice -- an eccentric hybrid of Marc Bolan, Karen Dalton, and Vashti Bunyan (who sings a duet alongside Banhart on this record!) -- continues to waver through stream of consciousness lyrics about his teeth, his beard, geographic love affairs, insects, Elvis, and other more likely subject matters like sex and death. Musically, these are delicate folk arrangements centered around his elliptical finger picking which is occasionally accompanied by some of Gira's fellow musicians from Angels of Light. All in all, Rejoicing In The Hands is a rousing success that will surely make Banhart the folk medium for his generation. Highly recommended.
And this is what we had to say about the cd version of Nino Rojo in September '04:
From the promise of a Banhartian Spring we find a Banhartian Autumn with a companion piece to Rejoicing In The Hands, Nino Rojo. This album, equally as stunning, features 16 songs assembled from 57 tracks recorded with Banhart mentor Michael Gira in Atlanta (see our review of Rejoicing for more info on the recording and production). Truly some of his most captivating and achingly beautiful songs to date with more elaborate finger-picked guitarwork and fleshed out backing vocals on songs such as the glistening "Owl Eyes" and the album closer "Electric Heart". One of our most favorite tracks, "At The Hop", is co-written by frequent Banhart collaborator Andy Cabic (Vetiver, Tussle). The enhancement of this enhanced-cd features a video for this song. Like its companion, Nino Rojo offers a Devendra Banhart with more polish, more freedom of movement and a little looser from the grip of self-awareness -- making for a more cohesive but no less eccentric and magical album.
These seem to be going fast, not sure how limited it is...
MPEG Stream: "Insect Eyes"
MPEG Stream: "At The Hop"

BANHART, DEVENDRA Rejoicing In The Hands (Young God) cd 14.98
Since the release of his evocative debut album Oh Me Oh My..., Devendra Banhart has deservedly catapulted to the status of an indie-rock icon. The critical acclaim for Banhart's work is based on the merits of his spectacular songwriting and uncanny ability to channel an incredible spectrum of emotional resonance. However, much of that success is also due to the hard work and dedication of Young God's bossman Michael Gira. The former Swan and current Angel Of Light has taken Banhart under his wing as his apprentice and has boldly asserted (and nurtured) Banhart's brilliance, majesty, and genius. His hard work has certainly paid off as almost every media outlet has sung Banhart's praises; but even so it was quite bizarre to hear Banhart's wavering croon on NPR's Morning Edition many moons ago.
Rejoicing In The Hands is Banhart's second proper album, following the short Black Babies UK EP which delved further into his piles of early 4-track recordings. For this new album, Gira took Banhart into a studio (which was located in an appropriately antique Southern home on the Georgia / Alabama border) and provided him with plenty of resources to flesh out his songs. In many ways, Rejoicing In The Hands follows the same strategy that Sub Pop employed for Iron & Wine's second album Our Endless Numbered Days: take one fantastic songwriter who made a great album of 4-track recordings, put him in the studio with some sympathetic musicians, and watch the magic happen. Thus, Rejoicing In The Hands has considerably more polish than its predecessor; and perhaps not surprisingly, the songs themselves are less dangerous, rabid, and self-consumed. Yet, the taming of Mr. Banhart is a relative process, as his work still invokes a mysticism of the unconscious through his complex metanyms and obtuse wordplay. His voice -- an eccentric hybrid of Marc Bolan, Karen Dalton, and Vashti Bunyan (who sings a duet alongside Banhart on this record!) -- continues to waver through stream of consciousness lyrics about his teeth, his beard, geographic love affairs, insects, Elvis, and other more likely subject matters like sex and death. Musically, these are delicate folk arrangements centered around his elliptical finger picking which is occasionally accompanied by some of Gira's fellow musicians from Angels of Light. All in all, Rejoicing In The Hands is a rousing success that will surely make Banhart the folk medium for his generation. Highly recommended.
MPEG Stream: "A Sight To Behold"
MPEG Stream: "Poughkeepsie"
MPEG Stream: "Insect Eyes"

BANHART, DEVENDRA Smokey Rolls Down Thunder Canyon (XL) cd 14.98
Well, the folk may be less present, but the freak is still going strong as ever. And why shouldn't he be when he's the charmed breather of life into this strange Topanga Canyon cocktail party. No, Neil Young couldn't make it, neither could Emmylou Harris, Eric Clapton, Joni Mitchell, or any of the usual suspects you might expect from ground zero of the west coast singer-songwriter renaissance in the seventies. Instead Devendra and cohorts with their ever-changing band names (Hairy Fairy, Navajo Gospel, White Rainbow Moccassin Woman, and lately The Spiritual Boner) have imported some remarkably far-flung musical touch-stones. From Vegas Elvis to Caetano Veloso to J.J. Cale. Throw in a little Byrds with a pinch of Led Zeppelin, add some Lover's Rock, some Post-Tropicalia, a bit of gender-bending, a taste of gospel and even a hint of Al Jolson mixed with Allan Sherman. It's a pretty daring concoction that, with a couple of notable exceptions (The treacly gospel choir of "Saved" and the cringe-inducing doo-wop of "Shabop Shalom"), works rather brilliantly. It's definitely a stretching-out record with Devendra bravely exploring more theatrical musical niches that would terrify most artists, and while at moments it can border on cheese, for the most part it's got some of the best songwriting, band performances and production that he's committed to wax (or plastic) so far. Deluxe edition features full color booklet of Devendra's lyrics, drawings and paintings. Recommended!
MPEG Stream: "Seahorse"
MPEG Stream: "Tonada Yanomaninista"
MPEG Stream: "Carmencita"
MPEG Stream: "The Other Woman"

BANHART, DEVENDRA Smokey Rolls Down Thunder Canyon (XL) lp 16.98
Now available on vinyl!
Well, the folk may be less present, but the freak is still going strong as ever. And why shouldn't he be when he's the charmed breather of life into this strange Topanga Canyon cocktail party. No, Neil Young couldn't make it, neither could Emmylou Harris, Eric Clapton, Joni Mitchell, or any of the usual suspects you might expect from ground zero of the west coast singer-songwriter renaissance in the seventies. Instead Devendra and cohorts with their ever-changing band names (Hairy Fairy, Navajo Gospel, White Rainbow Moccassin Woman, and lately The Spiritual Boner) have imported some remarkably far-flung musical touch-stones. From Vegas Elvis to Caetano Veloso to J.J. Cale. Throw in a little Byrds with a pinch of Led Zeppelin, add some Lover's Rock, some Post-Tropicalia, a bit of gender-bending, a taste of gospel and even a hint of Al Jolson mixed with Allan Sherman. It's a pretty daring concoction that, with a couple of notable exceptions (The treacley gospel choir of "Saved" and the cringe-inducing doo-wop of "Shabop Shalom"), works rather brilliantly. It's definitely a stretching-out record with Devendra bravely exploring more theatrical musical niches that would terrify most artists, and while at moments it can border on cheese, for the most part it's got some of the best songwriting, band performances and production that he's committed to wax (or plastic) so far. Recommended! The vinyl also comes with a code for a free download, but alas no bonus material.
MPEG Stream: "Seahorse"
MPEG Stream: "Tonada Yanomaninista"
MPEG Stream: "Carmencita"
MPEG Stream: "The Other Woman"

BANHART, DEVENDRA The Black Babies (UK) (Young God) cd ep 9.98
We've been told that amidst the piles of four-track recordings that Devendra Banhart has made, there are over 100 songs yet to be released. All of the tracks from the critically acclaimed debut album "Oh Me Oh My..." (even NPR has been raving about it!) came from that wealth of material. Thus, it's somewhat disappointing that the "The Black Babies (UK)" ep -- so-called 'cause it was originally intended just for release in England -- only features 6 previously unheard offerings of his wonderfully bizarre folk songs and 2 tracks from the aforementioned "Oh Me Oh My..." album. Nonetheless, "The Black Babies" is a very welcome addition. Devendra's voice continues to belie his gender with a straining vibrato that sounds more like a crazed Billie Holiday, or more accurately like the '60s Village folk maven Karen Dalton. Overdubbing just his voice and his elliptical fingerpicking of an acoustic guitar through borrowed four-tracks, Devendra's songs work through their ability to communicate the extremes of emotion with so little to work with. It also doesn't hurt his cause that all of his material is swathed in the audio cobwebs of tape hiss, residual ambience, and purposefully unkempt production. In light of such lo-fi indie-rock offerings as The Mountain Goats and Sebadoh, none of this is new; although Devendra's subject matter seems far more magical and outlandish than the rumpled tragicomedies of those acts. While the highlights of "Oh Me Oh My..." were the bloodcurdling songs of pain and abjection, "The Black Babies (UK)" features more of his sort-of love songs, albeit, quite atypical love songs, in which Devendra pines for places like Maine, South Carolina, or Spain. This is some of the finest in magic realism.
MPEG Stream: "Surgery I Stole"
MPEG Stream: "Onward The Indian"