SEAM Are You Driving Me Crazy? (Touch & Go) cd 12.98
SooYoung Park pens some of the most gorgeous quiet/loud songs of heartache and heartbreak. And this the third album from Chicago's Seam is no exception. Soaring, droning guitars blanket you as Mr. Park takes aim at your heart.

SEAM Are You Driving Me Crazy? (Touch & Go) lp 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SEAM Sukiyaki (Ajax) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Wherein the Chicago indie rock stalwarts cover two of the most unlikely songs: "Heroes" and "Sukiyaki" (Taste of Honey, remember?)

SEAM The Pace is Glacial (Touch & Go) cd 13.98
Chicago's kings of indie rock have been doing this so long they can only further refine the genre. Slow buildups and melodic layers, murmured vocals, very pleasant.

SEAM The Pace is Glacial (Touch & Go) lp 8.98
Chicago's kings of indie rock have been doing this so long they can only further refine the genre. Slow buildups and melodic layers, murmured vocals, very pleasant.

SEAN NA NA Dance 'Til Your Baby Is A Man (Troubleman Unlimited) cd 10.98
This is the first full length from Sean Tillman, who you may remember from his sort of popular old band Calvin Crime. His solo stuff as Sean Na Na is a complete about face from Calvin Crime's arty punkiness. This is coy, clever Built To Spillian pop. He was on that split cd with Mary Lou Lord a few months back, and blew her away (granted no mean feat). Imagine a younger, more playful, whinier Built to Spill (the Dug Martsch comparisons are unavoidable, high reedy voiced, lonely, whiney boy rock (�Elisabeth)). Really cool.

SEAN SMITH Sacred Crag Dancer, Corpse Whisperer (Gnome Life) lp 12.98
Now available on vinyl!
Berkeley based guitarist, Sean Smith, doesn't shake off the Fahey discipleship of his debut too easily on this sophomore effort, no matter how hard he tries. Yet still he brings a darker and more spontaneous impulse to his playing, allowing roughly exposed and muted fret tones to surface, showing he is not all about polish and that 's a welcome departure. More improvised than composed, Smith's cerebral guitar weaving is less bucolic sunshine this time around, taking us on a night time sojourn through a folkish nether world of threaded string picking and somber harmonic tonalities.
MPEG Stream: "Some Men Are Born Posthumously"
MPEG Stream: "Nachtmystium"

SEAR BLISS Glory And Perdition (Red Stream) cd 14.98
Black metal. Trombone. Makes more sense than you'd think. At least, it worked for Norwegian weirdos Beyond Dawn, although they don't sound all that black metal anymore. But Hungary's Sear Bliss makes the trombone/black metal connection and stays heavy and brutal and evil for sure. This latest Sear Bliss is the one that got Allan into the band (Andee was already a fan, but he's got a thing for trombones). Grim yet melodic, kinda like Immortal or old Satyricon, the songs on Glory And Perdition compel repeated listenings. Majestic, hypnotic, and as we said, heavy. A great black metal album. And not only is the cover painting cool, it visually suggests the use of trombone (which, we should stress, is not at all a major component of the band's sound, even though we're so excited that it's there at all).
MPEG Stream: "Birth Of Eternity"
MPEG Stream: "Two Worlds Collide"

SEAR BLISS The Arcane Odyssey (Candlelight) cd 14.98
This Hungarian black metal act is perhaps best known for their use of the trombone -- not your everyday metal instrument, right? Of course trombone alone isn't enough to sustain a career (this is their sixth album) nor our interest for that matter (though it helps), and so it's also clearly to Sear Bliss' benefit that they have mastered the dark art of composing thunderously heavy, melodic yet grim black metal songs. The tootin' trombone just makes 'em all the more grand and majestic. Lesser bands would rely entirely upon synthesized keyboard coloration to create such moods. And while Sear Bliss do use keyboards, they also have folks playing violin, flute, euphonium, trumpet, and of course trombone, as well as sundry ethnic instruments with which we're not familiar, presumably of Hungarian origin. The folk-tinged results are slickly impressive, definitely dramatic, orchestrally progressive, yet still iron-fistedly metallic (with gruff vocals, blazing drums, and badass guitar shred). The music of Sear Bliss bears comparison to the atmospheric Viking prog of Norway's Enslaved and the eccentric cinematic symphonics of Japan's Sigh -- two AQ faves. When we can say that about a band, and there's trombone too, well that's an automatic thumbs up!
MPEG Stream: "Blood On The Milky Way"
MPEG Stream: "A Deathly Illusion"
MPEG Stream: "Lost And Not Found"

SEARCH PARTY, THE Montgomery Chapel (Merry-Go-Round Records / Beatball Music) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fans of psychedelic sixties rock n' roll might be a little concerned about what they're getting when a peek at the album cover shows that two of the band members are men wearing clerical collars. Priests who rock? And these are no long-haired Jesus Freaks, either. The four men and one woman in this band look pretty straight. But, have no fear, their music is plenty far-out. This self-released 1968 album is the sole recorded legacy of The Search Party, a Christian folk-psych combo masterminded by the Reverend Nicholas Freund of Mount Saint Paul College in Waukesha, Wisconsin, but recorded at the San Francisco Theological Seminary's Montgomery Chapel (hence the title). They were definitely hip to the sixties West Coast vibe, with female vocals that remind us a bit of both Grace Slick and Linda Perhacs. Much of this is quite ethereal and haunting, full of organ drone-tones and dreamy, downer atmosphere. The album's centerpiece, the nine-minute "So Many Things Have Got Me Down" could be a lost acid-krautrock jam. The New Creation, the other lost 60s Christian rock reissue we reviewed here recently, have nothing on this! While The Search Party are at their best on the slower, moodier numbers, the more uptempo songs, though, go to some amazing extremes with over-the-top vocals and searing fuzz guitar (as in "You And I" which stands in stark contrast to the gentle, sombre sounds of much of the rest of the album). This Korean-import cd reissue comes packaged in one of those minature gatefold LP style sleeves, with lyrics and liner notes, which include the statement that "this album...is a demonstration of these five people's concern for you." Now how often do bands today say things like that? Bless' em.

SEAWHORES Forest (Essay Recordings) cd 14.98
Seawhores appears to be the work of a cast of thousands -- well there's like ten people credited as "writers and contributors" anyway. We're not sure who or what is at the core of this project, but we can tell you that Brian Chippendale (of Lightning Bolt) and Dale Crover (of the Melvins) both appear, amongst others, including ex-members of the Cows, on this album. And Seawhores definitely do display an affinity with the sort of noise-rock of those bands, particularily the mix of heaviosity and musical fuckery normally (abnormally?) practiced by the Melvins, and their former AmRep brethren as well. It's mostly instrumental with the notable exception of the (ironic we're pretty sure) hard rock radio friendly vocals that make/break the track "College Walls". They've gotta be ironic as we do sense a definite wiseassitude about this band, again in keeping with their Melvins meets Wolf Eyes noisedrone attack, a demented mix that incorporates rhythmic drum machine damage, gobs of distortion, soundtracky ambience, and more... For instance, the track "Sweaty Men, Attack" destroys the memory of its mock-country opening with pummelling industrial rock spazzcore. Elsewhere, you'll be treated to the extended eleven minute hissing howling horror soundscape of "Village Curse". All six tracks on this mysterious cd are intriguing. Very recommended to fans of Melvins, Mike Patton, Lightning Bolt, and suchlike gonzo avant-rock entertainment!!
MPEG Stream: "Sweaty Men, Attack"
MPEG Stream: "May Your Hands Wither"

SEAWORTHY Map In Hand (12K) cd 14.98

MPEG Stream: "Map In Hand Pt. 1"
MPEG Stream: "Map In Hand Pt. 2"

SEAWORTHY Serrata (Celebrate Psi Phenomenon) cd-r 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We have no idea how Campbell Kneale, overlord of the mighty Celebrate Psi Phenomenon label, finds time to keep discovering so much amazing, unheard music. He plays in loads of bands, Black Boned Angel, Birchville Cat Motel, he plays shows, makes record after record after record, goes on tour, has a family, kids, maybe even a real job. It's a wonder he can even run a label at all. Especially one where most of the discs are hand made and assembled. We don't want to jinx it. Not sure what we would do if there was no Celebrate Psi Phenomenon. Miss out on a whole lot of kick ass music that's for sure. We've discovered so many amazing groups, lots of all time AQ faves too: Birchville Cat Motel obviously, Dialing In, 1/3 Octave Band, Peter Wright, Lugosi, Seht, MHFS, Black Boned Angel, Ming, Mrtyu, With Throats As Fine As Needles, Ming, Mirag and more.
And we can now add Seaworthy to the list. This Australian combo sound just like their name would lead you to believe. Serrata is a blissful oceanic exploration, a swoonsome soundscape of distant drones and shimmering sonic surf, lapping waves of sound causing the listener to gently rock back and forth, like floating on your back in a clear tranquil ocean, delicate clouds drifting far above, your body at one with the rolling swells beneath. So serene and peaceful, soft focused and meditative, a dreamy droning meditation on the deep blue sea, a sonic sending off, eyes closed as you drift toward the horizon. Wow.
MPEG Stream: "Serrata (Excerpt 1)"
MPEG Stream: "Serrata (Excerpt 2)"

SEAWORTHY The Ride (Jetset) cd 15.98
Hurrah! This is the first solo album from the very talented Josh McKay of Macha. Have to say though that if you were expecting for this to sound all Macha-y, try again. You certainly won't be disappointed though. The rich craftsmanship that he's applied to his band's music is in full bloom in Seaworthy. Shadowy, brooding and hypnotic. Expansive graceful sweeps from thunderous to mere whisper. Sinking deep into hallucinatory grooves, the music glows with the added presence of Japanese vocalist Haco (of After Dinner) and the Japanese trio Hoahio.
RealAudio clip: "The Day"
RealAudio clip: "The Ride Pt. 1"

SEAY, JOHNNY Blue Moon Of Kentucky (Bear Family) cd 17.98
Wow! He sounds like Johnny Cash! OK, sometimes we compare things in reviews or note similarities but it's not often that we come across a record that sounds almost identical to another artist we love. Such is the case with this archival release of Kentucky country crooner Johnny Seay who recorded in the late '50s-early '60s and sounds EXACTLY like Johnny Cash. We swear every single time we play this someone asks which Johnny Cash record this is and often one of us working will wonder the same thing. Luckily Seay sounded like all the best parts of Cash. The deep rich baritone sung atop a perfect rockin roots country backdrop. And we really can't stress how uncanny the resemblance is. Some of us even find ourselves leaning towards Johnny Seay, as this was playing the other day and Christine came up front and of course asked if this was a Johnny Cash record she never heard and when told the story she concluded that she might even like this Johnny more. For curious minds and Cash fans alike this is an essential listen!
MPEG Stream: "Blue Moon Of Kentucky"
MPEG Stream: "Standing Room Only"

SEBADOH Bubble & Scrape (Domino) cd 14.98
Sebadoh's fourth "studio" album, Bubble and Scrape, is oddly overlooked, perhaps because of its explicitly transitional status. Fans of the band's earlier output tend to gravitate toward the endearingly scattershot scrappiness and excess of III or the lo-fi confessionals of the first two records, while fans of the Bob Fay-era can turn to Bakesale to hear the band at their most polished, streamlined and direct with Lou Barlow's pop songwriting at its most masterful.  Bubble and Scrape falls somewhere in between the two, and what makes it so remarkable is that when you listen to it you can hear all the disparate strains of the band perfectly complementing and foiling each other at every turn. On this record, moreso than perhaps any other in the band's catalog, Sebadoh really sounds like an actual band on every song rather than a strange vehicle for three songwriters whose styles are so different that it's hard to imagine what interest they actually had in playing with each other.  Honestly, can you think of another band that would follow up "Two Years Two Days" with "Telecosmic Alchemy?" Can you even think of another band who would make a record with both those songs on it?  We can't either, and that's part of what makes Sebadoh so special to us and Bubble and Scrape such an important part of their catalog.
Barlow's contributions to this record are some of his best work - tuneful, heart-wrenching, sappy, confessional and catchy as all get-go - but the ragged feel that Jason Lowenstein and Eric Gaffney bring to the performances keep them from becoming too saccharine or mechanical (arguably, the downfall of Sebadoh's later output).  Similarly, Gaffney's acid-damaged freak-outs perpetually throw a wrench in the works - just as you're being lulled into thinking that this band is all about sensitive indie croon, out comes "Elixir is Zog." Bubble And Scrape is also the record where perpetual "third guy in the band," Jason Lowenstein really began to shine as a more than capable songwriter; in fact, "Sixteen," "Happily Divided," and "Sister" are far and away some of the strongest songs on the album. Rather than coming off as wishy-washy in their unwillingness to as fully commit to a particular and identifiable style as his bandmates, Lowenstein's refusal to be as plaintively emotional as Barlow or as blatantly fucked up as Gaffney allows him to pick and choose elements of both and write some fantastic songs as a result.
While the bonus tracks are a nice edition to this "deluxe" repackaging of the original, the core album still shines as a rough gem from an era where polish was still regarded as something of which to be wary. Bob Weston's 'production' is as ramshackle as the band itself and complements the record perfectly - all the elements are audible in all their flawed, contradictory glory; thankfully, the remastering retains the spiky imperfections of the original mix. Domino and Sub Pop have filled out the reissue with 16 additional cuts, most of which are demos of album songs. "Reject" stands out as a solid b-side, and the home recorded version of "Soul and Fire" is perhaps the most interesting of the demos for the glimpse it gives into the evolution of the song.
We here at aQ love this band, and listening to this reissue over the past few weeks has reminded us just how much we also love this record. We have no idea why we let it slip into the cracks as the years following its release went by, but we guarantee that it won't happen again! If you were a fan back in '93, this is as good a time as any to remind yourself why; if you're new to Sebadoh, this record displays everything that made this band so amazing; if you're the rare bird who's kept this record close to his or her heart for all these years, this reissue gives you a healthy dose of demos to keep your interest piqued. Capricorn rising!  We're going to ride with the Flood tonight!
MPEG Stream: "Soul And Fire"
MPEG Stream: "Sixteen"
MPEG Stream: "Sister"

SEBADOH III (Domino) 2cd 14.98
Lots of claims could be made for best indie rock record ever. Pavement's Slanted And Enchanted is an obvious choice. But there are tons of other contenders, records by Dinosaur Jr., Galaxie 500, Seam, Archers Of Loaf, the Pixies, the Breeders, Unrest, Slint, Yo La Tengo, Superchunk...
But what about Sebadoh? Originally Lou Barlow's bedroom side project while he was playing bass in Dinosaur Jr., Sebadoh went from soft 4-track sad boy ruminations to full on rambunctious indie rock without losing Barlow's tender hearted, mopey moodiness. This record, III, is where they really clicked. To be totally honest, the first two are our absolute favorites (c'mon, somebody reissue The Freed Weed!!!) but until those are available again, we'll just have to cast our lot with III. Not entirely fair to compare them though. The first two Sebadoh records were just Lou, in his bedroom, singing and strumming, a ramshackle collection of sweet sad songs and freaked out tape experiments, where as by the time of III, Sebadoh was a real rock band, with not just two other band members, but two other songwriters, Eric Gaffney and Jason Lowenstein. Giving Sebadoh a distinctly schizophrenic sound, veering from introspective to noisy and annoying depending on whose song it was. Years before Conor Oberst ascended to the weepy, slouchy indie throne, Sebadoh's Lou Barlow was already the king of the lo-fi tearjerker. He ruled the roost of unabashed romantics in his rumpled threadbare cardigan, spectacles and tousled mop of hair. However, as III proved beyond a doubt, Sebadoh wasn't confined to lovey-dovey bedroom balladry, nope they could tear shit up a-plenty providing both cathartic heartbaring sadsack sweetness and blistering noise rawk for indie kids near and far.
The copious liner notes are a bit confusing though. As far as we were concerned, Sebadoh WAS Lou Barlow, who was later joined by Eric and Jason. But the liner notes, especially Gaffney's, paint a quite different picture. Gaffney goes on and on about how it was basically his band and his songs. But a quick listen to the record (and a look at each member's subsequent sonic track record) reveals the truth, that Lou was still the quiet mastermind. Eric has some killer tracks for sure, and Jason's songs are wild and chaotic (this was before he would grow into a songwriter to rival Lou on later Sebadoh discs) but almost without exception the perfect pop gems here are penned by Lou. Just check out the opener "The Freed Pig", hard to imagine a more perfect indie rock song. Jangly and catchy, a little ramshackle, a teensy bit melancholy, but exuberant and hopeful. With a killer crunchy chorus.
III is peppered with sweet soft acoustic numbers that sound like they were plucked from old Sebadoh cassettes. Each one sad and lovely, perfect mix tape material way back in 1991 (Yeesh, has it really been fifteen years?!), the prototype for EVERY home recorded bedroom record since. Jason contributes some Minutemen sounding instrumental jams ("Sickles & Hammers"), some slow motion druggy stoner jams ("Smoke A Bowl"), a killer twangy acoustic hoedown ("Black Haired Girl") and most of the really esoteric tunes. Eric offers up some lilting minor key jangle ("Violet Execution"), some super fuzzed out jangly tribal psych rock ("Limb By Limb") and the super lengthy bizarre drugged out psych jam "As The World Dies The Eyes Of God Grow Bigger". Between all of these musical flights of fancy, Lou gives us perfect pop song after perfect pop song, whether it's in the form of a whispered mumbly song fragment, or a glorious rocked out jangly jam. Somehow these disparate elements mesh perfectly into a totally rollicking chaotic indie rock masterpiece. A reissue of III on its own would definitely merit record of the week status, but there's a whole extra disc of singles and outtakes that make this absolutely essential.
First up on the extras disc is "Gimme Indie Rock" a tongue in cheek slam on their more popular indie contemporaries, which inadvertently became a hit and somehow sounded like, but better than, all the bands it was poking fun at (check out the very Dinosaur-like leads!) Speaks volumes that a tossed off fuck around track can be this good. Next up is quite possibly the best Sebadoh song ever "Ride The Darker Wave" a loping groove, with a totally catchy guitar part and an instantly unforgettable melody. Heavy and sludgy but perfectly poppy. The rest of the disc is jam packed with outtakes and alternate versions, a whole bunch of Gaffney tracks, as good as anything on the record proper, as well as a few other Lou gems. Also, tacked on at the very end is "Showtape '91" a 12 minute experimental tape piece, the band used to play at shows before they came on stage. It features the band reading various reviews (positive and negative), repeating the various mispronunciations of the band name, all amidst a cacophonous soundscape of tape manipulation and guitar grind. Very annoying but very very funny.
As befits a classic record like III, the packaging and reissue extras are amazing. Besides the wealth of extra and unreleased tracks, there are extensive liner notes from all three band members, tons of photos, and the whole thing is housed in a snazzy slipcase with the band name and album title embossed in metallic gold ink. We feel like we're 21 again!!!
MPEG Stream: "The Freed Pig"
MPEG Stream: "Sickles And Hammers"
MPEG Stream: "Total Peace"
MPEG Stream: "Scars, Four Eyes"
MPEG Stream: "Truly Great Thing"
MPEG Stream: "Gimme Indie Rock"
MPEG Stream: "Ride The Darker Wave"

SEBADOH Smash Your Head On The Punk Rock (Sub Pop) cd 10.98

SEBADOH The Freed Man (Domino) cd 14.98
As much as we all love Sebadoh, most of their records predate the aQuarius list, so other than the recent reissue of III, and this one right here, we have never been able to truly sing the praises of one of our favorite indie rock bands of all time. They were one of the few bands who took indie rock and did whatever the fuck they wanted to with it. Bakesale, Bubble And Scrape, Smash Your Head On The Punk Rock, Sebadoh Vs. Helmet, all over the map, but all distinctly Sebadoh. Much of it had to do with the genius popsmithery of Lou Barlow, ground zero for lonely sadboy bedroom folk. A one man lo-fi revolution. But much of it had to do with his choice in collaborators. Specifically, Eric Gaffney, Lou's perfect foil, personally, musically, in every way. Where Lou was introverted and shy, Eric was outspoken and spastic. Where Lou penned soft whispery ballads, Gaffney's songs were disjointed angular folk, or blasts of off kilter acoustic weirdness, together, the two forged the perfect balance between romantic longing and snotty punk rock rebellion. Never was this more evident than on their very first record, The Freed Man. 
Back in the nineties, there was a disc called the Freed Weed (you might remember in our review of III, we pleaded for someone to re-release it) which was the cd version of a record called Weed Forestin', a record written and recorded entirely by Lou, jam packed with classic pop, including a handful of tracks that would be reworked later and turned into classic electric Sebadoh numbers. Well, to fill out the cd, they tacked on a handful of tracks from The Freed Man...
The Freed Weed was our introduction to what would become the whole bedroom folk movement. We didn't know what the hell it was, other than it was like nothing we had ever heard, sad and intense, funny and fucked up, super personal and intimate, with bursts of total what the fuck weirdness scattered throughout and some of the prettiest songs we had ever heard. And we were not looking  for soft folky sadness, we wanted heaviness and noisiness, but these songs were just too good to not fall in love with... We played the shit out of the Weed Forestin' side, the prettier Lou songs.
but later, when we had played it to death, we dug deeper into the more difficult songs from the Freed Man, and discovered a whole new world of deliriously damaged fractured folk...
So here we have the Freed Man in its entirety. With tons of extra songs, alternate versions, all culled from the original recordings... and it's just as amazing, as far out, as sweetly sorrowful as we remember. 
The Freed Man was the 'first' actual Sebadoh release, originally released in 1989, and in the early days, sold for 99 cents in local record stores. It was split pretty evenly between Lou's soft bedroom folk, and Eric's damaged whatthefuck lo-fi freakouts  and raggedy strum and croon, with tons of random shit mixed in, radio soundbites, old records, primitive tape recorder experiments, all sorts of weird found sounds scattered throughout.
The sound now is quite familiar, every kid with an old beat up guitar and a 4 track has taken a stab at the whole lone bedroom troubadour thing, but at the time, this was seriously mindblowing, murky hiss drenched acoustic guitar, gorgeously melancholy, with Lou's sadboy vocals, and lilting melodies, heartfelt, yet slightly tweaked lyrics, bursts of staticky chaos, cool weird tape loops... and the thing is, even after a million imitators, this STILL sounds special and fresh, and yeah, mind blowing. So much so that it's hard to pick out particular songs, the whole thing is so perfectly realized, it's almost like some insane lo-fi, bedroom folk DJ mix, the songs all flow into each other, stumbling over one another, woven together with random sound effects or manipulated tapes... Single songs don't get stuck in your head as much as whole suites, chunks of distinctly different songs that are so inexorably linked, they almost sound like multi part mini epics.
Some of our favorite tracks though: the all time classic emo indie boy anthem "Soulmate", with the legendary line "I'll probably have to have sex with a lot of girls before my soulmate reveals herself to me..." and a chorus to die for, Gaffney doing his best Barlow on "Level Anything", still sad and folky, but with way more buzz and off kilter melody, the super distorted hiss drenched beauty that is Barlow's "Close Enough", Lou's "True Hardcore"  with the spoken intro "this is a complete rip off of every other song i've ever done" which launches into a song that is anything but hardcore, instead a gorgeous slab of lush heavily strummed sadboy folk with a KILLER hook / chorus, "Wrists" another gorgeous off kilter folk dirge from Eric, minor key and rife with lush guitars and killer melodies, "Bolder" which hints at the pop genius that Barlow would blossom into, it's easy to imagine this track fully electrified and super rocking on some later Sebadoh record, "Jealous Evil", yet another classic Barlow track, moody and miserable, with brooding guitars, and subtle but moving melodies, and some gorgeous vocal melodies, same with "Pig" slow burning and melancholy, "Punch In The Nose", and an old track with Lou's sister accompanying him on trumpet, and the record finishes off with a Doc Watson cover that ends up sounding like the Frogs which is a very good thing. It's a mess and a jumble, but it's just so goddamn immediate and personal, weird and wonderful. Eric's songs sound like Lou's only doused in acid and pot and slightly -more- out of tune but they are the perfect balance for Lou's earnestness...
The Freed Man is in no way perfect, there are plenty of tracks that are noisy or fucked up and here and there plain embarrassing, but those only add to the record's charm, and tend to never last more than a minute. There's the super noisy cover of "Yellow Submarine" and the super embarrassing "Lou Rap" complete with goofy childhood recordings, both of which we used to skip, but now, are too much a part of the whole to not enjoy as part of the bigger Sebadoh picture. 
There are of course tons of extras, some awesome rarities, redone tracks from the Freed Weed, unreleased songs, tracks from the amazing and long out of print Magic Ribbons 7" boxset and a handful of splits and singles, includes liner notes by both Eric and Lou, each offering their own take on the early years of the band, with lots of artwork from the original cassette and the Freed Weed cd.
Like the recent reissue of Sebadoh III, The Freed Man is gorgeously packaged, with a huge booklet, tons of art, all housed in a swank slipcase, with the original cover reproduced, but with all the text in metallic silver...
MPEG Stream: "Healthy Sick"
MPEG Stream: "Soulmate"
MPEG Stream: "True Hardcore"
MPEG Stream: "Jealous Evil"
MPEG Stream: "Pig"

SEBADOH The Sebadoh (Sub Pop / Sire) cd 15.98

SEBADOH The Sebadoh (Sub Pop / Sire) lp 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SEBASTIAN Motor Momy Army (Because Music) 12" 13.98
Ed Banger producer, Sebastian, really "revs" things up with this 12". The title track "Motor" is the epitome of rude! If you're tired of wimpy dance music and need something to put some hair on your chest, this is probably the biggest, hardest, grinding, pumping, and almost unbearable (in a good way) tune you could hope for. The jist of it is a sample of a motor revving faster and faster, chopped up, pitched in different ways, and arranged over some pretty sinister drum slappage. You'll either hate it or love it and we here at AQ are eating it up. The other 2 B-side tracks are definitely much more endurable and just as good if not better. "Momy" is actually more of a quintessential disco track compared to Sebastian's common production style, filled with strings, trills, and the normal choppery of course. "Army" sums everything up with Sebastian displaying his usual yet crafty beat trickery, throwing pounding drums mixed with more of that gritty, churning, distorted bass synth that we've always loved from him and the rest of the French Ed Banger family. Awesome!

SECHT True Narcotic Black Metal (Sublife Productions) cd 16.98
An unusual and utterly unhinged black metal album from two of the members of Norway's Neetzach (whose debut cd we reviewed a couple lists ago), Vrangsinn and Dirge Rep. They call Secht "a musical piece of pure insanity". We'd agree, though some might take exception to the "musical" part. They go on to say that it was "composed under Satanic and Narcotic influence" which we do believe. Seriously though, this is certainly a cult concept: it's all one 37 minute track, starting off with drizzling rain-sounds and melancholic acoustic guitar, developing a disturbing, droning atmosphere with baby-like black metal mewlings before unleashing a full-on electric guitar and drums assault, building ever-heavier and more frenzied, with angular breakdowns and an overall extremely maniacal vibe. About twenty four minutes in, it returns to hissing ambience, a creeped-out chill-out in the forest before a final dose of chattering distortion ends the album. File with Abruptum, Mistigo Varggoth Darkestra, Caacrinolas, Rakhim, and whatever other semi-improvised, soundscapey, single-tracked, non-standard black metal you can think of...
And making this even more crazed and cult, since the Secht duo are such scenesters they were able to enlist such friends/fiends as Gaahl (Gorgoroth), Nattefrost (Carpathian Forest), and Nocturno Culto (Darkthrone) amongst others to provide additional screams n' sounds!
MPEG Stream: "excerpt 1"
MPEG Stream: "excerpt 2"

SECOND DECAY La Decadence Electronique (Dark Entries) lp 17.98
Dark Entries made their debut as a label several months ago with the awesome reissue of the Eleven Pond LP and with that single release we knew we were witnessing the birth of a an awesome reissue label, one with its heart set on finding obscure synth-pop and darkwave and and shining the spotlight on records that never got the love, attention or distribution they deserved the first time around.
Second Decay were a German electronic-pop group who formed in the late 1980's dedicated to the sound of analog synthisizers, the album's back cover proudly remarks 'This album was produced without MIDI. It is dedicated to our beloved synthesizers.' And there is no doubt these guys had deep love for the sounds of synthesizers as they used them to craft very infectious, dark new wave with full on pop chops. While there have been tons of reissues and attention paid to the amazing music that was made in Germany in the 70's it's really cool to see someone digging up some of the gold in a post-Kraftwerk Germany as Second Decay have a sound that brings Neue Deutsche Welle to mind (e.g. Grauzone, Liaisons Dangereuses, etc.) and the more dark tinged blasts of electro-pop that folks like Depeche Mode and The Human League were making on their early records, or even early 80's Cabaret Voilatire, and of course you can tell they were WAY influenced by the mighty Kraftwerk. We also hear a cool similarity to the recently reissued Patrick Cowley & Jorge Socarras record Catholic, which kind of makes perfect sense as the man behind Dark Entries was instrumental in saving and preserving the cache of Cowley tapes from which that record was culled.
With new bands like Cold Cave and Xeno & Oaklander grabbing our attention lately with their awesome updated version of that classic vintage synthwave sound, it's pretty rad and perfect timing to hear a lost classic from folks who were making that sound almost twenty years ago. Limited to just 500 copies all screen printed and with an amazing remastered sound thanks to the work of the legendary George Horn at Fantasy Studios. This will make you want to wear all black and dance all night. Minimal wave/gothpop at its best!
MPEG Stream: "Poisonned Water"
MPEG Stream: "Enclose My Heart"
MPEG Stream: "Laboratorium"

SECOND HAND Reality (Sunbeam) cd 16.98

SECONDO A Matter Of Scale (Soul Jazz) cd 21.00

SECONDS IN FORMALDEHYDE II (Gears Of Sand) cd 9.98
It's pretty impossible to not be intrigued by a record that features the legend: "This music was created with the pure power of the guitar drone." Especially when those words prove to be absolutely true.
The record begins with nearly 15 minutes of abstract drift, a wash of delicate low end flutter, soft swells of oceanic drone, ultra minimal and gorgeously languid, the opening track a barely there whisper of sound. So gentle and soothing. Track two introduces that previously mentioned 'pure power' with a coruscating dronescape all keening crumbling distortion, moaning steel strings, a dense reverberation of coruscating grind and scrape, all smeared into a surprisingly melodic sea of blown out buzz.
The final track is over half the record, clocking in at nearly half an hour, and revisits the dark tranquility of the opening track, a stark landscape of drifting bell like tones, distant streaks of muted feedback, slow motion pulses of warm low end, and stretched out partial melodies. A gorgeous bit of night sky glimmer, that toward the very end introduces some abstract distorted guitars, a slow motion wash of rumbling buzz that shifts and shimmers, a huge swaying mass of grizzled guitar growl that gradually fades into nothing...
Essential listening for fans of the drone guitar, especially Fear Falls Burning, Troum, Taiga Remains and the like...
MPEG Stream: "With The Pure Will To Move A Mountain"
MPEG Stream: "He Slowly Lifted His Hands With Decay"

SECONDS IN FORMALDEHYDE Live At The Auerworld Festival 28 July 2007 (Gears Of Sand) cd-r 12.98
Latest in Gears Of Sand's series of super limited, hand assembled live discs, each documenting a single performance, the first was from the always prolific aQ fave Aidan Baker (of Nadja), this one from the curiously named Seconds In Formaldehyde, whose last disc, a favorite around here, bore the legend "This music was created with the pure power of the guitar drone", and while for that disc, those words could not have been truer, for this latest one, SiF explore a world much more soft and melodic, still generating sounds exclusively with electric guitar, but here the sounds are ethereal, tranquil, the edges soft and rounded, notes and chords waver and shimmer, the guitars soaked in reverb and delay, and processed into long blurred streaks of sound, minor key melodies drift and everything is hushed and underwater. The opener is 20 minutes of almost New Age style bliss, total bottom of the sea, sun dappled sonic glimmer, looped and mesmerizing and subtly dramatic. Cinematic and expansive, yet hushed and intimate. Absolute crystal vibration bliss.
The other two track are similarly dreamy, but offer up much more varied texture, the second getting a bit raw and intense with an almost Nadja style climax, which quickly gives way to more glistening harmonic drift, while the closer, offers up some effects drenched atonal melodies, almost like underwater whale songs, laid over a deep warm shimmering swell, the result, a surprisingly dramatic bit of soft focus, deep listening ambience.
So gorgeous. Not as 'heavy' as the other SiF disc, but still might appeal to fans of the guitardrone, a la Fear Falls Burning, Aidan Baker, Troum as well as folks into pure late night dreamdronebliss. Packaged in a thick, silkscreened, cardstock origami style fold over sleeve. LIMITED TO ONLY 100 COPIES, each one hand numbered, we got about a quarter of those, so be quick...
MPEG Stream: "2"

SECRET ABUSE Immeasurable Gift (Arbor) lp 13.98
Everything we've heard from Secret Abuse, aka one man noise making machine Jeffrey Witscher, has been pretty harsh, heavy, noisy, brutal. A certain element of washed out drone, but for the most part, some serious speaker destroying chaos.
But on this latest lp, The Immeasurable Gift, Witscher expands his palette, keeping much of the grit and brutality intact, but wrapping it around warm glowing orbs of glistening melodic shimmer, and long drawn out streaks of kaleidoscopic blur. Anyone into Tim Hecker and Nadja and Fennesz and all those other musical obfuscationists, will definitely dig this big time.
The A side is a three part epic, made up of warm swirling swells, pulsing beneath a gauzy layer of crunch and hiss and whir, everything noisy and melodic, the tracks constantly teetering between the two, the end result is a totally fantastical sun dappled soft focus noisescape, light on the noise, and heavy on the warm warped shimmer. Beneath the constantly churning layers of grit and grim and crumbling buzz, a soaring epic, throbs and glows, brooding, slow building, languorous and lustrous, visible only as streaks and fragments visible through the whirling sonic clouds all around it.
The flipside is a bit more caustic, the melodies buried WAY further down, the main element a stuttery, skittery looped crunch, like someone playing a helicopter rotor, a whirring, flickering low end that creates deep slow burning melodies and barely discernible rhythmic pulses. The sounds build to a full on rrrrooooaaar before settling back down, the noise element gradually blunted and muted, revealing tantalizing glimpses of what lurks beneath the surface, some gorgeous gauzy mysterious soundworld, intercepted radio broadcasts, lilting melodies, pop song fragments, all drifting in the shadows, but it's only moments before the noise erupts once more and swallows it whole. So good.
LIMITED TO 425 COPIES, housed in super fancy full color jackets, with a Xeroxed insert.

SECRET ABUSE Violent Narcissus (Not Not Fun) lp 16.98
After releasing over a dozen tapes and 7"s, Violent Narcissus is the latest release from Jeffery Witscher, the man behind Secret Abuse, and it's a sizzling heap of buzzing electronics and blown out radiance. Heavy, damaged Iowa city drone scapes. We didn't think it was even possible, but Secret Abuse manages to conjure the perfect dose of harsh bliss. Densely layered walls of fuzz and sizzle that boil over hushed melodies, the lp is equal parts gorgeous and abrasive. Unlike past releases we've heard that don't veer too far from the harsh noise territory, Violent Narcissus adds a bit more to the formula. With some decipherable guitar passages and lush drones buried in blown-out goodness, the album is pleasantly abrasive. Talk about aural cleansing! Highly abusive. Highly recommended.

SECRET CHIEFS 3 Book M (Mimicry) cd 13.98
Of all the post-Mr. Bungle bands featuring its members, the instrumental Secret Chiefs 3 are carrying the torch for what I most enjoyed about Bungle -- their intense love for all kinds of music, and the irrepressible, joyful schizophrenia that results. Like Bungle, who would play carnivalesque songs with ska breaks and heavy metal bridges, Secret Chiefs are similarly manic, inspired and skilled. The Secret Chiefs mainly operate in the realm of "ethnographic forgery" (a la the Sun City Girls and Can), drawing inspiration from Middle Eastern and Indian music (especially Bollywood soundtracks -- they "cover" several Indian film themes here), and the last song is even a cover from one of the Ethiopiques records. They know "il Maestro" Ennio Morricone's soundtrack work so well that spinning out an Italian folk waltz or minor key lament is simply second nature to them. And their occasional use of techno beats, is matched by an obvious love for metal as well, making for some "heavy" moments on this disc. Even the (happily non-annoying) drum'n'bass lasts mere seconds and injects just enough adrenalin into the proceedings.
Secret Chiefs'd like to be as weird and esoteric as the SCGs, and try really hard in the purposefully obtuse liner notes, but let's face it, as great as the Secret Chiefs are, they don't possess the singular sound, feeling and mystery of the Sun City Girls -- instead they're successfully mixing up all those world music influences, Bungle, and the Boredoms.
The band is primarily Mr Bungle alumni Trey Spruance & drummer Danny Heifetz, and along with frequent Sonic Youth collaborator / percussionist William Winant, brilliant violinist Eyvind Kang (a frequent SCGs collaborator, hey) is all over this record. The instrumentation is as wide-ranging as to include dumbek, zils, contrabass, sax, electric sitar, organ, and something called a santur.
A quite satisfying, surprisingly consistent, well-executed album!
RealAudio clip: "Combat for the Angel"
RealAudio clip: "Horsemen of the Invisible"
RealAudio clip: "Safina"
RealAudio clip: "Siege Perilous"

SECRET CHIEFS 3 Book Of Horizons (Mimicry) cd 13.98
The Book Of Horizons is another sonic tome scribed by these occult chieftans, destined for the same library as outre literary works like the Principia Discordia and the sanity-blasting Necronomicon of the Mad Arab Abdul Alhazred. (This just goes in the audio section of said library.) To the uninitiated, we should explain that Secret Chiefs 3 is the arcane alter ego of Mr. Bungle's Trey Spruance and others from the same axis of absurdity. Almost all instrumental, imagine some sort of technically insane Middle Eastern surf music, a collision between the Sun City Girls and Fantomas, or a John Zorn-scored soundtrack to some desert epic. Italian horror film music, black metal, and even turntables all enter the mix. In the liner notes, Trey finds it necessary to state: "What you hear is music, not samples"! As always, impressive and inscrutable, even if the mood is occasionally broken by the more incongrous elements. Fans can spend their time listening to this, also attempting to decipher the meaning of the SC3's cryptic Kabbalistic computer graphics and song titles. A five star sequel to the band's previous opus Book M.
MPEG Stream: "The 4 (Great Ishraqi Sun)"
MPEG Stream: "Exterminating Angel"

SECRET CHIEFS 3 Eyes Of Flesh, Eyes Of Flame (Mimicry) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mr. Bungle Fan Alert!! Here's a live recording of this brilliant Bungle side-project, released on guitarist Trey Spruance's new label (and only available via mailorder from their Web of Mimicry website, except that we, being fans of all things Bungle, have it too). Recorded at Slim's, San Francisco by Billy Anderson. Also of note: this features the violin of Eyvind Kang, and a song by Ananda Shankar. Packaged in a cardboard sleeve as part of Web of Mimicry's "nice price" effort I guess.

SECRET CHIEFS 3 First Grand Constitution And Bylaws (Mimicry) cd 13.98
Finally a reissue of the Secret Chiefs (Mr Bungle side project sans Mike Patton) too-long-out-of-print first album! Like a screwy world music, surf band version of Naked City. Contains bonus tracks not on the original version.

SECRET CHIEFS 3 Huroayla: Second Grand Constitution and Bylaws (Amarillo) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Mr. Bungle guys, minus Mike Patton, are back with their second album as the Secret Chiefs 3. Guests include Eyvind Kang and Willie Winant. Weird stuff as you would expect, sorta like avant-garde surf music.

SECRET CHIEFS 3 Hurqalya: Second Grand Constitution And Bylaws (Mimicry) cd 13.98
And the long-awaited reissue of the second cd by members of Mr Bungle (no Mike Patton here, sorry.) Sort of a screwy world music, surf band version of Naked City. Contains bonus tracks not on the original version.

SECRET CHIEFS 3 Path Of Most Resistance (Mimicry) cd 13.98
Monumental. Majestic. Mystical. No, we aren't just launching hyperbole with reckless abandon. Those words really are the norm when describing this elusive, amorphous group. Secret Chiefs 3 are an entity whose works may be 'read' on many levels. The music may be enjoyed by those who adhere to the traditional pop/rock band book of rules... well, to some degree at least. Some may find it downright bizarre and impervious. Daunting, overwhelming even, each album is simply more than can possibly be comprehended in a couple of listens. Such is the case with their latest album Path Of Most Resistance. They refer to it as "an overview of the clandestine movements of this enigmatic group from the USA." In layman's terms it's a compilation of recordings from their four studio releases (Eyes Of Flesh, Eyes Of Flame, Second Grand Constitution And Bylaws, Book M, and Book Of Horizons) which also includes bonus tracks and videos. The eclectic elements of haunting exotica, fiery metal, frantic spaghetti westerns and other far-reaching international inspirations may ring engagingly familiar to the average listener, but master of ceremonies Trey Spruance's musical alchemy is detailed with the most intricately encrypted inscriptions that resonate with deeper, more timeless invocations. if you are an individual so inclined to delve beyond the shimmering surface in pursuit of secret teachings and esoteric knowledge you'll discover SC3 unfolds to reveal many hidden passages and levels of understanding. Interpret it how you will, we're sure each individual will draw radically differing perspectives -- a genuine case of 'what you bring to it will determine what you draw from it'. As with each SC3 album that's come before, the scope of Path Of Most Resistance is vast -- at once both easy and uneasy listening. Spruance is unquestionably one of today's great composers. His compositions are stunningly elaborate and performed with absolute mastery and conviction by his many illustrious collaborators (William Winant, Eyvind Kang, Jesse Quattro, Ches Smith, Tim Smolens, former Mr. Bungle-ists Bar McKinnon, Trevor Dunn and Danny Heifitz among others).
The bonus tracks (covers of "I Saw Mommy Kissing Santa Claus", "Good Vibrations" and "Heroes And Villains") are strange to say the least. They come across as cracked'n'wonky, less than tight renditions in comparison to the precision, densely packed, composed madness that precedes them. Leaves you wondering if they are simply a chuckle or yet another clue to the SC3 puzzle... or both. Epic.
MPEG Stream: "Ship Of Fools (Stone Of Exile)"
MPEG Stream: "The Owl In Daylight"
MPEG Stream: "Heroes And Villains"

SECRET CHIEFS 3 / JOHN ZORN Xaphan: Book of Angels Volume 9 (Secret Chiefs 3 Plays Masada Book Two) (Tzadik) cd 15.98
Let's state right from the outset that Trey Spruance's musical entity known as Secret Chiefs 3 is simply impossible to nail down and describe. Words really do not do SC3 justice, especially in the case of their latest work -- sprawling in scope, intricate in detail and majestically presented -- but we will make a valiant attempt here. Indeed, adjectives such as magical, mysterious and mind-blowing do apply, however they barely scratch the surface. We'd say 'spectacular' but the folks at Tzadik already beat us to the punch by using it on the cd's obi blurb. On Xaphan they've joined forces with their comrade John Zorn, performing eleven passages from his epic work, Masada Book Two. The eleven players embrace, attack, caress and devour the compositions with an otherworldly zeal. They come together as a single inimitable force, at once seeming absolutely unhinged and utterly in control. The threads of the SC3 aural tapestries are always densely knotted and woven with ace musicianship and from a myriad of disparate styles and inspirations delving into spy thriller soundtracks, exotica, metal, surf, esoteric knowledge and so much more. So it is on Xaphan, and the formidable outcomes may seem impervious to some and electrifyingly listenable to others. Breathtaking.
MPEG Stream: "Sheburiel"
MPEG Stream: "Barakiel"

SECRET SQUARE (Elephant6) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
a.k.a. Hilarie of the Apples in Stereo.

SECRET SYNTHI Katzchenkollision (Rink-E-Dink) cd 12.98
Secret Synthi are a trio of lo-fi synth'n'guitar pop gals from San Francisco named after an ultra rare, ultra cool synthesizer from the '70s - the Synthi AKS which came contained in its own briefcase-like carrying case. You might recognize its brethren's distinct sounds from the BBC Radiophonic Workshop or the band Yes (who purchased one of the Synthi prototypes back in the day). Anyways gear talk aside, this trio's music is super light and playful. Honey pie girl gang vocals with ample amounts of sass. Kicky, primitive rhythms. A party of keyboards, organs, electric guitar, effects pedals and vintage synths (accompanying the Synthi are a Moog Prodigy, a Sequential Circuits Multi-Trak, the amazing stylophone and of course the ever-present Roland Juno-60). Actually, I was just thinkin' that a picture perfect live extravaganza would be them along with Le Tigre, fellow SF duo the Capricorns and boyish counterparts Postal Service. An engaging album with a lot of fun song titles too... "Alright Mitten Fight"!
MPEG Stream: "Kitty Fang"
MPEG Stream: "Alright Mitten Fight"

SECRETS OF FAMILY HAPPINESS, THE s/t (self-released) cd 9.98

SECRETS OF THE MOON Antithesis (Southern Lord) cd 12.98

MPEG Stream: "Nowhere 11.18"
MPEG Stream: "Versus"

SECRETS OF THE MOON Privilegium (Lupus Lounge) cd 14.98
We've dug Germany's Secrets Of The Moon for ages now, but somehow haven't ever reviewed any of their records. Privilegium will right that wrong, and will hopefully have everybody going back and digging up all their other records, cuz these guys slay. Even more now that they've added dreamboat female bass player LSK from Antaeus, oh and the drummer also plays in Antaeus, so you can bet there's a pretty serious French BM vibe going on here, which can only be a good thing. Majestic, sometimes almost elegant in the delivery, but of course, grim and evil at the same time. And like Antaeus, and much of the French scene, Secrets Of The Moon give off an almost industrial vibe at times. The drums are super heavy with a militaristic feeling, the guitars squiggle and screech out all kinds of sour, evil sounding riffs, and the vocals are a steady tortured rasp. Structurally, things are complex and at times a bit proggy, a blackened tangled web of metallic grandeur. There's all kinds of windy atmosphere also, and the interesting choice of cover art - an, um, black apple - gives Privilegium a cool negated religious feeling. What's not to love?
Beautiful packaging on this one, with the aforementioned apple presented on a super glossy digipack with a giant matte bite munched out. Tasty.
MPEG Stream: "Sulphur"
MPEG Stream: "Black Halo"
MPEG Stream: "I Maldoror"

SECRETS OF THE MOON The Exhibitions EP (Lupus Lounge) cd ep 12.98

SECTION 25 Always Now (Les Temps Modernes) cd 16.98
Of all of the Factory Records gloom merchants, Section 25 has never really garnered much critical success, yet they won over enough allies (notably Joy Division's Ian Curtis and Bernard Sumner) that they were able to last as a self-sustaining project well into the late-80s when they called it quits. Formed in Blackpool by brothers Larry and Vincent Cassidy in 1979, Section 25 was marked by skeletal instrumentation with various emotive patinas that began as post-punk grimness and steadily lightened to a glowing prototype of acid-house (complete with 303 percolations!). "Always Now" -- the group's debut recording released on Factory in 1981 -- falls under the latter camp of lead-colored, death-disco grooves propelled by a spry, if monochromatic rhythm section and jagged swatches of guitar drone. While many of the Factory bands (Crispy Ambulance, Names, Tunnelvision, The Wake, etc.) had been slagged as Joy Division clones, Section 25 admitted their allegiance to Public Image Limited's zenith, "Metal Box" (aka "Second Edition"), even though much of the material from their first EPs were recorded months before Lydon and crew went into the studio. The differences between PiL and SXXV (a nifty shorthand mentioned in their biography by James Nice) are of course noticeable; with Lydon still striving for Situationist revolt through great art and the Cassidy brothers attempting to emote the bleakness of Northern England by hollowing sound as a illusory shadow of music. In essence, Section 25's "Always Now" was an isolationist model for living. It was effective in its bleakness and brilliant in its poetry.
While the Soul Jazz compilation "In The Beginning, There Was Rhythm" offered a solid introduction into the groove-oriented punk of the late '70s / early '80s, its flaws were in its omissions. Fortunately, LTM has kept "Always Now" in print on CD (with tons of extra singles including the Ian Curtis-produced 'Girls Don't Count'), so history may in fact be kind to a band that deserved much better.
RealAudio clip: "Dirty Disco"
RealAudio clip: "Inside Out"
RealAudio clip: "Hit"
RealAudio clip: "New Horizon"
RealAudio clip: "Girls Don't Count"

SECTION 25 From The Hip (Les Temps Modernes) cd 16.98
To mention the terms "new wave" and "80s electro" these days will undoubtedly prompt images of Fischerspooner, Adult., The Faint, and other bands with a flashy sense of style, undercurrents of anxiety, and an effectively punishing use of roboto-rhythms. Yet, most of these bands have fixated upon a specific strain of retro-garde historicism, which has the unintended result of disregarding other variations of what "new wave" and "80s electro" meant back in the day. Contrary to the impression that the electronic aftermath of punk was always abrasive, intense, and angular, there were dozens of bands which softened their once bleak image (perhaps due to commercial pressure or shifting artistic temperament). One such band was Section 25, whose preceeding albums "Always Now" and "The Key of Dreams" had been spartan productions of death disco born out of urban blight. "From The Hip" -- the band's third album -- was a considerable departure towards more commercial waters with fluffy if slightly moody synth driven pop matched by proto-twee male / female vocals. It may have been the band's biggest commercial success but clearly wasn't as adventurous as their earlier records. Rather this is more on par the idea of "new wave" and "80s electro" that would draw comparisons to Human League, Thompson Twins, Bronski Beat, and Erasure.
RealAudio clip: "Reflection"
RealAudio clip: "Program For Light"
RealAudio clip: "Looking From A Hilltop (Restructure)"

SECTION 25 So Far (LTM) dvd 32.00

SECTION 25 The Key of Dreams (Les Temps Modernes) cd 17.98

SEE SAW Magnetophone (Simple Machines) cd 14.98
One man with a four-track and a crappy casio keyboard. Lush and lofi (sorry!) At the same time; reminiscent of early Sebadoh in a good way. Not to be confused with Bay Area band Sea Saw, who have obligingly changed their name to Swandive.

SEEDS The Seeds / A Web Of Sound (Edsel) cd 16.98
Everyone should own these two records. If you don't already have them you should get this new reissue of both on one cd. The fucking kings of garage. The Seeds are tough and menacing with sneering vocals and a rad style. They are one of the all time great US garage bands of the mid '60s.
RealAudio clip: "Pushin Too hard"
RealAudio clip: "Cant Seem to Make You Mine"