THIS SHIP WILL SINK You Are Precisely My Cup of Tea (Magic Bullet) cd ep 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MPEG Stream: "What Do You Mean I'm Too PC? I Only Use A Mac"

THIS WILL DESTROY YOU / LYMBYC SYSTYM Field Studies (Magic Bullet) cd 10.98
We had never heard This Will Destroy You until recently, but we were pretty into it, they do that sort of brooding, post rock epic majesty sort of thing, but they definitely have their own take on that sound. Seems like folks into Explosions In The Sky and that sort of stuff would go nuts for these guys.
The two TWDY tracks here, definitely still hew to that Explosions / Godspeed template, but they do some really cool stuff here. The 11 minute "Brutalism & The Worship Of The Machine" begins all shoegazey and blissed out, sort of Nadja / Jesu territory, big heavy drums, and ethereal guitar shimmer, the melodies lilting and minor key, buried beneath the sheets of guitars and what could be buried vocals, plenty of effects and weird bits of grind and crunch, the sound continually growing more and more dense, until the drums disappear, leaving just a slow drift of muted thrum and bits of record crackle, and a barely there melody, which gives way to some super hushed post rocky slowcore, the drums delicate, the rest of the instruments chiming and softly swelling, building there way back up, but this time, they're joined by what sounds like horns, and don't explode in climax, instead just sort of moan and drift wearily, very rainy day sounding, not quite funereal, but definitely wistful, before slipping back into soft effected shimmer.
The follow up track, a brief melodic addendum, is a whole different beast, muted melodies, warm rumbles, distant streaks of smeared sound, all laced with some electronic skitter, and more crackle and glitch, giving it a sort of Boards Of Canada vibe. Nice.
This Will Destroy You share the split with another band we've heard before but just never gotten around to reviewing, Lymbyc System, whose sound is more of an electronic / post rock hybrid, falling somewhere between Fridge and Four Tet, but with a bit more heft, loping drums, warm organs, glitchy skitter, tinkling chimes, give way to some soaring heavy guitars, majestic melodies, laced with samples and plenty of effects, exploding into a kick ass frenzied mathrock workout for the last minute or two, but never losing any of the melody or dreaminess. The other two tracks explore similar sounds, great production, the sounds clear, the arrangements slipping from hushed and intimate to majestic in a matter of minutes, lots of crunch and glitch and buzz, but also lots of skittery drums, warm riffs, moody drift, some Tortoise-y almost-jazz, a pretty heady concoction that is easy to get lost in.
Of the two, we probably lean toward the more muscular and epic This Will Destroy You, but both bands work together well sonically, and thus this split actually almost plays out like more of a proper record than two bands teamed up.
This doesn't actually come out for a while, but we lucked out and managed to get a bunch early, so all you folks into post rock and math rock and big guitars and slow building epic post metal drift and skittery slowcore and everything in between, this comes highly recommended.
MPEG Stream: THIS WILL DESTROY YOU "Brutalism & The Worship of the Machine"
MPEG Stream: LYMBYC SYSTEM "Processed Spirits"

THIS WILL DESTROY YOU / LYMBYC SYSTYM Field Studies (Magic Bullet) lp 11.98
We had never heard This Will Destroy You until recently, but we were pretty into it, they do that sort of brooding, post rock epic majesty sort of thing, but they definitely have their own take on that sound. Seems like folks into Explosions In The Sky and that sort of stuff would go nuts for these guys.
The two TWDY tracks here, definitely still hew to that Explosions / Godspeed template, but they do some really cool stuff here. The 11 minute "Brutalism & The Worship Of The Machine" begins all shoegazey and blissed out, sort of Nadja / Jesu territory, big heavy drums, and ethereal guitar shimmer, the melodies lilting and minor key, buried beneath the sheets of guitars and what could be buried vocals, plenty of effects and weird bits of grind and crunch, the sound continually growing more and more dense, until the drums disappear, leaving just a slow drift of muted thrum and bits of record crackle, and a barely there melody, which gives way to some super hushed post rocky slowcore, the drums delicate, the rest of the instruments chiming and softly swelling, building there way back up, but this time, they're joined by what sounds like horns, and don't explode in climax, instead just sort of moan and drift wearily, very rainy day sounding, not quite funereal, but definitely wistful, before slipping back into soft effected shimmer.
The follow up track, a brief melodic addendum, is a whole different beast, muted melodies, warm rumbles, distant streaks of smeared sound, all laced with some electronic skitter, and more crackle and glitch, giving it a sort of Boards Of Canada vibe. Nice.
This Will Destroy You share the split with another band we've heard before but just never gotten around to reviewing, Lymbyc System, whose sound is more of an electronic / post rock hybrid, falling somewhere between Fridge and Four Tet, but with a bit more heft, loping drums, warm organs, glitchy skitter, tinkling chimes, give way to some soaring heavy guitars, majestic melodies, laced with samples and plenty of effects, exploding into a kick ass frenzied mathrock workout for the last minute or two, but never losing any of the melody or dreaminess. The other two tracks explore similar sounds, great production, the sounds clear, the arrangements slipping from hushed and intimate to majestic in a matter of minutes, lots of crunch and glitch and buzz, but also lots of skittery drums, warm riffs, moody drift, some Tortoise-y almost-jazz, a pretty heady concoction that is easy to get lost in.
Of the two, we probably lean toward the more muscular and epic This Will Destroy You, but both bands work together well sonically, and thus this split actually almost plays out like more of a proper record than two bands teamed up.
This doesn't actually come out for a while, but we lucked out and managed to get a bunch early, so all you folks into post rock and math rock and big guitars and slow building epic post metal drift and skittery slowcore and everything in between, this comes highly recommended.
MPEG Stream: THIS WILL DESTROY YOU "Brutalism & The Worship of the Machine"
MPEG Stream: LYMBYC SYSTEM "Processed Spirits"

THOMAS JEFFERSON SLAVE APARTMENTS Burning Trash (Negative Guest List) 7" 12.98
For a very very brief moment in the nineties, Thomas Jefferson Slave Apartments were the next big thing, or if not that specifically, they were definitely super hyped, signed to a big cool label, and poised for some sort of success, which not surprisingly, never really came. And hearing these guys, it's really no surprise, this is not the sort of music made for anything but the pure love of making a racket. And the fact that within that racket lurked some of the most awesome songs ever, well, that was just a bonus. If you've yet to hear TJSA's all time classic "Negative Guest List", a song about something we all wish really existed ("Even if I pay I can't get in..."), you need to remedy that right quick. And hell if you're anything like us, that will no doubt lead you to a burning desire to own EVERYTHING these guys ever did, which is difficult seeing as almost all of it is out of print.
Which brings us to this, a pricey little gem of a 7", featuring two rare TJSA demos, which means the usual lo-fi basement-scuzz broken 4 track, old microphone recording quality that already helped defined their sound, seems positively high fidelity compare to this, but that sort of makes these jams sound even better. From 1995, two zoner garage punk scuzz pop gems, all woozy and druggy and swaggery and in their own way catchy as fuck, that should definitely show the current crop of garage rock noise poppers a thing or two about how it's really done.

THOMAS, DAVID & THE TWO PALE BOYS Surf's Up (Thirsty Ear) cd 16.98
David Thomas' totally weird style of vocal delivery is that of an mysterious storyteller -- half grizzled Tom Waits but also half carnival barker. He's been honing the act for 25 years ever since Pere Ubu exploded out of Cleveland, but Thomas now lives in England and is lucky enough to have Spaceheads' Andy Diagram to help flesh out his singular vision. Diagram's trumpet, which he plays live, samples, then loops upon itself with the help of various pedals and gadgets, is simultaneously huge & apocalyptic yet evocative & melodic. Yeah, he's that good, and he makes this album worth the money. Also includes an inspired and quite odd take on the Beach Boys' "Surf's Up."
RealAudio clip: "Runaway"
RealAudio clip: "Surf's Up"

THOMAS, DAVID AND THE FOREIGNERS Bay City (Thirsty Ear) cd 14.98
David Thomas is one of the least likely rock icons, yet has retained such a status through his years as Crocus Behemoth in Pere Ubu. Outside the legendary art-rock band, Thomas has recorded some wild and wonderful solo records. "Bay City" is the latest solo album, with an almost Tom Waits clamour despite the sombre restrained quality to the artful tunes.

THOMAS, DAVID AND TWO PALE BOYS Erewhon (T/K) cd 13.98
"You know how it is. Somebody finds a place. Word gets round. Everybody moves in." David Thomas of Pere Ubu in a series of structured improvisations with Andy Diagram of beloved Spaceheads.

THOMAS, FRED Sink Like A Symphony (Corleone) cd 10.98

MPEG Stream: "I Fell In Love With The World"
MPEG Stream: "I Built A House"

THOMAS, PAT Listen, Whitey!: The Sights And Sounds Of Black Power 1965 - 1975 (Fantagraphics) book 39.99

THOMAS, PETER The Big Boss (OST) (Ascension) lp 26.00

THOMAS, PETER Warp Back To Earth (Bungalow) 2cd 21.00
With reissues of Peter Thomas' bombastic scores for 60's German sci-fi movies and tv shows appearing almost once a month, a remix album would certainly not be far behind... and here it is! Stereolab, High Llamas, Coldcut, John McEntire (Tortoise), St. Etienne, Mr. Scruff, Stock Hausen & Walkman, Tipsy, Momus, Dauerfisch, Yoshinori Sunahara, Mina, Brezel Goering, The Sons of Silence, Schneider TM, and Ronnie & Clyde all take their turns at mutating Thomas' scores. But that's just disc one... Disc two documents the sounds of Peter Thomas himself.

THOMAS, ROSIE If Songs Could Be Held (Sub Pop) cd 13.98
In the mood for some ultra pretty, straight-up heartstring pullers? Achingly sweet songstress Rosie Thomas has some to share with you. She follows closely in the footsteps of female singers such as Shawn Colvin or Sarah McLachlan and more recently Norah Jones or Laura Cantrell. In fact, many of the songs here are totally teen coming-of-age movie ready. Made us think of that McLachlan-sung tune "When She Loved Me" which accompanied the Jessie montage scene in Toy Story 2. Come to think of it, this would've also been perfect for the soundtrack to Sisterhood Of The Travelling Pants. If Songs Could Be Held certainly has the potential for very widespread appeal, but we guess it'll be embraced particularly by girls young and old.
MPEG Stream: "Since You've Been Around"
MPEG Stream: "Clear As A Bell"

THOMAS, ROSIE Only With Laughter Can You Win (Sub Pop) cd 13.98
Rosie Thomas' sophomore release is a soft, subdued affair. The first song is definitely one of its standouts. It might even make you want to keep hitting the "repeat" button, but listen on and you'll be treated to ten more hushed, intimate folky tunes. Luminous notes from a piano hang gently in the air. Thomas exudes a quiet confidence, delivering her introspective lyrics with an emotive lilt that brings to mind Shawn Colvin or Sarah McLachlan. Only With Laughter Can You Win gracefully walks the line between adult contemporary and indie alt-country. Perhaps pushing it further into the latter and adding to the close-to-home-and-heart feel are the presence of a number of her relatives - her mother, father, sister and brothers all join Ms Thomas on a song or two. As well, Iron & Wine's vocalist Sam Beam hops aboard for one song too.
MPEG Stream: "Let Myself Fall"
MPEG Stream: "I Play Music"

THOMAS, ROSIE These Friends Of Mine (Sing-a-Long) cd 14.98
O sweet Rosie, your tunes are such musical hug nuggets, but we have to say that your latest album reaches the pinnacle of sickeningly cute with the giggleful chit chat at the beginning and end of the second song "Why Waste More Time?". Oooch, made our teeth hurt. That said, These Friends Of Mine is filled with some of the wispiest lilting folk pop we've heard in a while. Golly, it made us suspect that Rosie Thomas might be the long-lost great granddaughter of Nana Mouskouri or Maureen McGovern (who sang the theme song to the original Poseiden Adventure). Apparently Thomas' list o' friends include Damian Jurado, Jeremy Enigk and Mr. Sufjan Stevens who lends his particularly complementary dreamy voice, banjo and guitar to the proceedings. Keep your ears peeled for the very Lilith Faire worthy covers of R.E.M.'s "The One I Love" and Fleetwood Mac's "Songbird".
MPEG Stream: "Why Waste More Time?"
MPEG Stream: "Kite Song"

THOMPSON, CHRIS s/t (Scenescof) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THOMPSON, RICHARD Mock Tudor (Capitol) cd 15.98
Former Fairport Convention guitarist's lovely new album.

THOMPSON, RICHARD Starring As Henry the Human Fly (Fledg'ling) cd 16.98

THOMPSON, RICHARD You? Me? Us?! (Capitol) 2cd 17.98

THOMPSON, RICHARD & LINDA I Want To See the Bright Lights Tonight (Island) cd 16.98

THOR Keep The Dogs Away (Scratch Recordings) cd 14.98
Start small? Heck no, not our man Jon Mikl Thor! His debut album from back in 1977, reissued here on cd for the first time ever, finds him quite big in all his massive, muscle-bound glory (that's him on the cover). The burly, bodybuilding singer had been Mr. Canada 1973, after all. But, on the other hand, this is NOT the heavy metal album you might expect from exposure to his later musical output and overdeveloped, barbarian physique. Let The Dogs Out is much more eclectically new wave in its approach to hard rock than the '80s metal Thor with which we were familiar. Which was a pleasant surprise, if you don't take it too seriously. Is it a good album? Well... is the Rocky Horror Picture Show a good movie? Like that midnite fave, this album is kinda '70s glammy, and definitely quite campy at times. But it's also undeniably poppy. Pretty cool, on its own terms.
Kitschy fun that might merely have been a one-off, 'incredibly strange music' entry from a beefcake wannabe rock star but for two things - Thor actually went on to have something of a successful career (as tongue-in-cheek as it might be), AND it's got some cool songs on it, or at least a bunch with a certain clumsy charm. You get the full quota of cowbell, Thor's over the top vocal stylings of course, and once in a while something more, where you're like, hey that was pretty good... and now it's stuck in my head!
The title track is a quasi-classic of not quite metal, not all that heavy, but still quite rockin' good time music. "I'm So Proud" ("...to be the man I am") could be a more macho Jobraith with a goofy hint of Devo. And "Sleeping Giant" seriously sounds like a bubblegum BRIAN ENO! Yep, not exactly what we thought the He-Man of Heavy Metal would have done for a debut. Maybe this album is not for everyone (like the humor impaired), but as with all Thor's stuff we've heard, and shows we've seen (yes, we've seen him play more than once!), entertainment is job one, from square one.
This 30th anniversary special edition reissue's got seven bonus tracks added to the album's original 10 cuts, among 'em the super corny "I'm Thor". While that one is a mite embarrassing (except we're pretty sure Mr. Thor is quite capable of laughing at himself too) there's other stuff here that makes us wonder, however briefly, if this album isn't in fact totally brilliant.
MPEG Stream: "Keep The Dogs Away"
MPEG Stream: "Sleeping Giant"
MPEG Stream: "Tell Me Lies"

THOR Unchained (Ektro) cd 14.98
What just-released reissue on Circle's Ektro label do you think the Circle guys are most excited about right now? No, not their own Taantumus (one of our Records Of The Week). It's more likely this, the 1983 ep from Jon-Mikl Thor, Canadian bodybuilding champion and tongue-in-cheek (???) he-man heavy metaller extraordinaire. It's been slickly repackaged with bonus tracks, for a total of eleven songs in all. The first six are from the original 12" ep, followed by four additional tracks taken from a 1986 soundtrack album Thor did called Recruits - Wild In the Streets (though these, for some reason, aren't noted as such), plus there's one more bonus cut, "Muscle Rock (The Vulcans Arrive)".
Right from thunderous opener "Lightning Strikes", this disc is a triumphant (and, we'll certainly admit, goofy) '80s metal assault, of course... but also essentially POP music. Which part of what's cool about Thor, is the idea that back in the day, you could make music like this with hopes of becoming an actual pop star. So he's somehow simultaneously the most metal thing ever, we mean, he could kick sand in Manowar's collective faces and get away with it, but also totally, totally poppy. Thor wasn't doing this stuff to be a cult metal icon, not originally, he was trying to "make it" in the world of commercial rock/pop music. Let's not forget he performed on the Merv Griffin show! It just so happened that back then, metal (and sci-fi / fantasy too) was on the rise, and a guy with Thor's barbarian physique was ideally suited to exploit those new pop culture phenomena to the max, whether through music or in the movies. Although Thor never did get that huge (other than in terms of muscle, of course!) he did well enough to still have a career today, one now that survives more on irony and nostalgia, of course, but is still all about entertainment.
As is Unchained, throughout which you'll find catchy choruses, heavy riffage, brawny vocals, and flashy guitar work. But also lots of new wavey synths, laid on thick on the likes of "Lazer Eyes" and "Anger", the latter being probably the least actually angry sounding song about anger we've ever heard, though it does rock nicely. Rock is what Thor does, for sure, from the swinging chug of "Rock The City" to the galloping "When Gods Collide".
We figure this combo of utter absurd over the top metal-ness AND the not-so-brutal pop elements are why our favorite Finns are so into Thor. The silliness of their self-proclaimed subgenre "NWOFHM" (New Wave Of Finnish Heavy Metal), which is as much pop it is metal, definitely had a precursor in the heavy metal vaudeville of Thor. Also, of course, Thor is quite literally one of their gods, right? (His use of Nordic mythological references done in a much more upbeat fashion that most Viking black metal does it today.)
Definitely for fans of Steel Mammoth, Krypt Axeripper, another other NWOFHM favorites. Also for fans of Manowar (duh), old Cirith Ungol (have you ever heard their demos with the excess synth??), and we'd recommend this to anyone who was into that '80s Joe Hasselvander disc we highlighted not long ago, too.
MPEG Stream: "When Gods Collide"
MPEG Stream: "Lazer Eyes"
MPEG Stream: "Warhammer"

THOSE ATTRACTIVE MAGNETS Electromagnetic Pulse (Dark Entries) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Where does Dark Entries find all this stuff? Sure, Dark Day was certainly a known quantity; but before the label reissued the Eleven Pond LP, had any one really heard "Watching Trees?" Ditto for the Second Decay album? Those Attractive Magnets were a band that the world forgot, except for the discerning ears over at Dark Entries, who compiled this album from a handful of tapes produced in the late '70s and early '80s. And yes, it's another great piece of archival synth-wave! This primitive synth driven / new wave outfit was from small village of Tamworth, located in the English midlands, but their heart seemed to be directed north to Sheffield where the likes of the Human League, The Future, Clock DVA, and Cabaret Voltaire were blossoming at the same time. Those Attractive Magnets revolved around the charismatic duo of Andy Baldwin & Rikk Quay, who had been inspired by the punk class of 1977 but wanted to channel that spirit through electronics. Joined by a couple of like-minded musical partners from Tamworth, Baldwin & Quay propeled these urgent tunes along surprisingly catchy minimalist synth melodies, whose darkened atmospheres were amplified in futurist bleeps and alien bloops; but it's Baldwins voice that is really key to making the band work, as he does what he can to emulate an early Phillip Oakey (of the Human League) without sounding too smug or contrived as Oakly tended to be. Recommended for any and all keen on the resurgence of the minimal wave aesthetic!
Like all Dark Entries releases this is limited to a pressing of 500 and comes with an 11x17 poster of artwork, lyrics and liner notes.
MPEG Stream: "1500"
MPEG Stream: "Love Chimes"
MPEG Stream: "Venus"

THOSE BASTARD SOULS Twentieth Century Chemical (Darla) cd 12.98
It says it nowhere on the sleeve but indeed this is one of the Grifters and may just be better than their recent full-length. He did it at home on some multi-track keyboard thingie. The electronic synth touches are wonderful additions to the Grifters tried & true indie rockingnessessessess.

THOSE BASTARD SOULS Twentieth Century Chemical (Darla) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It says it nowhere on the sleeve but indeed this is one of the Grifters and may just be better than their recent full-length. He did it at home on some multi-track keyboard thingie. The electronic synth touches are wonderful additions to the Grifters tried & true indie rockingnessessessess.

THOUGHT CRIMINALS Chrono-Logical (Doublethink) 2cd 28.00

MPEG Stream: "I Won't Pay"
MPEG Stream: "Fun"
MPEG Stream: "More Suicides Please"

THOUSAND FOOT WHALE CLAW Dope Moons Volume One (Monofonus) lp 16.98
Tripped out sci-fi groove-rockers from Austin, Thousand Foot Whale Claw make their vinyl debut, and it's even better than we hoped it would be! We sold through a bunch of their Holodeck tape, Lost In Those Dunes, which was typical of their tape releases, two long sides of heady space rock drift, explosive cosmic psych expansiveness and ambient nuance. But for their vinyl debut, they really take their sound to the next level in the rhythm section, adding more bass and drum groove into tracks that enter an almost psych-rave territory, as if Spacemen 3 and Fuck Buttons gave birth to a baby in the bleak vacuum of space. Like local hypno-rockers, Lumerians, TFWC take advantage of an arsenal of psychedelic styles that propel the momentum, but keep the energy fresh, exciting and interestingly unpredictable. A tremendous debut that comes highly recommended!

THOUSAND FOOT WHALE CLAW Dope Moons Volume One (Holodeck) cassette 7.50
NOW AVAILABLE ON CASSETTE!
One of six new tapes from the always awesome Holodeck label out of Austin, Texas. Here's what we said about these Austin psych rockers when we first had this on vinyl:
Tripped out sci-fi groove-rockers from Austin, Thousand Foot Whale Claw make their debut, and it's even better than we hoped it would be! We sold through a bunch of their other releases, which were typical of their tape releases, long swaths of heady space rock drift, explosive cosmic psych expansiveness and ambient nuance. But for Dope Moons, they really take their sound to the next level in the rhythm section, adding more bass and drum groove into tracks that enter an almost psych-rave territory, as if Spacemen 3 and Fuck Buttons gave birth to a baby in the bleak vacuum of space. Like local hypno-rockers, Lumerians, TFWC take advantage of an arsenal of psychedelic styles that propel the momentum, but keep the energy fresh, exciting and interestingly unpredictable. A tremendous debut that comes highly recommended! Limited!

THOUSAND FOOT WHALE CLAW Lost In Those Dunes (Holodeck) cassette 7.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We're pleased to present three inaugural cassette releases from new psych/noise label Holodeck, championing the exploding underground electronic experimental scene in Austin, Texas, with beautifully packaged and designed cassettes. Have a look elsewhere on this list for other releases by Lumens and Smokey Emery.
We've been hearing about Thousand Foot Whale Claw for quite awhile now. Their contribution to the Brainclub vinyl compilation we listed a while ago was one of our favorite tracks, a smoldering blast of psychedelic space-rock. Featuring members of Pure X, Silver Pines, and Troller, Thousand Foot Whale Claw strangely sounds nothing like any of those bands. Lost In Those Dunes is just two loooong sides, the first is the title track and it's a slow heavy drumless build of holistic psych drone and loping bass like a slow motion Spacemen 3, as if they were doing a cover of a Date Palms-like raga. "Fleshwave" is even heavier on the guitar feedback and cosmic expansiveness, a brain-melting tumult of acid squall over sheets of star-destroying synth drones. So good! And leaves us of course, wanting more! Limited to 100!
MPEG Stream: "Lost In Those Dunes"
MPEG Stream: "Fleshwave"

THOUSAND FOOT WHALE CLAW Time Brothers (Holodeck) cassette 7.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of five new tapes from the awesome Austin based experimental tape label, Holodeck. Largely documenting the growing and diverse Texas underground scene of synth conjurers, drone lords, psych meditators, and classical folk devotionalists, each tape conceived as a unique listening experience with beautifully designed minimalist packaging. We listed tapes by Lumens, Smokey Emery and Thousand Foot Whale Claw awhile back, and this time around we have another tape from Thousand Foot Whale Claw as well as tapes by Survive, Amasa Gana, M. Geddes Gengra, and Silent Land Time Machine.
Since we reviewed the last Thousand Foot Whale Claw tape, Lost In Those Dunes as well as their vinyl debut, Dope Moons Volume One, we've become huge fans of the group's long form exploratory psych excursions. Time Brothers is an artifact of the group's beginnings comprised of two 20+ minute tracks that are extended demo versions of songs from both the previous tape and the vinyl lp plus the shorter unreleased titular track from the Lost in Those Dunes sessions.These primodial demos showcase the more ambient side of this space-rock group. Employing psych waves of oceanic bliss that conjure up images of tranquil beaches on far-off planets, brewing acid guitars, synth washes and circular bass rhythms create elongated textures and build-ups that restrain themselves from full-on freak-outs and remain in an elongated holding pattern of raga-ish devotion. Limited to 100 copies!

THREE DAY BAND s/t (Important) cd 14.98
A John Fahey project!

THREE DAY STUBBLE Let Your Morsel Find Its Way (Nerd Rock Music) cd 13.98
This is the most challenging album yet from local love-'em-or-hate-'em self-proclaimed "nerd rock" outfit Three Day Stubble, who've been seriously puzzling audiences long before lead singer Donald the Nut's legendary Gong Show appearance in the late '80s. Sounds like a field recording of assorted little creatures talking to themselves while a band warms up in the background. There's a gets-under-your-skin-instantly creepy high-pitched voice that acts as daemon to Donald the Nut's already-weird-enough wail 'n growl, horns that teeter in the background, lonely banjo, swirling synth layers, and evocative room atmospherics that make it sound like some midget drama is being played out right in front of you. This is way too advanced for any of us to understand.
RealAudio clip: "The Environment Inside"

THREE DAY STUBBLE The Figshta Diaries! (Nerd Rock Music) cd 9.98
Those wacky SF nerd rockers are back. With, ahem, a rock opera. Three Day Stubble fans, you know who you are. If you're unfamiliar with this long-running local joke band, well, how do song titles like "Baby Butt Baby" and "Pee Pee Pee & Poo" grab you?

THREE MAN ARMY s/t (Wounded Bird) cd 14.98
Early '70s proto-metal from ex-Gun members.

THREE MILE PILOT An Old Town We Once Knew (Headhunter) 2cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THREE MILE PILOT Another Desert Another Sea (Headhunter) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The record that got this San Diego band dropped from Geffen! Lush, bass-heavy, piano driven epics, w/ definite Supertramp influence!

THREE MILE PILOT Na Vucca Do Lupu (Headhunter) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THREE MILE PILOT Na Vucca Do Lupu (Hi-Speed Soul) lp 17.98
A lot of folks discovered defunct San Diego bass heavy post rockers Three Mile Pilot retroactively, having learned about them through either Pinback (which features 3MP bassist Zach Smith) and/or the Blackheart Procession (fronted by 3MP guitarist/vocalist Pall Jenkins), and while both of those bands are definitely informed by Three Mile Pilot, that band had such a distinctive and unique brooding dark beauty, that nothing since could really compare. In the nineties, Three Mile Pilot were one of a handful of bands (along with Heavy Vegetable and a handful of others) creating a super unique scene in San Diego, and in the process evoked a slavish devotion from their fans (two of which are now aQ employees), their shows so dramatic and intense and cathartic, which the band managed surprisingly to capture on record as well.
Na Vucca Do Lupu was their debut, originally released in 1991, and is probably our favorite, just bass, drum and vocals, the sound literally unlike anything we had ever heard, sparse and spare, a sort of slowcore, but one that built to some seriously aggressive and propulsive heft, the drums mathy and intricate, the bass impossibly complex, multiple melody lines, slipping from chiming and delicate to churning and buzzy, the vocals melodic, but just raspy and again super distinctive, just check out the sample for "One Step Ladder" which might just be our favorite 3MP song ever, totally epic, super varied, catchy as hell, impossibly lush and heavy for what was essentially a two piece, even now, twenty years later, and it still sounds better, and more original, that pretty much 99% of what's out there. The rest of the record is just as good, super rhythmic, the low end creating a dark droning vibe that runs throughout, so great. An all time favorite for sure.
MPEG Stream: "One Step Ladder"
MPEG Stream: "Sore Loser"

THREE MILE PILOT The Chief Assassin To the Sinister (Headhunter) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THREE MILE PILOT The Chief Assassin To The Sinister (Hi-Speed Soul) lp 17.98
A lot of folks discovered defunct San Diego bass heavy post rockers Three Mile Pilot retroactively, having learned about them through either Pinback (which features 3MP bassist Zach Smith) and/or the Blackheart Procession (fronted by 3MP guitarist/vocalist Pall Jenkins), and while both of those bands are definitely informed by Three Mile Pilot, that band had such a distinctive and unique brooding dark beauty, that nothing since could really compare. In the nineties, Three Mile Pilot were one of a handful of bands (along with Heavy Vegetable and a handful of others) creating a super unique scene in San Diego, and in the process evoked a slavish devotion from their fans (two of which are now aQ employees), their shows so dramatic and intense and cathartic, which the band managed surprisingly to capture on record as well.
After the just bass and drums, stripped down sound of the band's debut Na Vucca Do Lupu, Chief Assassin To The Sinister, originally released in 1993, found the band expanding sonically a bit, with Jenkins now playing guitar, and although the guitar definitely added some color and texture, the core sound of the band remained the same, the driving intricate basslines, the propulsive drumming, the moody brooding songwriting, if anything, the sound got a bit heavier, just check out the sample for "Circumcised", which melds the band's early sound, bass heavy, dark and dramatic, with something way more rocking and driving, a pretty potent combination for sure, one that got the band noticed by the world at large, with this record eventually being picked up by Geffen who reissued this record a few years later. There are also a handful of tracks here than hint at Jenkins post 3MP outfit the Blackheart Procession, the sort of funeral piano driven balladry that would define that band.
And while that first record might be out favorite, this one is a VERY close second.
MPEG Stream: "Circumcised"
MPEG Stream: "Aqua-Magnetic"

THREE MILE PILOT The Inevitable Past Is The Future Forgotten (Temporary Residence Ltd.) cd 14.98
The Inevitable Past Is the Future Forgotten is the long-awaited new Three Mile Pilot record and it's definitely a keeper. Gone are the eight minute dirges, the post-apocalyptic imagery. In their place are concise, brilliant pop songs with sometimes intensely personal lyrics and catchy refrains. For those of you who have (somehow) never heard of Three Mile Pilot, a history lesson: San Diego in the '90s was a truly memorable place. So many genres and sub-genres of music spawned and died and were born again in some new bastardized form. One of the most influential and unique bands to emerge was Three Mile Pilot, a trio that originally relied only upon drums, vocals, exceptional bass playing and the occasional homemade horn built by Jim French. Their first two full-length records (Na Vuccu du Lupu and The Chief Assassin to the Sinister) are flat-out masterpieces: sprawling, epic landscapes that build walls of chaos and discordant harmony only to tear them down; lyrics and album art that evoke militaristic machinery and a glacial sincerity; bass melodies that seem impossible for one person with only ten fingers to play. On subsequent releases, the song structures were tightened, the band introduced guitar which gradually came up in the overall mix, and the edges were polished a bit, possibly due to the influence of the 3MP "side project" The Black Heart Procession. Like their last full-length Another Desert, Another Sea, The Inevitable Past features the piano and the guitar, for the most part, as melody-makers, though the bass takes center stage (as it should) on quite a few songs. The overall "feel" of the record is similar to Another Desert, Another Sea, though the new record adds a layer or two of subtle, sparkling synths that brighten and deepen the music. Possibly because of the influential nature of a band like Three Mile Pilot, there was a lot of anxiety floating around about how good this record was going to be. Without a doubt, though, this is an outstanding record that will not disappoint.
MPEG Stream: "Battle"
MPEG Stream: "Still Alive"
MPEG Stream: "Left in Vain"

THREE MILE PILOT The Inevitable Past Is The Future Forgotten (Temporary Residence Ltd.) lp 22.00
The Inevitable Past Is the Future Forgotten is the long-awaited new Three Mile Pilot record and it's definitely a keeper. Gone are the eight minute dirges, the post-apocalyptic imagery. In their place are concise, brilliant pop songs with sometimes intensely personal lyrics and catchy refrains. For those of you who have (somehow) never heard of Three Mile Pilot, a history lesson: San Diego in the '90s was a truly memorable place. So many genres and sub-genres of music spawned and died and were born again in some new bastardized form. One of the most influential and unique bands to emerge was Three Mile Pilot, a trio that originally relied only upon drums, vocals, exceptional bass playing and the occasional homemade horn built by Jim French. Their first two full-length records (Na Vuccu du Lupu and The Chief Assassin to the Sinister) are flat-out masterpieces: sprawling, epic landscapes that build walls of chaos and discordant harmony only to tear them down; lyrics and album art that evoke militaristic machinery and a glacial sincerity; bass melodies that seem impossible for one person with only ten fingers to play. On subsequent releases, the song structures were tightened, the band introduced guitar which gradually came up in the overall mix, and the edges were polished a bit, possibly due to the influence of the 3MP "side project" The Black Heart Procession. Like their last full-length Another Desert, Another Sea, The Inevitable Past features the piano and the guitar, for the most part, as melody-makers, though the bass takes center stage (as it should) on quite a few songs. The overall "feel" of the record is similar to Another Desert, Another Sea, though the new record adds a layer or two of subtle, sparkling synths that brighten and deepen the music. Possibly because of the influential nature of a band like Three Mile Pilot, there was a lot of anxiety floating around about how good this record was going to be. Without a doubt, though, this is an outstanding record that will not disappoint.
MPEG Stream: "Battle"
MPEG Stream: "Still Alive"
MPEG Stream: "Left in Vain"

THREE O'CLOCK, THE Arrive Without Travelling / Ever After (Collector's Choice Music) cd 16.98
Hearing this re-issue of both the second and third album from The Three O'Clock combined on one disc sure took me back. A flood of high school memories. It seemed to have the same effect on a couple of customers too. One exclaimed, "Jet Fighter!" And while yes, that was an insanely infectious song by The Three O'Clock, it's not on this cd. Pssst, it can be found on their delectably sweet debut album Sixteen Tambourines. Nevertheless, these two albums really captured the buoyant, innocent sound of the paisley pop scene of the mid-'80s with its high male vocals and jingle jangle guitars.
RealAudio clip: "Her Heads Revolving"
RealAudio clip: "Knowing When You Smile"
RealAudio clip: "The Penny Girls "

THRILLS N.A.F.I.T.C. : Original Boston Punk 1977-1981 (Dionysus) cd 14.98
Girl-sung garage punk pop from back in the day -- yeah, we're talkin' late seventies/early eighties trashy fun! Nothing fancy, just straight-up, low-slung three chord rockers with raw electric guitars, primal drumming and rudimentary bass. The vocals sound like the Thrills' singer Barb Kitson muscled Joey Ramone off the mic, and we'd guess the two bands of miscreants probably crossed paths at some point. No frills Thrills on the always stellar garage rawk haven Dionysus Records!
MPEG Stream: "Don't Come Back"
MPEG Stream: "When Ya Gonna Quit?"

THROBBING GRISTLE 20 Jazz Funk Greats (Mute) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THROBBING GRISTLE 20 Jazz Funk Greats (Industrial Records) 2cd 23.00
The cover for Throbbing Gristle's 20 Jazz Funk Greats is a marvelous piece of subversive design. The four members of Throbbing Gristle look quite dapper, Genesis dolled up in a tailored white suit jacket, Cosey smiling happily in her pert miniskirt, and Chris & Sleazy both wearing rather conservative sweaters, but they had situated themselves on the cliffs of Beachy Head (a notorious suicide spot on the south coast of England) with a rented Range Rover in the distance and in a variation of this scene, a nude male body lies at their feet in the grass, presumably dead. This design (executed by Sleazy through his day job at Hipgnosis Design) was a sneering act of contempt for British society that failed to see the horrors and injustice which boiled just under the surfaces of congeniality and civility.
Both Second Annual Report and D.o.A. were ostensibly compilations of recontextualized material both from the studio and extracts from live recordings, but 20 Jazz Funk Greats - the third proper album from Throbbing Gristle - feels like a conceived album from beginning to end, even with all of its dead-ends and contradictions. The album opens with the title track, where a slow-motion drum machine and synthesized bass tones strut with a mechanical swagger with Cosey's discordant cornet blurts in the distance and predatorily whispered vocal extracts of what could be some smooth jazz DJ trying to set the mood - with that mood being a sickening, menacing threat. Such is also the case, with the lugubrious "Tanith" whose atonal rolling basslines churn against strange electronic blorp and tinkling chimes, which leads into "Convincing People" - whose metronomic synth sequencing became the signature for nearly every 'industrial' band that claimed TG as an influence. The detuned and distorted guitar from Cosey smears the mechanical edges while Genesis wailed through the lyrical repetitiveness which articulated to the effect that if you say it enough, people will start believing you. A hammer might help too. The minimalist club hit "Hot On The Heels Of Love" is one of the most memorable TG songs, and for very good reason as TG offered a much-imitated disco frugality through their insistent drum machine, squiggling sequencing, and Cosey's whispered vocals. Immediately following this is a nightmarish narration of the aftermath of a night of partying too much in "Persuasion", as disembodied female yelps of sexualized horror sporadically punctuate a slithering Genesis donning the role of a low-rent pornographer. "What A Day" is another 'industrial' template with a corrosive loop of cybernetic thumps forming the only backdrop to Genesis barking as loud as he can in a diabolical take on a footballer's chant. The finale "Six Six Sixties" finds Cosey's monochord guitar awfully prescient of Sonic Youth and Bailter Space in the drone intensity through distortion and rhythm, with Genesis reciting a suitably bleak monologue above, rounding out what is arguably the best of the Throbbing Gristle albums.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions apparently appear on the 24cd boxset of live TG material, although we've not cross referenced these facts yet). The two versions of "Discipline" (which were released as a 12" on Fetish Records in 1981) suitably conclude this disc, as that was the track that TG also performed at the end of their sets, with the heavy drum machines whipping the crowd into a frenzy and Genesis barking hysterically for some order. Such were the wonderful contradictions of Throbbing Gristle. About as a high a recommendation as we can give.
MPEG Stream: "20 Jazz Funk Greats"
MPEG Stream: "Persuasion"
MPEG Stream: "What A Day!"
MPEG Stream: "Discipline (Berlin)"

THROBBING GRISTLE 20 Jazz Funk Greats (Industrial Records) lp 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The cover for Throbbing Gristle's 20 Jazz Funk Greats is a marvelous piece of subversive design. The four members of Throbbing Gristle look quite dapper, Genesis dolled up in a tailored white suit jacket, Cosey smiling happily in her pert miniskirt, and Chris & Sleazy both wearing rather conservative sweaters, but they had situated themselves on the cliffs of Beachy Head (a notorious suicide spot on the south coast of England) with a rented Range Rover in the distance and in a variation of this scene, a nude male body lies at their feet in the grass, presumably dead. This design (executed by Sleazy through his day job at Hipgnosis Design) was a sneering act of contempt for British society that failed to see the horrors and injustice which boiled just under the surfaces of congeniality and civility.
Both Second Annual Report and D.o.A. were ostensibly compilations of recontextualized material both from the studio and extracts from live recordings, but 20 Jazz Funk Greats - the third proper album from Throbbing Gristle - feels like a conceived album from beginning to end, even with all of its dead-ends and contradictions. The album opens with the title track, where a slow-motion drum machine and synthesized bass tones strut with a mechanical swagger with Cosey's discordant cornet blurts in the distance and predatorily whispered vocal extracts of what could be some smooth jazz DJ trying to set the mood - with that mood being a sickening, menacing threat. Such is also the case, with the lugubrious "Tanith" whose atonal rolling basslines churn against strange electronic blorp and tinkling chimes, which leads into "Convincing People" - whose metronomic synth sequencing became the signature for nearly every 'industrial' band that claimed TG as an influence. The detuned and distorted guitar from Cosey smears the mechanical edges while Genesis wailed through the lyrical repetitiveness which articulated to the effect that if you say it enough, people will start believing you. A hammer might help too. The minimalist club hit "Hot On The Heels Of Love" is one of the most memorable TG songs, and for very good reason as TG offered a much-imitated disco frugality through their insistent drum machine, squiggling sequencing, and Cosey's whispered vocals. Immediately following this is a nightmarish narration of the aftermath of a night of partying too much in "Persuasion", as disembodied female yelps of sexualized horror sporadically punctuate a slithering Genesis donning the role of a low-rent pornographer. "What A Day" is another 'industrial' template with a corrosive loop of cybernetic thumps forming the only backdrop to Genesis barking as loud as he can in a diabolical take on a footballer's chant. The finale "Six Six Sixties" finds Cosey's monochord guitar awfully prescient of Sonic Youth and Bailter Space in the drone intensity through distortion and rhythm, with Genesis reciting a suitably bleak monologue above, rounding out what is arguably the best of the Throbbing Gristle albums.
The cd version contains a bonus disc with live material extracted from the numerous live cassettes (and some of these versions apparently appear on the 24cd boxset of live TG material, although we've not cross referenced these facts yet). The two versions of "Discipline" (which were released as a 12" on Fetish Records in 1981) suitably conclude this disc, as that was the track that TG also performed at the end of their sets, with the heavy drum machines whipping the crowd into a frenzy and Genesis barking hysterically for some order. Such were the wonderful contradictions of Throbbing Gristle. About as a high a recommendation as we can give.
The remastered vinyl version is limited to 2000 copies.
MPEG Stream: "20 Jazz Funk Greats"
MPEG Stream: "Persuasion"
MPEG Stream: "What A Day!"

THROBBING GRISTLE D.o.A. The Third And Final Report Of Throbbing Gristle (Industrial) 2cd 23.00
Neither the third nor the final album from Throbbing Gristle, D.o.A. marked the decided progression of a band that earlier produced the cauldron of sinister noise found on Second Annual Report and would lead to the subversive disco of "Hot On The Heels Of Love" on 20 Jazz Funk Greats. TG frames this album almost entirely upon the William S. Burroughs strategy of the cut-up, with found sounds being the inspiration for, counterpoint, or inclusion in the musical program. For both Burroughs and Genesis P-Orridge, the chance operation of overlapping seemingly unconnected elements offered the possibility of hidden, unconscious meanings in those 'texts' which could be pushed further through aesthetic means. What P-Orridge and the rest of Throbbing Gristle found in their aleatory combinations was a foreboding, societal malevolence, to which their sounds could be read as both response and antagonist.
The sounds which introduce the first track - "I.B.M" - might have been familiar to anyone with an early '70s era computer that used tapes for data storage, especially if that data-cassette found its way into an audio tape player. The blurting, flanged lurches of electronic noises speak a de-humanized language of the machine, one which TG augments with their own synthesized noise and atonal fragments as a seance attempting to make contact with the ghosts that may or may not live in those machines. The most infamous appropriated text found on D.o.A. is "Hamburger Lady" - a thoroughly creepy piece based on a letter written to the band about a woman who was suffering under the extreme pain from half of her skin being burnt off of her body. TG grinds a low-frequency VCO pulse upon a very slow throb, whilst an unsettled melody blurts through a fence of tremolo patterns, with P-Orridge reciting the text of that letter in the distance. Sickening doesn't even begin to describe how effective this track is even three decades after the fact. The track "Dead on Arrival" parallels what Conrad Schnitzler was producing at the same time on his darkened electronic album Ballet Statique with its mid-tempo drum machine, unsettled percolations, and angular jabs of dissonance. But the bulk of D.o.A. is filled with found-sound excepts including the self-evident found tape of "Death Threats" and the recording of mumbling children on "Hometime."
The cd version of this remastered reissue contains a bonus disc, mostly of live material ending with a single. Here, the live tracks cover much of what's found on the Live Volume 2 compilation, and the single in question is "Five Knuckle Shuffle / We Have You (Little Girls)", the former of which reprises the mechanical sequencing from "Dead on Arrival" with much vicious bass and guitar noise slashing throughout, and the latter being a screaming exorcism of vocals and electronics that must have planted the seed in William Bennett to make a whole career out of screaming at his audience above a painful squalor of noise.
MPEG Stream: "I.B.M."
MPEG Stream: "Dead on Arrival"
MPEG Stream: "Hamburger Lady"
MPEG Stream: "We Hate You (Little Girls)"

THROBBING GRISTLE D.o.A. The Third And Final Report Of Throbbing Gristle (Industrial) lp 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Neither the third nor the final album from Throbbing Gristle, D.o.A. marked the decided progression of a band that earlier produced the cauldron of sinister noise found on Second Annual Report and would lead to the subversive disco of "Hot On The Heels Of Love" on 20 Jazz Funk Greats. TG frames this album almost entirely upon the William S. Burroughs strategy of the cut-up, with found sounds being the inspiration for, counterpoint, or inclusion in the musical program. For both Burroughs and Genesis P-Orridge, the chance operation of overlapping seemingly unconnected elements offered the possibility of hidden, unconscious meanings in those 'texts' which could be pushed further through aesthetic means. What P-Orridge and the rest of Throbbing Gristle found in their aleatory combinations was a foreboding, societal malevolence, to which their sounds could be read as both response and antagonist.
The sounds which introduce the first track - "I.B.M" - might have been familiar to anyone with an early '70s era computer that used tapes for data storage, especially if that data-cassette found its way into an audio tape player. The blurting, flanged lurches of electronic noises speak a de-humanized language of the machine, one which TG augments with their own synthesized noise and atonal fragments as a seance attempting to make contact with the ghosts that may or may not live in those machines. The most infamous appropriated text found on D.o.A. is "Hamburger Lady" - a thoroughly creepy piece based on a letter written to the band about a woman who was suffering under the extreme pain from half of her skin being burnt off of her body. TG grinds a low-frequency VCO pulse upon a very slow throb, whilst an unsettled melody blurts through a fence of tremolo patterns, with P-Orridge reciting the text of that letter in the distance. Sickening doesn't even begin to describe how effective this track is even three decades after the fact. The track "Dead on Arrival" parallels what Conrad Schnitzler was producing at the same time on his darkened electronic album Ballet Statique with its mid-tempo drum machine, unsettled percolations, and angular jabs of dissonance. But the bulk of D.o.A. is filled with found-sound excepts including the self-evident found tape of "Death Threats" and the recording of mumbling children on "Hometime."
The cd version of this remastered reissue contains a bonus disc, mostly of live material ending with a single. Here, the live tracks cover much of what's found on the Live Volume 2 compilation, and the single in question is "Five Knuckle Shuffle / We Have You (Little Girls)", the former of which reprises the mechanical sequencing from "Dead on Arrival" with much vicious bass and guitar noise slashing throughout, and the latter being a screaming exorcism of vocals and electronics that must have planted the seed in William Bennett to make a whole career out of screaming at his audience above a painful squalor of noise.
The remastered vinyl version is limited to 2000 copies.
MPEG Stream: "I.B.M."
MPEG Stream: "Dead on Arrival"
MPEG Stream: "Hamburger Lady"

THROBBING GRISTLE D.O.A.: The Third And Final Report (Mute / Industrial Records) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

THROBBING GRISTLE First Annual Report of Throbbing Gristle (Get Back) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
For reasons unknown to us all, 1975's "First Annual Report" from Throbbing Gristle was deliberately held back by the band, thus positioning "Second Annual Report" as the first documentation from the legendary parents of Industrial Culture. This record has been reissued on several occasions, yet for this Get Back pressing, "First Annual Report" gets a proper remastering job as well. Vinyl only.