CONNORS, LOREN The Departing Of A Dream Vol. III: Juliet (Family Vineyard) cd 14.98

CONNORS, LOREN The Murder Of Joan Of Arc (Table Of The Elements) 12" 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second in the Table Of The Elements' label series of limited, one sided clear vinyl 12"s, this time from ultra prolific guitarist Loren (formerly Mazzacane) Connors. Sublime and mesmerising, Connors' guitar is a dark cloud of distant chiming chords, shimmering reverb, and warm rich sonic swirl. Minimal but somehow completely epic, a dark cinematic dream/drone-scape. So good. Striking woodcut image silkscreened in silver ink on the clear vinyl in a clear sleeve. VERY LIMITED. So don't dawdle.

CONNORS, LOREN & DAVID GRUBBS Arborvitae (Hapna) cd 14.98
Two of the most prolific, creative guitar players around, who've both built followings in the realm of the indie/avantgarde, team up at last. Such a collaboration certainly makes sense, and the results are quite what you'd expect: a real pretty, kinda melancholic, all-instrumental minimalist duet, sleepy and meandering. Loren "formery Mazzacane" Connors has a very personal style of haunting electric guitar that he of course explores here, while David Grubbs (of Gastr del Sol and much else besides) contributes his talents on both guitar and piano. Any individual, isolated moment on this disc might seem just a little too sparse and simple, but as it unfolds it rewards the listener's patience. By the time the disc has run its 34 minute course, and you can perceive the whole of Arborvitae in your mind's ear, you'll be nicely blissed out and appreciative of the aesthetic that Grubbs and Connors share here.
MPEG Stream: "Hemlock Path"

CONNORS, LOREN MAZZACANE The Little Match Girl (Road Cone) cd 13.98
We're happy to be graced with another lovely Loren Mazzacane Connors release. His trademark style of "Venusian blues" guitar is in fine form here, with the haunting, lonely, late-night beauty of his playing really delving into the darkness over this 37 minute disc. You can hear echoes of sometime Connors-collaborator Keiji Haino's more gentle playing, and we could also liken this to the mood evoked by AQ-faves Bohren & Der Club of Gore. Guitarist Andrew Burnes and Persian daf player Neel Murgai join in on a couple live tracks.
RealAudio clip: "The Art of the Blues pt. 2"

CONRAD, TONY WITH FAUST Outside The Dream Syndicate - 30th Anniversary Special Edition (Table Of The Elements) 2cd 28.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Excellent reissue! Out of print since its release in 1972 when it went almost completely unnoticed, this album is finally available in special 30th anniversary boxed double disc format! A shorter version of it was available briefly in 1993 but this features a whole other disc of extra material.
It wasn't until after playing and performing for over ten years that the now-legendary experimental violinist Tony Conrad finally put his music down on wax. This was after his tenure as an integral member of the Theater of Eternal Music's Dream Syndicate with Lamonte Young, Marian Zazeela, John Cale, and Angus MacLise (NB: the latter two being founding members of the Velvet Underground, which got its band name from a paperback Conrad found lying in the street.) The Dream Syndicate's raison d'etre was exploring the sonic depth, meaning and sound of the almighty DRONE. A chance meeting with producer Uwe Nettelbeck resulted in an intense three-day recording session at Faust's secluded farm slash studio and it was here that Conrad finally got to breathe life into his own take on the drone. The Faust fellows supply a warm, insistent drum beat and a just as unstoppable bass throb. Both the bass *and the drum* are 'tuned' to specific notes over which Conrad lays his droning violin. And that's it. For half an hour. So great! Not boring at all -- your ears quickly become attuned to the waverings, harmonies, and other minute changes amongst the three elements. Fans of Neu, Can, Kraftwerk, and of course Faust NEED this. As does anyone into hypnotic droning rock ala AQ faves Circle, Highly recommended, definitely seminal album by one of the pioneers of drone.
RealAudio clip: "excerpt 1"
RealAudio clip: "excerpt 2"

CONRAD, TONY WITH FAUST Outside The Dream Syndicate Alive (Table Of The Elements) cd 16.98
Recorded live at Queen Elizabeth Hall in London in '95 this was the reunion of one of minimalist's great torch holders Tony Conrad along with one of experimental rocks greatest bands Faust. When they originally teamed up at a German filmmakers request, they made Outside The Dream Syndicate over three days together in 1971. A landmark record that took Conrad's affinity for building drones mixed with a rhythm section that added intense pulsations and textures to the sounds. While apparently Faust didn't really remember the recording sessions (what were they on?) they met up only two more times since the original recording to perform the piece live. This show was the third and last time they performed together and at this show they were also joined by the helping hands of Jim O'Rourke (is there a band he hasn't played with?). And wow! What an amazing show to have been at. With his La Monte Young cap on tightly, Conrad masterfully created a piece that no matter when it was produced evokes such a strong physical reaction. This is raw, building, blistering, pounding, droning brilliance! The way momentum keeps building works its way into your body and about half way into the piece you can't stop from getting completely wrapped up in it. The droning violin, the dirty percussion, the gut wrenching passion underneath and above it all! It's amazing how in these sounds you can hear so much of a handful of contemporary AQ favorites: Godspeed You Black Emperor's explosive drama, The Dirty Three at their most wild and rocking, Swans/Angels Of Light's blistering poignancy, but it all ends up seeming sorta like little league in comparison to the blood and guts that oozes out of this performance. As always Table Of The Elements appropriately package the cd with the care it deserves including some nice short conversations with Conrad and two great stickers of Conrad's face. Absolutely recommended!
MPEG Stream: "From The Side Of Man & Womankind"

CONRAD, TONY, C. SPENCER YEH, & MICHAEL F. DUCH Musculus Trapezius (Pica Disk) cd 16.98

CONSPIRACY OF BEARDS s/t (Out Of Round) cd ep 9.98
What's more powerful than a Leonard Cohen song? How about if it was sung by a 30 member acapella male choir? This awesomely-named group, Conspiracy of Beards, have been performing around the Bay Area for the last five years, wowing audiences with their exclusive repertoire of Leonard Cohen songs. The reverent intensity and tender drama that fills much of Cohen's songwriting is strangely fitting for choral interpretation. This is their debut release, an ep of five classic songs that nearly carries the same punch as their live shows. Though it's really hard to beat the experience of seeing this group live, where the feelings of spiritual uplift and vague impending doom are oddly tied together.
MPEG Stream: "Lady Midnight"
MPEG Stream: "Famous Blue Raincoat"

CONSTANTINES Kensington Heights (Arts & Crafts) cd 14.98
Oh Canada! On their latest full-length (their first since leaving Sub Pop for Arts & Crafts), Toronto's Constantines present a further refinement to the sound they've been developing over the past four records. Kensington Heights manages to balance a brooding sort of intensity with an unwavering sense of optimism and translate the two into a solid, anthemic record filled with songs of rebellion, growing older, disappointment, and hope.
While the tempos might be slowed a bit from their previous outings, there's no shortage of growl - right out of the gate, the first two tracks ("Hard Feelings" and "Million Star Hotel") are thoroughly sweat-drenched, and mid-tracklist pick-me-up, "Brother Run Them Down" shows that the band is still more than capable of writing a solid scorcher.
That said, there are a number of slow burners on the album ("Time Can Be Overcome" is a standout) that reveal a Constantines who are weary but not jaded. Where the album strikes some of its highest notes, however, are those moments in songs like "Trans Canada" and "I Will Not Sing A Hateful Song," where the band displays a particularly deft ability to be at once both delicate and pummeling.
What the Constantines provide, moreso than anything else, is a reminder that bands *can* be successful, current and relevant without a swarm of blog-fueled hype, or a post-modern mashed-up genre descriptor attached to them. This is an irony-free rock band making an irony-free rock album that manages to connect itself to a firmly entrenched tradition of earnest, blue collar arena-ready anthems (think Springsteen, Thin Lizzy, and Tom Petty, with touches of Fugazi, Wilco and Archers of Loaf). This is by no means a perfect record, but it's one that feels raw and real in its mix of bravado and yearning. Highly recommended for all of you who wear your bruised hearts on the sleeves of your tattered jean jackets.
MPEG Stream: "Brother Run Them Down"
MPEG Stream: "I Will Not Sing A Hateful Song"
MPEG Stream: "Trans Canada"

CONSTANTINES s/t (Sub Pop) cd 13.98
Canada's young answer to Fugazi (with some Girls Against Boys and Paul Westerberg thrown in for good measure), The Constantines have been raising a racket up north for over five years already, but this their 1999 self-titled debut has only been available in Canada. Despite the limited access to their releases, the band has amassed quite a loyal following on both sides of the border, becoming total college radio darlings. Now SubPop have kindly stepped in to fuel their engines, reissuing this introductory full length, and its an impressive one, solid from start to finish. Particular high points are the fiery fourth song "Young Offenders" with its smattering of Rod Stewart's lyrics "young hearts be free tonite" (believe me, it's better than that sounds!), the unexpected slow 'n' sensitive number "Saint You", and the following tense, brooding instrumental "The McKnight Life". These three stand out 'cause not only are they great songs, but they're also a welcome divergence from the rest of the album's almost unwavering hardcore fury.
MPEG Stream: "Young Offenders"
MPEG Stream: "Saint You"

CONSTANTINES Tournament Of Hearts (Sub Pop) cd 13.98
Despite the recent flurry of bright sunny pop that's come a-flowing down from up north, punk rock's not dead in Canada. No way, the old stomping grounds of hardcore legends such as D.O.A., Dayglo Abortions and SNFU still spews forth a few fist raisers. While the latest Constantines album is not nearly as fully raging as their debut was, nor can we call it anywhere near as politically charged as their hardcore grandfathers', the band still infuses an ample amount of grit and furious energy into their tunes. Their gravelly, hoarse-piped vocals once again recall in turn those of The Clash, Fugazi, Paul Westerberg and Rancid... and actually also brings to mind fellow Canadian, veteran rocker Tom Cochrane, but musically they've at once tightened things up, flexed some muscle and stretched out their range, injecting some unexpected dimensions into Tournaments Of Hearts -- such as a few slower, more sensitive guy tempos, a bit of country twang and a little emo folksy boyishness.
MPEG Stream: "Draw Us Lines"
MPEG Stream: "Thieves"

CONSTANTINES Tournament Of Hearts (Sub Pop) lp 11.98
Despite the recent flurry of bright sunny pop that's come a-flowing down from up north, punk rock's not dead in Canada. No way, the old stomping grounds of hardcore legends such as D.O.A., Dayglo Abortions and SNFU still spews forth a few fist raisers. While the latest Constantines album is not nearly as fully raging as their debut was, nor can we call it anywhere near as politically charged as their hardcore grandfathers', the band still infuses an ample amount of grit and furious energy into their tunes. Their gravelly, hoarse-piped vocals once again recall in turn those of The Clash, Fugazi, Paul Westerberg and Rancid... and actually also brings to mind fellow Canadian, veteran rocker Tom Cochrane, but musically they've at once tightened things up, flexed some muscle and stretched out their range, injecting some unexpected dimensions into Tournaments Of Hearts -- such as a few slower, more sensitive guy tempos, a bit of country twang and a little emo folksy boyishness.
MPEG Stream: "Draw Us Lines"
MPEG Stream: "Thieves"

CONSUMERS All My Friends Are Dead (In The Red) cd 13.98
Formed in early 1977, The Consumers were Phoenix Arizona's answer to the Germs. Punk fucking rock. After recording their debut album (20 minutes of adrenaline fueled, hateful, spazzy and totally catchy punk) shortly after their inception, the Consumers relocated to L.A. where they continued to terrorize, destroy and get banned from playing almost anywhere! This is the first time this stuff has been available on cd and it's about time. Furious and angry and kick ass and better than almost any punk rock since ('cept maybe the Electric Eels, who they definitely have a thing or two in common with, sonically and otherwise). Two of the Consumers went on to play in 45 Grave, Human Hands and Dream Syndicate, while the other two Consumers went on to...die! Only two Consumers are still alive!! Fucking punk.
RealAudio clip: "Anti, Anti, Anti"
RealAudio clip: "Consumers"
RealAudio clip: "Teen Love Song"

CONTINENTAL Four-Letter Words (U Dot Records) cd 10.98
Continental's music evokes precisely that state right between sleeping and waking. As gentle as can be, this is the SF quartet's follow-up to their well-received 2001 self-titled cd. In that time they seem to have shed some of their more post-rock and jazz leanings in favorite of straightforward blissfulness. Nine songs that slowly drift and envelope like an early morning mist. For fans of the ultra soothing Landing and Windy & Carl.
MPEG Stream: "Larkspur"
MPEG Stream: "The Empty Palace"

CONTINENTAL What Was Gained From What Was Lost (U-Dot) cd 10.98
Continental are keepin' the post-rock alive with their new 7-song cd. A few customers even asked if this was an old Tortoise release, and it's easy to draw that comparison to Chicago's granddaddies of the genre. A solid follow-up to 2003's Four-Letter Words.
MPEG Stream: "August Ends"
MPEG Stream: "Pillow Talk"

CONTINUOUS PEASANT Exile in Babyville (Good Forks) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The sound of whistling winds greet us as Continuous Peasant's debut cd gets rolling. You can almost envision this SF sextet strolling into a ghost town, mainman Chris Stroffolino sitting himself down at the piano of an ol' dusty tavern, downin' an ample shot of bourbon or two and bashin' out a tune. From there the sound melts into more emotive, country-tinged college rock territory (think: a cross between Pavement and the Lemonheads). In turns rousing, wry and melancholic, Continuous Peasant shine brightest when the keyboards are pushed to centerstage. Note: the track listing shows eleven songs -- and we hate to blow the surprise -- but you really should know to keep that cd player going 'cause there's a hidden twelveth song that's one of the album's highlights. But y'know, don't just take our word on this album's goodness, AQ customer Steve Carll took quite a shine to it also and had this to say:
First off, I love this band's name, evoking both the "continuous present" narrative strategy and the "still fuckin' peasants" line from John Lennon's "Working Class Hero". Appropriate enough, as singer/keyboardist/songwriter Chris Stroffolino's perhaps better known in indie poetry circles (several books published, etc) than he is in indie rock circles (played keyboards for the Silver Jews).
The band's sound? How's this grab you -- Richard Hell singing Leonard Cohen/Beck collaborations with Nick Cave on piano? OK, it's not exactly like that, but it'll do as a provisional mental picture. As the album opens, the guitar and piano jam with the rain; then the piano takes over with a rhythm that takes some time to lock into your mind, but once it does, you realize it was there all along. There's some pleasant lopey, mopey country rock (the record's named after a Stones album from '72, after all) with occasional harmonies by guest Vanessa Beggs to sweeten Stroffolino's often acidic lyrics. There's also some faster stuff where the guitar is more prominent, whipping old-school New York punk rock songs into a froth.
A band with a poet singing lead is in danger of sinking under the weight of the lyrics, but Continuous Peasant manages to hold its own. The arrangements are simple, but with lots of nice subtle touches. The lyrics employ a lot of repetition, the melodies are barely perceptible, and there's hardly a chorus to be found. Somehow, everything hangs together remarkably well. The rawness of the recording generally gives it a directness that's engaging, marred by an occasional rushed vocal.
Thematically the album refers back not only to Exile on Main Street, but also, in its frequent allusions to sexual politics, to Liz Phair's 1993 release Exile in Guyville. Where Phair laments a culture of male insensitivity that wants to fuck and run, Stroffolino looks around ten years later and sees a culture where it seems as if that cycle has encompassed everyone, discouraging us all from opening up and showing vulnerability: "Always the same if you're not really naked" is the new lament.
There's more to say about the lyrics, which grow on you after a few listens through the album, but I may already have said too much for some: this is music as much as it is poetry. The big question, then, could be: will the next album from Continuous Peasant be its Whip-Smart, or its Goat's Head Soup? It seems reasonable to look for a different return altogether from this year's Exile.
MPEG Stream: "How Do You Know It's Raining?"
MPEG Stream: "It's Not A Matter Just Of Me"

CONTINUOUS PEASANT Intentional Grounding (Good Forks) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This is Mr. Chris Stroffolino and co.'s follow-up to their warmly received debut album Exile In Babyville from a couple of years ago. Once again Stroffolino's expressive saloon-style piano playing is a key ingredient to C.P.'s potency. It shines forth from the backdrop which is solid rootsy rock with some Pavement-y indie boy slouchiness. Comparisons to Silver Jews (with whom Stroffolino has played keyboards) are still very apropos. That said, Ms Mia Lipman's backing vocals certainly offer a nice contrast to his world weary 'n' whisky'd delivery. Prior to entering the musical realm, Stroffolino put his thoughts to paper rather than music, writing numerous books of poetry and prose. His literary past definitely surfaces in his evocative lyrics which take primarily an intimate, observational, first person perspective. They're granted ample space to unwind and sink in, given the songs' mostly slow to mid tempos. That said, occasionally the band kicks up a cloud of dirt for more rollicking numbers such as "You Don't Believe In Nuthin'".
MPEG Stream: "All I'm Saying"
MPEG Stream: "You Don't Believe In Nuthin'"

CONTRABAND COUNTRYBAND I'm Dressed Like A Bullfighter On The Inside (Halfassed Records) cd 9.98

CONTROLLERS, THE s/t (Dionysus) cd 12.98
A collection of straight-up punk rock culled from recordings spanning fifteen years ('77-92). Most are by The Controllers who were in existence from '77 to '79 (and reunited briefly in '96), a couple are by Skull Control ('92). Yes, these are the sounds of the early days of punk. Brought to you by garage and punk rock historians Bacchus Archives of Dionysus Records.

CONVERGE Axe To Fall (Epitaph) cd 15.98
Some bands mellow with age. That's just the way it is... sometimes. Converge is definitely NOT one of those bands, and almost two decades into their career, they're still just as furious as ever and showing no signs of age (though they were only teenagers when they started, it's not like they're a bunch of old dudes). It's almost unbelievable to think how a band like this could maintain such an insane amount of energy, but we're happy to report that things don't appear to be slowing down by any measure. There's tons of crazy guitar leads, super aggressive bass playing that holds things down like an anchor, tight as fuck drumming, and of course, frontman Jacob Bannon's throat-ripping banshee screams.
Axe To Fall, like the other post-Jane Doe Converge records, retains the unfathomable brutality of that definitive record and adds an approach that, as weird as it may sound, seems to exude a heavy rock n' roll influence. There's really no other way to put it: this shit rocks hard. Perhaps the best thing about Converge is, even in the moments of sheer metallic evil (which is most of them), they are still highly musical and catchy, and the band's incredible musicianship allows them to take things where few other hardcore groups are capable of going. Yep, nothing quite hits the spot like Converge. Featuring contributions from an assortment of noteworthy heavies, including dudes from Cave In, Entombed/Disfear (the awesomely monickered Ufe Cederlund), Himsa, Neurosis, Genghis Tron, and probably some others. Awesome stuff.
MPEG Stream: "Dark Horse"
MPEG Stream: "Reap What You Sow"
MPEG Stream: "Axe To Fall"

CONVERGE No Heroes (Epitath) cd 13.98
Metalcore is sort of a dirty word these days it seems; conjuring up images of Warped Tours and Hot Topic's. All the short haired emo guys are now playing brutal-tech-death metal while the dirty long haired metalhead guys are slowing it down, making all kinds of epic post rock and convoluted math rock. What gives? Converge continue to blaze their own path and break down the boundaries between hardcore and metal, while incorporating bits of noise and other weird sounds, the REAL crossover.
Converge were sort of always the hardcore black sheep, too noisy, too metal, not punk enough. Going on 15 years now, Converge have been the kings of the underground, subtly or not so subtly influencing all the metalcore outfits that have gone on to be HUGE. It's time for the world to recognize that Converge have been making some of the most progressive, and beautifully fucked up metallic punk rock music of the last two decades.
No Heroes falls sonically somewhere between the all time metalcore milestone Jane Doe and their more recent, but equally as punishing and original You Fail me.ĘThe pace is furious, hovering around warp speed most of the time, but these guys are masters, and amidst the cacophonous, chaotic din lurk all sorts of sonic surprises, tone of space and atmosphere, discordant, jagged, chunky, choppy riffs, incredibly complex rhythms, as well as hooks galore, all masterfully whipped into a glorious metalcore frenzy.
Highly recommended.
MPEG Stream: "Heartache"
MPEG Stream: "Hellbound"
MPEG Stream: "Grim Heart / Black Rose"
MPEG Stream: "Trophy Scars"

CONVERGE No Heroes (Epitaph) lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Also on lp... Metalcore is sort of a dirty word these days it seems; conjuring up images of Warped Tours and Hot Topic's. All the short haired emo guys are now playing brutal-tech-death metal while the dirty long haired metalhead guys are slowing it down, making all kinds of epic post rock and convoluted math rock. What gives? Converge continue to blaze their own path and break down the boundaries between hardcore and metal, while incorporating bits of noise and other weird sounds, the REAL crossover.
Converge were sort of always the hardcore black sheep, too noisy, too metal, not punk enough. Going on 15 years now, Converge have been the kings of the underground, subtly or not so subtly influencing all the metalcore outfits that have gone on to be HUGE. It's time for the world to recognize that Converge have been making some of the most progressive, and beautifully fucked up metallic punk rock music of the last two decades.
No Heroes falls sonically somewhere between the all time metalcore milestone Jane Doe and their more recent, but equally as punishing and original You Fail me.ĘThe pace is furious, hovering around warp speed most of the time, but these guys are masters, and amidst the cacophonous, chaotic din lurk all sorts of sonic surprises, tone of space and atmosphere, discordant, jagged, chunky, choppy riffs, incredibly complex rhythms, as well as hooks galore, all masterfully whipped into a glorious metalcore frenzy.
Highly recommended.
MPEG Stream: "Heartache"
MPEG Stream: "Hellbound"
MPEG Stream: "Grim Heart / Black Rose"
MPEG Stream: "Trophy Scars"

CONVERGE You Fail Me (Epitaph) cd 14.98
Converge have always been one of the best metalcore bands around. But with the release of Jane Doe a few years back they quickly moved right to the head of the line, having crafted what is most definitely the most amazing, heaviest, most complex, catchiest and most chaotic metalcore record ever. EVER. So once again we're faced with what would almost have to be a massive disappointment after the total Godhead that was Jane Doe. But we should know better than to doubt Converge. While this record may not be quite as good as Jane Doe, it almost doesn't matter. In fact it's a whole different kind of record. Not nearly as dense and chaotic as Jane Doe, You Fail Me is strangely melodic and dare we say almost new wave at times. Now don't get all scared off. You Fail Me is still heavier and more brutal than almost any record you'll hear this year, but there's a lot more weirdness going on. A lot more space, and more experimentation. Not so much being 'experimental' per se, but more dabbling in some distinctly un-Converge like sounds, pop melodies, acoustic guitars, clean singing, angular new wave-ish guitar, bouncy almost emo-ish rhythms, folky ambience, but all safely ensconced in a jagged, prickly nest of swirling metallic guitars, chugging downtuned riffs, ridiculous drumming and throbbing punch-in-the-gut bass. Definitely weirder, but quite possibly just as good as Jane Doe. Just in a wonderfully different way.
MPEG Stream: "Last Light"
MPEG Stream: "Black Cloud"
MPEG Stream: "Drop Out"

CONVERGE You Fail Me (Epitaph) lp 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on LP!!
Converge have always been one of the best metalcore bands around. But with the release of Jane Doe a few years back they quickly moved right to the head of the line, having crafted what is most definitely the most amazing, heaviest, most complex, catchiest and most chaotic metalcore record ever. EVER. So once again we're faced with what would almost have to be a massive disappointment after the total Godhead that was Jane Doe. But we should know better than to doubt Converge. While this record may not be quite as good as Jane Doe, it almost doesn't matter. In fact it's a whole different kind of record. Not nearly as dense and chaotic as Jane Doe, You Fail Me is strangely melodic and dare we say almost new wave at times. Now don't get all scared off. You Fail Me is still heavier and more brutal than almost any record you'll hear this year, but there's a lot more weirdness going on. A lot more space, and more experimentation. Not so much being 'experimental' per se, but more dabbling in some distinctly un-Converge like sounds, pop melodies, acoustic guitars, clean singing, angular new wave-ish guitar, bouncy almost emo-ish rhythms, folky ambience, but all safely ensconced in a jagged, prickly nest of swirling metallic guitars, chugging downtuned riffs, ridiculous drumming and throbbing punch-in-the-gut bass. Definitely weirder, but quite possibly just as good as Jane Doe. Just in a wonderfully different way.
MPEG Stream: "Last Light"
MPEG Stream: "Black Cloud"
MPEG Stream: "Drop Out"

CONVERSE, CONNIE How Sad, How Lovely (Lauderette) cd 14.98
Wow! What is it about the sudden appearance of a cache of lost amateur folk recordings that just makes us stop everything we're doing and pay attention? Well, in the case of Connie Converse who made these recordings between 1954 and 1961, her sadly beautiful songcraft coupled with her mysterious (and most likely, tragic) disappearance in the early seventies, paints a tinge of regret and missed opportunities on the proceedings that make her gentle and deeply personal songs resonate more poignantly. A bookish gal from New Hampshire with academic leanings and no strong musical background, she took to writing poems and songs after leaving college in New York a year before she was to graduate. Her songs attracted the interest of animator and amateur recordist Gene Deitch who taped over 40 songs of hers, before she moved to Michigan to live with her brother and set her mind to other pursuits. In the years since, she still played music for friends and family, but her hopes that her recordings would lead to successful opportunities did not pan out and she became more despondent. Taking a leave of absence from her job, she wrote several farewell letters to family and friends, packed up her Volkswagon and disappeared, her whereabouts still unknown...
Similar in tone to Vashti Bunyan and Sibylle Baier, Converse came from a generation earlier. Her songs have a folk-country revivalist vibe popular during the time but her songs don't seemed to be influenced directly by the folk revival movement. Instead it seems she was orbiting in her own parallel universe, like a folksinger version of Emily Dickinson, focussing on the subtle details of daily life and the lovely and lonely qualities that intertwine throughout. Those qualities are heightened by the raw and intimate feel of the recording with its natural imperfections, and side dialogue left thankfully intact.
Fans of Bunyan and Baier, Barbara Dane, Ruth Friedman, Karen Dalton and Niela Miller will find lots to love here. How Sad, How Lovely, Indeed!
MPEG Stream: "Talkin' Like You (Two Tall Mountains)"
MPEG Stream: "Roving Woman"
MPEG Stream: "One By One"

CONVERTINO, JOHN Ragland (Somerweg) cd 15.98
When we saw the new solo album come in from Calexico's co-captain John Convertino, we were hopin' that it would either showcase his awesome drumming and/or some of his evocative minimal piano compositions such as "The Book And The Canal" that surfaced briefly on his band's last album Feast Of Wire. Well, guess what? This album is filled with the latter. Convertino performed and recorded the twelve somber and contemplative instrumentals at his home in Tucson, AZ. On Ragland, he's stepped out from behind his drumkit and made himself right at home at the piano (and occasionally on the vibes and back on the drums too) crafting numbers that are at times delicate and at others insistent. Nonetheless, this is far from spotlight grabbing. While in Calexico the focus is usually drawn to the band's other co-captain lead singer and guitarist Joey Burns, Convertino is too often considered simply 'the drummer', but that's a terrible understatement. Convertino is both a multi-faceted artist and a master of restraint. If this cd is any indication we can expect that he's got a few more surprises up his sleeve.
MPEG Stream: "Curb"
MPEG Stream: "Rain Makes Frames"

CONVOCATION OF... s/t (Gold Standard Laboratories) cd 12.98
While this full-length doesn't venture into any new territory for this angstful, dissonant rock trio from Baltimore, it will surely be a welcome addition to the record collections of the Gold Standard Laboratories label fanatics (a legion that is growing at an accelerated rate). A dark tension binds and builds in each of these eight songs. If you like The VSS, Treepeople, or perhaps The Fall, this just might be for you.
RealAudio clip: "Moments Escape"

CONVOCATION OF... s/t (Gold Standard Laboratories) lp 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
While this full-length doesn't venture into any new territory for this dissonant rock trio from Baltimore, it will surely be a welcome addition to the record collections of the Gold Standard Laboratories label fanatics (a legion that is growing at an alarming rate). A dark tension binds each of these eight songs. If you like The VSS, Treepeople, or perhaps The Fall, this just might be for you.

CONVOCATION OF..., THE Pyramid Technology (Tiger Style) cd 14.98
The oddly named The Convocation Of... is the current musical outfit lead by one Mr. Tonie Joy (who has played guitar in almost every influential hardcore band of the '90s: Moss Icon, UOA, Born Against, The Great Unraveling... the list goes on! Oh, and he runs the Vermin Scum record label too). This disc on Tiger Style is their second full length album (their first was on Gold Standard Laboratories). Raw, lean and full of a controlled angst like the slow tightening of knots and fists. Driven by a propulsive rhythm section and tense, sinewy guitars. Think Drive Like Jehu, VSS, Shellac, and the abovementioned bands.
RealAudio clip: "Crimson King's Deceit"

COODER, RY Chavez Ravine (Nonesuch) cd 21.00

COOK, MIRA s/t (self-released) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Nothing excites us more then discovering a new talent at the beginning of what we know will be a long run of brilliant and inspiring releases. Such is the case with this cassette-only release from Mira Cook. While dancing is her main mode of creative expression she began playing with tape loops, recording her beautiful voice and the various instruments in her bedroom, and started to construct these wonderfully simple yet elegant songs. Eventually, those sounds and songs demanded to move beyond the confines of her four walls and into the ears of music lovers everywhere. And hopefully that will begin to happen more and more, as she's started playing shows around town and is slowly becoming more comfortable with recording herself as well.
Many of us got to see Mira play live for the first time just a few weeks ago when she played a set at Irwin aQ's film screening over at ATA. You couldn't help but be won over by her glowing presence and her lovely songs, created by building harmonies from her looped voice and her subtle instrumentation (organ, marimba, dulcimer, etc.) with totally electrifying results.
While most of the current crop of loop-based musicians seem more interested in getting lost in muddy drones (which we like lots for sure) it's so nice to hear someone who sounds so assured and you can actually hear what is being sung and feel the meaning of the songs through their ghostly repetition. We're reminded a bit of Samara Lubelski, Bjork, or what it might sound like if you could match a voice to the delicate and intimate sounds Colleen creates with her dreamy instrumentals. There is something so pure and sincere that comes across in these songs, Mira Cook is not trying to be a part of any kind of scene or sound, instead she is following a very instinctual and unique vision and we have a feeling this is going to be one of those cassettes that you will be able to brag about owning in a few years. Highly recommended!
MPEG Stream: "Glass Of Water"
MPEG Stream: "Happy Organ"
MPEG Stream: "New Year"

COOK, MIRA Signs (self-released) cd-r 9.98
With only a single cassette release to her name, Mira Cook has already become one of our favorite delicate, hypnotic and entrancing music makers of the last few years. We've been lucky to get to see her play around town so much, each time watching as she adds a new self taught instrument to the mix, as she creates songs that are really like these miniature fairy tales of the everyday. Her cassette only release, was one of our best selling tapes of 2009, and for good reason. It introduced us to her unique, inviting and warm sensual world of sound. Signs contains some reworked versions of songs that appeared on the cassette along with a bunch of brand new tracks. Using loops as a way to create endless entrancing melody, and taking so sweetly to everything from dulcimer, to drum machines, to piano, to organ, etc., it's Mira's assured and captivating voice that transports us so utterly and completely. It's hard not to think about people like Joanna Newsom, Juana Molina and Bjork, as there is that same kind of unique vision, charm and golden presence in Cook's songs. We're also reminded a lot of that a capella record that Petra Haden made covering The Who's Sell Out. Like the musical equivalent of a Joseph Cornell box, every song on Signs is filled with such unique treasures!
MPEG Stream: "Going to Sleep"
MPEG Stream: "Drum Machine"
MPEG Stream: "Dulcimer Song"

COOLIES Master (Chapter Music) cd 16.98
We do love our lo-fi New Zealand indie rock, and South Auckland's Coolies apparently realize that we like it best really lo-fi... and noisy... 'cause that's what they deliver! We're not surprised we dig 'em so much, 'cause their current drummer happens to be Stefan Neville, of AQ-fave NZ noise-popsters Pumice (and The Futurians, etc.), and he also recorded, mixed and edited the material on Master. Otherwise consisting of girls (Tina and Sjionel), who started the band as teens, Coolies have been around since the late '90s, releasing a 7" back in 2000, and a 10-song tape recorded on a ghetto blaster... but this is their first full-length cd, comprising music made over the past four or so years since Stefan joined the band. Raucous, energetic, poppy, punky, "annoying" (their word), "brilliant" (also theirs, but we tend to agree), the ten tracks on Master, most of 'em short sharp shocks, should appeal to NZ noise nerds, as well as peeps into today's burgeoning garage punk girl-groop soundz like Vivian Girls, Brilliant Colors, Grass Widow... the DIYness of this also brings to mind those Messthetics comps of '80s UK cassette culture. Oh and we're also reminded of Kleenex/Liliput. In short, the Coolies are cool. If you're in the mood for some raw, angular, urgently rhythmic "pop" songs that is! From the same label that brought us recent the Record Of The Week by Fabulous Diamonds, another Down Under fave...
MPEG Stream: "Let's Pretend"
MPEG Stream: "Ghost Baby"
MPEG Stream: "Searching"

COOLIES Master (Chapter Music) lp 17.98
As promised, now available on vinyl!
We do love our lo-fi New Zealand indie rock, and South Auckland's Coolies apparently realize that we like it best really lo-fi... and noisy... 'cause that's what they deliver! We're not surprised we dig 'em so much, 'cause their current drummer happens to be Stefan Neville, of AQ-fave NZ noise-popsters Pumice (and The Futurians, etc.), and he also recorded, mixed and edited the material on Master. Otherwise consisting of girls (Tina and Sjionel), who started the band as teens, Coolies have been around since the late '90s, releasing a 7" back in 2000, and a 10-song tape recorded on a ghetto blaster... but this is their first full-length cd, comprising music made over the past four or so years since Stefan joined the band. Raucous, energetic, poppy, punky, "annoying" (their word), "brilliant" (also theirs, but we tend to agree), the ten tracks on Master, most of 'em short sharp shocks, should appeal to NZ noise nerds, as well as peeps into today's burgeoning garage punk girl-groop soundz like Vivian Girls, Brilliant Colors, Grass Widow... the DIYness of this also brings to mind those Messthetics comps of '80s UK cassette culture. Oh and we're also reminded of Kleenex/Liliput. In short, the Coolies are cool. If you're in the mood for some raw, angular, urgently rhythmic "pop" songs that is! From the same label that brought us recent the Record Of The Week by Fabulous Diamonds, another Down Under fave...
MPEG Stream: "Let's Pretend"
MPEG Stream: "Ghost Baby"
MPEG Stream: "Searching"

COOLIES, THE Bless The Babies + The Mothers (self-released) cd-r 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If this cd-r is any indication (which we assume it is, duh!) these Coolies are not those Simon & Garfunkel-covering punk rock-opera (!) guys from back in the '80s -- much to Andee's chagrin, mention of this band really got his hopes up. No although these Coolies are also punk rock, they're more of the lo-lo-fi and lo-lo-skilled sort. But they don't let that take away from their good times... nor will it take away from yours if you like your rawk super messy and super trashy. Actually if that's the case, your party might even rev up a notch if you pop this baby on your stereo. Just imagine if the Coachwhips were three teenage girls... lotsa yellin' and bangin' on drums and sloppy guitar chords and probably lotsa PBR (or the New Zealand equivalent to that brew). This release comes with a Coolies button for your backpack.
MPEG Stream: "Throwaway"
MPEG Stream: "I Salute U"

COOPER, ALICE Flush The Fashion (Rhino Encore) cd 13.98
First things first, allow us to proclaim that one song on this 1980 Alice Cooper album shines brighter than all the rest! That'd be "Clones (We're All)", the album's absolutely infectious, unexpectedly New Wave second track. It's another dose of AC social commentary, but this time it comes cloaked in the guise of remarkably clean synthesizer pop, a la Gary Numan. Makes for a very surprising contrast to Alice's trashy glam rock past which still lingers a bit in the album opener "Talk Talk", a cover of the garagey sixties Music Machine nugget. As for the rest of Flush The Fashion? Sorry, it simply pales in comparison, and hasn't aged quite as well, though it has its moments, and it's interesting to see ol' AC grapple with the onset of the eighties, dealing with such issues of the day as "Leather Boots", being "Nuclear Infected", and "Aspirin Damage". Plus, THAT one "Clones" song is sooooo good!
FYI, this is another one of those Rhino Encore reissues supposedly available only for a six-month window.
MPEG Stream: "Talk Talk"
MPEG Stream: "Clones (We're All)"

COOPER, ALICE From The Inside (Warner Bros) cd 13.98

COOPER, ALICE Welcome To My Nightmare (Atlantic) cd 16.98
Alice went solo in '75 with this slice of pop music horror theatre. Yup, no more Alice Cooper Band, just frontman Cooper, Alice himself (with producer Bob Ezrin and some pro studio hands like Dick Wagner and Tony Levin, even Kim Fowley). By the way, he performed the title track on the Muppet Show! There are indeed some campy classics on this reissue/remaster (with a few alternate take bonus tracks) but we say get the earlier discs first if you don't have 'em already!

COOPER, MYLES Gonna Find Boyfriends Today (Transparent) 7" 11.98
Since his old band The Passionistas called it quits, it seems like Myles Cooper has really come into his own, finding his voice and expressing himself in a wide range of mediums from his confessional/performative YouTube page, to his DJing and presence at the super fun High Fantasy night at Aunt Charlies (one of our favorite bars in the Tenderloin), and his live solo performances. "Gonna Find Boyfriends Today" is a super sugary beyond catchy, fairy tale of a song, kind of like Sesame Street merging into a campy night at a gay bar filled with smiles, rainbows, cotton candy, and an endless stream of sweet and cute boys. The B-side "Lord Love Music" is way more stripped down and raw sound reminding us a lot of a young Calvin Johnson or Ian Svenonius, stylized and super sassy. In some ways Cooper is like the version of Hunx & His Punx that you could take home to your mom, with a beguilingly preppy and wholesome demeanor, but what makes him intriguing is that you know under that surface something warped and more nuanced is going on.
This 7" has only been released overseas and is limited to 300 copies so best grab it super fast if you want one.

COPE, JULIAN Citizen Cain'd (Head Heritage) 2cd 24.00
Julian Cope. Druidic dunt-rocker, Head Heritage head, krautrock aficionado, megalith expert, and ex-pop sike rock star (with The Teardrop Explodes in the '80s). Here's his latest, a double disc rock fest, and it's very much the product of Julian Cope's various musical obsessions, the classic heavy psych rock he loves (visit www.headheritage.co.uk/unsung to read some of what he's written about so enthusiastically, educationally and entertainingly on the subject!).
The latest (July 2005) issue of The Wire magazine features a piece on Julian Cope. It's not about Cope's own music, really, but about how Cope's great taste in other people's music turned the writer on to lots of stuff that he'd have never heard about otherwise (this was in the pre-Internet dark ages of the '80s). In fact, the Wire scribe's crucial Cope record was an *interview disc* wherein Julian discussed such then-obscure faves as Can, The Stooges, Neu!, and Nick Drake.
Here at AQ, we've heard from Cope on a few releases in recent years -- there was his guest spot on SUNNO)))'s White 1 album, delivering some pagan poetry to go with their heavy duty drone, and also his band Brain Donor, that featured Cope and some members of Spiritualized wanting to be your dog Stooges-style. The Detroit influence comes through too on Citizen Cain'd, an album of clever, heavy psych and pop rock n' roll. Indeed, this could be a pretty darn great Iggy album!
Two sprawling discs with some epic length songs (and radio-worthy alternate universe hits, like the jangly n' distorted "Living In The Room They Found Saddam In" -- that also should get an award for its title/lyric, eh?). We're also really into the slow burn psych rock that disc one closer "I Will Be Absorbed" stretches out into, as well as the more almost indie-rock (but still sorta Iggish) styled stuff that occupies much of disc two.
Since we pretty much know Julian Cope for what he's a fan of, not what's done himself (as per that Wire article), we're happy to discover that all that good taste hasn't gone to waste regarding his own stuff... probably folks who've followed Cope's career over the years already know that. Recommended.
MPEG Stream: "I Can't Hardly Stand It"
MPEG Stream: "I'm Living In The Room They Found Saddam In"

COPE, JULIAN Floored Genius (Island) cd 11.98
A best of from the druid dude.

COPE, JULIAN Japrocksampler (Bloomsbury) book 30.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
FINALLY! REPRINTED AND BACK IN STOCK!
One of the best album covers ever, for the Flower Travellin' Band's 1970 debut LP Anywhere, a photo of that band as naked Japanese hippy freak outlaw bikers ridin' free, adorns the cover of this book. Good choice! If that doesn't look cool to you, you don't need this volume. If it does, then queue up! The subtitle: "How The Post-War Japanese Blew Their Minds On Rock 'N' Roll" is perfectly illustrated by that cover picture.
Let's back up, though. British author Julian Cope, originally best-known as something of a rock star (with The Teardrop Explodes in the '80s and his subsequent solo career) has also long been entertaining and informing us all as a writer, an expert on the heavy and the ancient: both the stone circles of Megalithic Europe, and the stoned rock n' roll of the psychedelic/progressive variety, yesterday and today. His happenin' website, Head Heritage (www.headheritage.co.uk) should be bookmarked by everyone who looks at OUR site. Way back when, over a decade ago, Julian Cope published a slim little paperback volume called the Krautrocksampler, one fan's obsessive, opinionated look back at the wondrous krautrock scene of the '70s. If you've got one, you're lucky, they're out of print and hard to come by these days, going for $$$ on eBay (er, anyone with a spare copy, please contact Allan at the store, he foolishly never bought it when we used to sell 'em and has regretted it ever since, maybe we can work out a deal...). Another reason to pick up this new Japrocksampler while you can!
It's about the same approximate dimensions as the Krautrocksampler, but thicker (over 300 pages!) and hardcover, with color plates depicting various rare album covers in the center of the book, and black and white graphics throughout. Nicely done, the paper stock and binding bringing back memories of a particular type of book we used to have in school.
And, as you have probably figured out, it's the Japanese '70s rock companion to Cope's krautrock treatise. But because the Japanese underground music scene of the same era is comparatively a lot more obscure over here in the West, Cope had to do a lot more in-depth research to give us all a real history lesson, starting off all the way back in the aftermath of WWII. Moving forward, he devotes much attention to the experimental composers of the sixties, like Toshi Ichiyanagi, and (for a time) his wife, Yoko Ono. All sorts of radical "actions" and conceptual sound art get their due. Other early chapters include include investigations of the homegrown "Eleki" scene (Japanese surf music, sort of) and the "Group Sounds" phenomenon (Japan's reaction to the British Invasion). Then Heavy Rock hits, with freaks and festivals, and Cope digs with utmost detail into the behind-the-music stories of such artists as cover stars Flower Travellin Band, Speed, Glue & Shinki, and, perhaps most crucially ('cause they're so mysterious and influential), Les Rallizes Denudes. In all cases, he reveals lots of stuff we didn't know. Regarding Les Rallizes, ferinstance, apparently their original bass player was involved in a JAL jetliner highjacking back in 1970, which lead to innocent Rallizes leader Takeshi Mizutani being trailed by CIA agents, which may help explain his legendary reclusiveness!
The Japrocksampler also provides plenty of info about important intersection between the avant-garde theater scene and rock n' roll in the early '70s, with a chapter on the brilliant J.A. Caesar. There's also pages and pages on the Taj Mahal Travellers, Far East Family Band, the Tokyo Kid Brothers, and much much more. It's exhaustive, impressively connecting all kinds of dots. Probably equally obsessed fanboys will have facts to check and nits to pick (we're thinking of our pal JW in particular) but really, where else are you gonna find all this info in English?? And so entertainingly written? Nowhere. Anyone who's read the Krautrocksampler, or visited Head Heritage, knows that Cope's got a knack for writing that's both enthused and erudite, a bit like Lester Bangs with footnotes. You don't even really have to know (or have heard) what he's talking about to fall under his spell, which is helpful 'cause the one big drawback to reading the Japrocksampler is the frustration most folks are gonna have trying to track down and listen to a lot of the music being discussed. We do our best to stock a good selection of '70s Japanese psych/prog/experimental reissues, whatever we can get by bands like the Taj Mahal Travellers and Flower Travellin' Band, but even we had to cry when looking over the section of the book devoted to lengthy reviews of Cope's top 50 favorite Japrock albums. Some we've got, others... someday we hope! Maybe this book will spur some more reissue action.
Can't come up with too many criticisms, other than that he slams some records we like (Foodbrain!), seemingly omits Flied Egg, and we guess we're not sure exactly how politically correct the term "Japrock" is, though it's not any worse than saying "krautrock" when you think about it...
Basically, this is a fascinating read for anyone curious about the effects of rock n' roll on the artsy underbelly of an "alien" culture. A must have if you're already into this stuff, of course, but also totally recommended if you're just a little bit curious about this "secret history" 'cause of being exposed to all the wild, freaky sounds currently being made in Japan by bands like the Boredoms, Boris, and Acid Mothers Temple.

COPE, JULIAN You Gotta Problem (Head Heritage) 2cd 27.00

COPELAND, ERIC Alanon (Catsup Plate) lp 16.98

COPELAND, ERIC Alien In A Garbage Dump (Paw Tracks) cd 14.98
No doubt about it, Eric Copeland is a bona fide weirdo! In the best of ways, as his manic and often hyper musical stylings have reached near brilliance with his band Black Dice and on his great mind-melting solo outing from a couple years back. In fact we think we kind of prefer what Copeland does on his own these days more than the recent Black Dice outings, there's just something a bit more inventive, immediate and deliciously confusing and mind bending about his solo stuff. Alien In A Garbage Dump is a pretty appropriate title considering the warped way Copeland's musical mind seems to work. Utilizing busted, broken and discarded equipment, the sort of stuff most people would throw out, Copeland sees the opportunity to explore other dimensions, reachable only by using damaged electronics, old tapes, and warped loops that feel like they've been melted, messed with and burned beyond recognition.
Using repetition often to the point of exhaustion, some songs definitely a test of endurance, yet the rewards that come from sticking it out are totally worth it! We can hear the influence of monumental 20th Century experimental compositions like Terry Riley's "You're No Good" and Steve Reich's "Come Out" and "It's Going To Rain". Yet you can also tell that underneath the extreme left field sonic fuckery in which Copeland roams he also loves dizzying rhythms and pulsating waves of sound. It's kind of like Daft Punk records playing underneath an Astral Social Club freakout. There is also a really cool Seefeel influence that he of course takes and tweaks to create a totally different atmosphere. One of those records that you can't really just hear a bit or piece of to appreciate but instead it does really work best when you can blast it loudly and let it unfold with all its twists and turns from beginning to end. With plenty of turbulence, chaos, and moments of pure ecstatic joy, this is one fucked up musical journey worth jumping on board for!
MPEG Stream: "Alien in a Garbage Dump"
MPEG Stream: "Al Anon"
MPEG Stream: "Auto Dimmer"

COPELAND, ERIC Hermaphrodite (Paw Tracks) cd 14.98
Similar to the way Copeland's friend Panda Bear released his own little masterpiece earlier this year while taking a break from his main act the Animal Collective, Eric Copeland has made an equally amazing solo record of his own, which just so happens to come to us on the eve of his main act, Black Dice, releasing a new album.
Hermaphrodite finds Copeland displaying major cinematic flair. There is an intensity and density to the sounds on Hermaphrodite that make the listener feel like they've been whisked away, similar to the way the masters of the silver screen are able to transport audiences. Not many people can sculpt sound the way Copeland does, always in control of the way the sounds shifts and change shape, never feeling stiff or too smart for its own good. What makes Hermaphrodite such a special record is how physical the music seems. Like the strange songcraft he's developed in Black Dice, Copeland has become so adept at taking sounds to mysterious places and transforming them into rich visceral experiences, as intriguing to the mind as they are to the body. Hermaphrodite sounds like creatures from another planet were given some run down analog equipment, a broken old video game arcade machine, a glimpse into Gamelan music and assigned to score a lost film made by Michelangelo Antonioni and Alejandro Jodorowsky. One of those records that truly takes you on a wild ride you never want to get off. We're more than intrigued with this Hermaphrodite, we think we might be falling in love!
MPEG Stream: "Oreo"
MPEG Stream: "Hermaphrodites"
MPEG Stream: "Scumpipe"

COPTIC LIGHT s/t (No Quarter) cd 14.98
Andee and Allan just saw these guys play at CMJ in New York, on an amazing bill with Khanate, Psychic Paramount, Mouthus and Circle! It was an intense show and Coptic Light were an appropriate opener.
If you're into tricksy, mad-as-a-hatter yet quite arty instrumental post rock along the lines of Battles, Storm And Stress, Don Cab, and maybe Hella, you ought to hear this band. It's really no surprise that the Coptic Light trio in fact features the drummer formerly of Storm & Stress (admittedly not one of our favorite bands, we like Coptic Light a lot more), alongside ex- Bitch Magnet guitarist Jon Fine and bassist Jeff Winterberg (whose Rat A Tat Tat Birds indie rock photo book you might have seen). They specialize in complex, caffinated guitar/bass/drum entanglement, a very controlled chaos, all very precise and mathematical, with lots of tension being built up and rarely released. There's got to be a lot of internal counting going on in these musicians' heads, but the technical progness of it all is balanced by the textural zones the band makes room in their music to explore.
This debut cd consists of three songs, each respectively running to 14, 10 and 19 minutes or thereabouts. These songs (songs? should we call 'em that? maybe "tracks" or "pieces" would be better) are long enough that you kinda lose yourself in 'em, forgetting how they started and unconcerned about when or how they'll end, letting your ears be blissfully battered by the frenzies and Fripperies on offer, as the tracks veer from hectic bombast to quiet ambience, drifting off while threatening further percussive fury. It's a whole lotta clatter AND atmosphere. Definitely a good fit on No Quarter with the likes of Circle and Psychic Paramount.
Also we're pretty sure that "Eat It High School" is a great song title.
MPEG Stream: "Mix The Races"
MPEG Stream: "Eat It High School"

CORDERO En Este Momento (Bloodshot) cd 13.98
These former Atlantans now New Yorkers infuse a little flamenco into their impassioned music... no, not quite to the degree that local band Fla-metal do (yup, that band does flamenco metal!), but the fiery flair and graceful stomp makes itself felt throughout their fourth album En Este Momento. Many other styles are definitely entwined in the band's potent rock mix too -- Southwestern twang, pop, mariachi horns, murder balladry and a little bit of punk too. An easy reference point would be to imagine a rocked up Lhasa. Actually while we're musing, let's also imagine a duet between lead vocalist Ani Cordero and Ms De Sela... whoa! Not too far-fetched an idea really -- both ladies have musical friends in common (Calexico, Giant Sand). Sultry, lively and captivating. Psst, a extra little trivia tidbit: Ani was in Clone Project Gamma, the all-girl combo in Man Or Astro-Man's genius touring clone band project a number of years ago.
MPEG Stream: "En Este Momento"
MPEG Stream: "Gone With A Gamble"

CORIN TUCKER BAND, THE 1,000 Years (Kill Rock Stars) cd 15.98
For any fan of the now sadly defunct Sleater-Kinney, this record is a big deal, especially because it's so damn good. Don't expect some bastardized revisitation of Sleater-Kinney, though, 1,000 Years is something different: ever so slightly twangy, a little soulful, the beats minimal but masterful. Even Corin's iconic voice, the reason so many people either intensely loved or intensely hated Sleater-Kinney, has taken a different path. On every SK record, Corin's vocals were always right up in your face with an intensity that no other vocalist of her era could match. On 1,000 years, the vocals are layered in reverb and buried in the mix instead of riding on top of it, letting guitars and washes of organs or strings fill up the space. Corin's voice is so versatile and so good, however, that its strength is evident even though it rides low in the mix. You find yourself wanting it, needing it, so that when her voice does rise up, its impact is that much more emotional. Some highlights include "Dragon" which starts out as an acoustic ballad and then blossoms into swelling symphonic choruses, using Sara Lund's excellent percussion as a bridge between the two moods. The final song on the record, "Miles Away," is so beautiful, so perfect, so sad. Just piano, vocals and a bit of acoustic guitar. Those somewhat softer songs are tempered by garagey jams like "Riley" that do actually sound somewhat like Sleater-Kinney, if SK had added strings or piano and a bit of noisy experimentation to something off Dig Me Out or All Hands On the Bad One. Corin Tucker has surrounded herself with excellent musicians for her first solo outing, and the fact that she keeps her own voice out of the spotlight only serves to highlight just how powerful it is.
MPEG Stream: "1,000 years"
MPEG Stream: "Riley"
MPEG Stream: "Miles Away"

CORIN TUCKER BAND, THE 1,000 Years (Kill Rock Stars) lp 16.98
For any fan of the now sadly defunct Sleater-Kinney, this record is a big deal, especially because it's so damn good. Don't expect some bastardized revisitation of Sleater-Kinney, though, 1,000 Years is something different: ever so slightly twangy, a little soulful, the beats minimal but masterful. Even Corin's iconic voice, the reason so many people either intensely loved or intensely hated Sleater-Kinney, has taken a different path. On every SK record, Corin's vocals were always right up in your face with an intensity that no other vocalist of her era could match. On 1,000 years, the vocals are layered in reverb and buried in the mix instead of riding on top of it, letting guitars and washes of organs or strings fill up the space. Corin's voice is so versatile and so good, however, that its strength is evident even though it rides low in the mix. You find yourself wanting it, needing it, so that when her voice does rise up, its impact is that much more emotional. Some highlights include "Dragon" which starts out as an acoustic ballad and then blossoms into swelling symphonic choruses, using Sara Lund's excellent percussion as a bridge between the two moods. The final song on the record, "Miles Away," is so beautiful, so perfect, so sad. Just piano, vocals and a bit of acoustic guitar. Those somewhat softer songs are tempered by garagey jams like "Riley" that do actually sound somewhat like Sleater-Kinney, if SK had added strings or piano and a bit of noisy experimentation to something off Dig Me Out or All Hands On the Bad One. Corin Tucker has surrounded herself with excellent musicians for her first solo outing, and the fact that she keeps her own voice out of the spotlight only serves to highlight just how powerful it is.
MPEG Stream: "1,000 years"
MPEG Stream: "Riley"
MPEG Stream: "Miles Away"