SHEDDING What God Doesn't Bless, You Won't Love; What You Don't Love, The Child Won't Know (Hometapes) cd 14.98
Any record that is an homage to Eric Dolphy and his (possibly imagined) interaction and fascination with birds is pretty much guaranteed to hit the spot.
But when said record is wrapped in some of the most striking cd artwork we've seen in ages, and is in fact a strange sort of jazz drone collage constructed from samples of Dolphy records, field recordings and some added percussion, well, it's almost like they came to us and asked us what sort of record we wanted to hear, and we told them "Let's see, drones for sure, some field recordings, and heck, why not include some Dolphy..."
The cover art is amazing. Like the illustrations for some childrens' book. A big eyed, horned, bat-bird-witch flying over a forest of angular trees, sitting in the clouds over a sea filled with ships manned by black headed rabbits with water pouring from their eyes, and spiriting away with a dry eyed black headed rabbit in his claws, while below, another rabbit fills a chalice with one eye, and the sea with the other. The artwork alone sets the bar pretty high. Dark and dreamy, playful but slightly ominous...
Thankfully, the music is also all of those things. And then some. The brief opening track is a tangle of bass clarinet, smeared into a deep expanse of low end shimmer, while above, melodies and melodic fragments drift and splinter. Very evocative of a cloudy day, wet streets and soft sheets of rain.
The second track introduces a simple motorik rhythm, that shuffles and skitters beneath a constant shifting drone woven from looped horns. Super hypnotic and dreamy. Almost like a stripped down, drone-y jazzy Pharaoh Overlord. As the drums peter out, the horns begin to bounce and dance, chirp and flutter, and suddenly the sky is clear and full of birds, or is it just Dolphy playing the sounds of birds?
The final track is an epic, clocking in at almost 20 minutes, Dolphy's horns surface here and there, but most of the track has them stretched and smoothed out into ultra minimal low end drifts, warm swells of muted melody, a totally mesmerizing abstract drift.
This is one of those records, that had we not known the story behind it, we probably wouldn't have necessarily made the Dolphy connection, or the bird connection for that matter, and actually the jazz element is subtle and quite minimal, but as a chunk of dreamy dark drone drift, it's really quite fantastic. And as far as we're concerned there can never be too much tribute paid to the late great Eric Dolphy!
MPEG Stream: "GB"
MPEG Stream: "W"

SHEDDING What God Doesn't Bless, You Won't Love; What You Don't Love, The Child Won't Know (Hometapes) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on vinyl, with slightly different artwork, and super deluxe packaging. You thought the cd looked amazing, holy crap, the lp version is a serious eyeful. So gorgeous! (and another example of how much better record sleeves look than tiny little cd booklets). Pressed on super thick milky clear vinyl, in a full color sleeve, includes three 8"x8" full color inserts with liner notes on the other side, all housed in a thick, stickered PVC plastic sleeve. LIMITED TO 500 COPIES!! And it's not just the art that is mindblowing, the music inside is just as weird and wonderful. Here's what we had to say about the cd when we first reviewed it a little while back:
Any record that is an homage to Eric Dolphy and his (possibly imagined) interaction and fascination with birds is pretty much guaranteed to hit the spot.
But when said record is wrapped in some of the most striking cd artwork we've seen in ages, and is in fact a strange sort of jazz drone collage constructed from samples of Dolphy records, field recordings and some added percussion, well, it's almost like they came to us and asked us what sort of record we wanted to hear, and we told them "Let's see, drones for sure, some field recordings, and heck, why not include some Dolphy..."
The cover art is amazing. Like the illustrations for some childrens' book. A big eyed, horned, bat-bird-witch flying over a forest of angular trees, sitting in the clouds over a sea filled with ships manned by black headed rabbits with water pouring from their eyes, and spiriting away with a dry eyed black headed rabbit in his claws, while below, another rabbit fills a chalice with one eye, and the sea with the other. The artwork alone sets the bar pretty high. Dark and dreamy, playful but slightly ominous...
Thankfully, the music is also all of those things. And then some. The brief opening track is a tangle of bass clarinet, smeared into a deep expanse of low end shimmer, while above, melodies and melodic fragments drift and splinter. Very evocative of a cloudy day, wet streets and soft sheets of rain.
The second track introduces a simple motorik rhythm, that shuffles and skitters beneath a constant shifting drone woven from looped horns. Super hypnotic and dreamy. Almost like a stripped down, drone-y jazzy Pharaoh Overlord. As the drums peter out, the horns begin to bounce and dance, chirp and flutter, and suddenly the sky is clear and full of birds, or is it just Dolphy playing the sounds of birds?
The final track is an epic, clocking in at almost 20 minutes, Dolphy's horns surface here and there, but most of the track has them stretched and smoothed out into ultra minimal low end drifts, warm swells of muted melody, a totally mesmerizing abstract drift.
This is one of those records, that had we not known the story behind it, we probably wouldn't have necessarily made the Dolphy connection, or the bird connection for that matter, and actually the jazz element is subtle and quite minimal, but as a chunk of dreamy dark drone drift, it's really quite fantastic. And as far as we're concerned there can never be too much tribute paid to the late great Eric Dolphy!
MPEG Stream: "GB"
MPEG Stream: "W"

SHEFFIELD, COLIN ANDREW First Thus (Elevator Bath) cd 14.98
A 2005 release that somehow slipped through the cracks here, Colin Andrew Sheffield's First Thus is a magnificent, spectral drone album. Sheffield's day job is in the book industry, where the title of the book would hold some meaning in speaking of a first edition of a book that had been previously available but in a slightly different form. Sheffield applies this sensibility to his own appropriation of "other commercially available recordings." Of course, what those recording might be aren't made known through the radical disfiguration and obfuscation that Sheffield applies to these sounds. One can think back to Aphex Twin, and a remix he was commissioned to create for a band he despised, so he sped up an entire Jesus Jones track to a microsecond burst and used that bit of digital abrasion as an ancillary hi-hat in his polyrhythmic electronica. Whatever Sheffield may have thought of the original recordings has become irrelevant in the perpetually cascading streams of digital vibration and hypnotic ambience. Time-stretching is an obvious weapon within Sheffield's arsenal, but he's so heavily layered all of the cross-phasing patterns that massive washes of op-art inspired pulsations ripple through the protracted echoes and cavernous reverberations. His aerosolized sonic mist takes on a similarly ghostly patina found in the Leyland Kirby recordings and the frigid digital shimmer of the darker contributions to the Pop Ambient series. Pressed in a batch of only 330 copies, of which there can't be very many left in circulation.
MPEG Stream: "Miles Away"
MPEG Stream: "Come Closer"
MPEG Stream: "Like A Memory"

SHEFFIELD, COLIN ANDREW Signatures (Invisible Birds) cd 38.00
The veil of mediated sound hangs heavy upon the work of Colin Andrew Sheffield, a Texan born sound artist currently living in Seattle. His work is almost entirely based upon recontextualizing sounds from already released works, although unlike such plunderphonic artists like Christian Marclay, John Oswald, and Wobbly who allow for the samples to utter their origins, Sheffield obliterates almost all of the references into a field of static vibrations, densely compacted layerings, and hyper-stretched drones. Through his digital crucible, Sheffield extracts something almost completely different out of the sources that he puts into it.
In running the ever impressive Elevator Bath label, Sheffield has found an outlet for a handful of his recordings, mostly as small run editions with the one exception being his outstanding First Thus cd. Signatures was commissioned by the San Francisco based label Invisible Birds, as the debut in what hopes to be a great catalogue of sound art composition that's somehow related to bird sounds and their environment. Keeping true to his working methods, Sheffield's contribution to Invisible Birds reclaims sounds from other records amidst what Sheffield claims to be field recordings of water and birds. The results have been so heavily obfuscated through the process that it's hard to hear any twitter of birdsong. The thunderous low-end repetition on the last track is purported to be the flapping of a bird's wing, but it's hard to discern. All of this said, Sheffield's results are gorgeous. At first, the album has almost an ominous feel, as a shimmering, arctic hush is shot forth from the speakers with layer upon layer of sympathetic vibrations interweaving into a hypnotic, if cybernetic sound. It sounds sort of like the classic Chain Reaction artists like Porter Ricks or Hallucinator with all of the techno extracted, and only a cold, cold drone of digitality left behind. By the end of the album, Sheffield brightens things into a stunning crescendo of church organ-like chords suspended in time and space with glints of vinyl crackle hanging like sunflecked dust floating in air. Here, Sheffield gives the impression of William Basinski reclaiming a Ligetti choral piece. Very highly recommended.
INSANELY LIMITED. Already out of print. This is the super deluxe version which comes housed in a quite nice box, the disc wrapped in fabric, and includes a booklet and a bonus 3" cd-r!!
MPEG Stream: "Beneath The Waves"
MPEG Stream: "Surrender"
MPEG Stream: "Breath Of Day"

SHEFFIELD, COLIN ANDREW Signatures (Invisible Birds) cd 12.98
NOW AVAILABLE IN THE REGULAR EDITION!!!
The veil of mediated sound hangs heavy upon the work of Colin Andrew Sheffield, a Texan born sound artist currently living in Seattle. His work is almost entirely based upon recontextualizing sounds from already released works, although unlike such plunderphonic artists like Christian Marclay, John Oswald, and Wobbly who allow for the samples to utter their origins, Sheffield obliterates almost all of the references into a field of static vibrations, densely compacted layerings, and hyper-stretched drones. Through his digital crucible, Sheffield extracts something almost completely different out of the sources that he puts into it.
In running the ever impressive Elevator Bath label, Sheffield has found an outlet for a handful of his recordings, mostly as small run editions with the one exception being his outstanding First Thus cd. Signatures was commissioned by the San Francisco based label Invisible Birds, as the debut in what hopes to be a great catalogue of sound art composition that's somehow related to bird sounds and their environment. Keeping true to his working methods, Sheffield's contribution to Invisible Birds reclaims sounds from other records amidst what Sheffield claims to be field recordings of water and birds. The results have been so heavily obfuscated through the process that it's hard to hear any twitter of birdsong. The thunderous low-end repetition on the last track is purported to be the flapping of a bird's wing, but it's hard to discern. All of this said, Sheffield's results are gorgeous. At first, the album has almost an ominous feel, as a shimmering, arctic hush is shot forth from the speakers with layer upon layer of sympathetic vibrations interweaving into a hypnotic, if cybernetic sound. It sounds sort of like the classic Chain Reaction artists like Porter Ricks or Hallucinator with all of the techno extracted, and only a cold, cold drone of digitality left behind. By the end of the album, Sheffield brightens things into a stunning crescendo of church organ-like chords suspended in time and space with glints of vinyl crackle hanging like sunflecked dust floating in air. Here, Sheffield gives the impression of William Basinski reclaiming a Ligetti choral piece. Very highly recommended.
MPEG Stream: "Beneath The Waves"
MPEG Stream: "Surrender"
MPEG Stream: "Breath Of Day"

SHELLAC 1000 Hurts (Touch & Go) cd 14.98
New album from Steve Albini, et al. Almost sounds like an Olympia band doing Shellac. Much more melodic, with more singing and less testifying. Some really beautiful quiet parts and some amazing over distorted loud bits. People have been freaking out, saying this is the best thing Albini's ever done, although Rapeman and Big Black still hold that honor. Comes in a mini cardboard open reel style tape box.

SHELLAC 1000 Hurts (Touch & Go) lp 17.98
New album from Steve Albini, et al. Almost sounds like an Olympia band doing Shellac. Much more melodic, with more singing and less testifying. Some really beautiful quiet parts and some amazing over distorted loud bits. People have been freaking out, saying this is the best thing Albini's ever done, although Rapeman and Big Black still hold that honor. Comes in a 12" cardboard open reel style tape box, and the vinyl version includes a copy of the cd as well, so you vinyl lovers can have your cake and eat it too -- all for the same price as the cd alone!

SHELLAC At Action Park (Touch & Go) lp 19.98
Hey. Never listed this classic, and now we've got some vinyl in, so here's a review!! Steve Albini may be most well known for being a producer / engineer, having probably recorded a million of your favorite records, or for being a hilariously outspoken and opinionated loudmouth, and yeah, he's both of those, but more importantly, he was the architect /guitarist / mouthpiece for legendary industrial tinged drum machine driven noise rockers Big Black, not to mention the way less well known, but even better (as far as we're concerned) Rapeman, and then there's Shellac, Albini's minimalist rock trio with Bob Weston (Volcano Suns) and Todd Trainer (Rifle Sport, Brick Layer Cake), a band that bucks convention in pretty much every way possible, playing only occasionally, and more for fun, than promotion, recording and releasing records even more occasionally, running their band much like Albini runs his recording studio, never asking for outrageous amounts of money, offering to play first in order to get folks out early to see the other bands, their live performances a sort of spectacle, besides being insanely tight, there's lots of hilarious stage banter, not to mention some strange choreographed movements that would seem to be at odds with such a 'serious band'. Which is really the key to what makes Shellac so good, they ARE funny guys, and they DO have a great sense of humor, and that humor does worm its way into their sound, no matter how subtly. And that sound! It's like someone went into a laboratory and concocted our perfect band. Sinewy, angular chiming guitars, thick buzzing bass, and incredible, ridiculously mathy and super powerful drumming, all wound around gorgeously skeletal songs, that manage to be wickedly catchy, while remaining extremely difficult and abstract, so much so that their popularity does sometimes seem baffling, cuz this shit is fucking far out. A woozy fuzzy groove will suddenly splinter into a baffling stop start stretch of seemingly 'free' post / noise rock drift, a sprawling stretch of high end guitar / splattery crash and boom drum duel will stretch out for minutes, before suddenly locking into a proper, almost poppy sounding song, the record constantly veering from dense mathy indie rock to total experimental noise rock minimalism, often those two elements bleeding like crazy into one another. And Albini's pissed off snarly vox are the perfect fit, there aren't a lot of vocals, but when they do come in, it adds an awesome bit of menace to the proceedings. If you haven't heard At Action Park, man are you in for a surprise, heavy and mathy and abstract and noisy and brutal and catchy and still one of the best records from that era.
Now if they'd just reissue those first three 7"s, long out of print and never reissued in any form, but pretty much a perfect trifecta of stripped down angular minimal math rock...
MPEG Stream: "My Black Ass"
MPEG Stream: "Il Porno Star"
MPEG Stream: "Pull The Cup"
MPEG Stream: "Dog And Pony Show"

SHELLAC Excellent Italian Greyhound (Touch & Go) cd 14.98
It's hard not to love Shellac. They are definitelyÊone of the best sounding bands in the world. And they still manage to be as weird as all get out. Sonically, their recordings are so loud and live sounding. The players are unbelievably tight and efficient. The drums are like a machine, way up in the mix, driving the songs, so precise and perfect, but somehow still impossibly groovy. The arrangements are simple, but manage to be intense and convoluted and confusing at the same time. Albini is the absolute master of the jagged angular riff. Stripped down minimal math rock, no one does it better.Ê
So what's a band to do, instead of making another perfect sounding record? Well, howsabout making a not-so-perfect sounding record? Or more specifically making a -mostly- perfect sounding record, but making it so weird and fucked up that it's bound to drive some folks nuts? Which is exactly what they've done.Ê
The long in the works (6 or 7 years it seems like)ÊExcellent Italian Greyhound definitely sounds like a Shellac record, and in that, we already love it. And it does sound perfect. Most of the songs are relentless and intense, the guitar a precisely tuned rrrrroooooar, veering from sharp shards to warm crunch, in fact, Steve Albini's guitar tone sounds warmer than ever,Êthe bass a throbbing anchor, and the drums, holy shit, Todd Trainer is a mathrock drum cyborg alien master. And the songs! "Steady As She Goes" (we were secretly hoping it was a Raconteurs cover) is a post rock math rock post punk masterpiece. Tightly wound with a killer half time breakdown, and some relentlessly catchy riffing. The next track too, "Be Prepared", is about as good as stuff like this gets. A weird hook, a seasick rhythm, and amazing vocals.ÊAnd that voice, the same tortured whine, which in the past was another minimal element in Shellac's minimalist sound, is now taking center stage, often wailing all by its lonesome.
AndÊwhile we're on the subject of vocals, that's one way in which Albini and Co. seemingly decided to fuck with us.ÊAlbini's lyrics in Shellac were always a bit, um... mysterious, but here they're downright bizarre, and almost goofy. The opening track "The End Of Radio" has some slightly cheesy bits, some radio style sloganeering, sure there is a point, but it still sounds a little out of place. But leave it to Shellac to take those lyrics and couple them with the weirdest song on the record, musically, with Trainer and Albini seemingly playing two different songs, maybe not even listening to each other, but clicking every few measures, making it obvious that it was meant to be exactly that way. But the song that will probably be the most discussed (in this review as well) is the nine minute long "Genuine Lulabelle", most of which sees Albini crooning romantically a capella. Singing about partying and cum and other weirdness. But as if that wasn't strange enough, other voices enter the fray, the Moviefone guy (?), even Strongbad (?!?!), from Homestarrunner.com... At first we were convinced that Albini had lost it, but the more we hear it, the more it seems just weird enough that it manages to transform the song from annoying and goofy to damaged and demented. And there ain't nothing wrong with damaged and demented.Ê
The rest of the record is rife with little bits of weirdness, the false starts on "Be Prepared", the jangly surf rock TV theme intro to "Spoke", as well as the usual deconstructed melodies, and abstract rhythmic workouts, but it all fits, it just takes standing back and seeing the big picture, no matter how convoluted and confusing and un-right it seems on the surface. Trust them. They're Shellac.Ê
MPEG Stream: "The End Of Radio"
MPEG Stream: "Steady As She Goes"
MPEG Stream: "Genuine Lulabelle"

SHELLAC Excellent Italian Greyhound (Touch & Go) lp 14.98
It's hard not to love Shellac. They are definitelyÊone of the best sounding bands in the world. And they still manage to be as weird as all get out. Sonically, their recordings are so loud and live sounding. The players are unbelievably tight and efficient. The drums are like a machine, way up in the mix, driving the songs, so precise and perfect, but somehow still impossibly groovy. The arrangements are simple, but manage to be intense and convoluted and confusing at the same time. Albini is the absolute master of the jagged angular riff. Stripped down minimal math rock, no one does it better.Ê
So what's a band to do, instead of making another perfect sounding record? Well, howsabout making a not-so-perfect sounding record? Or more specifically making a -mostly- perfect sounding record, but making it so weird and fucked up that it's bound to drive some folks nuts? Which is exactly what they've done.Ê
The long in the works (6 or 7 years it seems like)ÊExcellent Italian Greyhound definitely sounds like a Shellac record, and in that, we already love it. And it does sound perfect. Most of the songs are relentless and intense, the guitar a precisely tuned rrrrroooooar, veering from sharp shards to warm crunch, in fact, Steve Albini's guitar tone sounds warmer than ever,Êthe bass a throbbing anchor, and the drums, holy shit, Todd Trainer is a mathrock drum cyborg alien master. And the songs! "Steady As She Goes" (we were secretly hoping it was a Raconteurs cover) is a post rock math rock post punk masterpiece. Tightly wound with a killer half time breakdown, and some relentlessly catchy riffing. The next track too, "Be Prepared", is about as good as stuff like this gets. A weird hook, a seasick rhythm, and amazing vocals.ÊAnd that voice, the same tortured whine, which in the past was another minimal element in Shellac's minimalist sound, is now taking center stage, often wailing all by its lonesome.
AndÊwhile we're on the subject of vocals, that's one way in which Albini and Co. seemingly decided to fuck with us.ÊAlbini's lyrics in Shellac were always a bit, um... mysterious, but here they're downright bizarre, and almost goofy. The opening track "The End Of Radio" has some slightly cheesy bits, some radio style sloganeering, sure there is a point, but it still sounds a little out of place. But leave it to Shellac to take those lyrics and couple them with the weirdest song on the record, musically, with Trainer and Albini seemingly playing two different songs, maybe not even listening to each other, but clicking every few measures, making it obvious that it was meant to be exactly that way. But the song that will probably be the most discussed (in this review as well) is the nine minute long "Genuine Lulabelle", most of which sees Albini crooning romantically a capella. Singing about partying and cum and other weirdness. But as if that wasn't strange enough, other voices enter the fray, the Moviefone guy (?), even Strongbad (?!?!), from Homestarrunner.com... At first we were convinced that Albini had lost it, but the more we hear it, the more it seems just weird enough that it manages to transform the song from annoying and goofy to damaged and demented. And there ain't nothing wrong with damaged and demented.Ê
The rest of the record is rife with little bits of weirdness, the false starts on "Be Prepared", the jangly surf rock TV theme intro to "Spoke", as well as the usual deconstructed melodies, and abstract rhythmic workouts, but it all fits, it just takes standing back and seeing the big picture, no matter how convoluted and confusing and un-right it seems on the surface. Trust them. They're Shellac.Ê
MPEG Stream: "The End Of Radio"
MPEG Stream: "Steady As She Goes"
MPEG Stream: "Genuine Lulabelle"

SHELLAC Terraform (Touch & Go) cd 14.98

SHELLEYDEVOTO Buzzkunst (Cooking Vinyl) cd 15.98
Two of the founding members of the seminal British punk-pop band the Buzzcocks have reconvened over twenty five years after their first band's inception. It's Pete Shelley (also known as the stoic figure behind the icy synth-pop alienation classic "Homosapien") and Howard Devoto (also of Magazine and Luxuria) as - surprise - ShelleyDevoto! And while I first expected this to be a cause for celebration, now I'm not so sure. 'Cause when I eagerly pressed 'play' what met my ears was something akin to the weak years of Ultravox or worse yet OMD with overwrought vocals and distracting electronic noodling. Sadly disappointing.
RealAudio clip: "Can You See Me Shining?"

SHENTON, ADRIAN The Measuring Of Moments (Quiet World) cd-r 13.98
We only got in a handful of this album by this English electronic artist, who has released The Measuring Of Moments (which may be his debut?) through Ian Holloway's cd-r imprint Quiet World. Holloway's own deep drone smear had so impressed us on his collaborative album with Darren Tate and Bailey Banks, and even more so on his A Lonely Place solo production, that we have been investigating his affiliated recordings; hence, we've got this album to review and list. Shenton is less inclined toward the all consuming drone evocation, and more about steering Eno's ambient strategies into territories with a bit more drama incorporating plenty of light and shadow into this particularly autumnal album. At his darkest and perhaps most compelling, Shenton works unsettled punctuations of ominous strings into his sustained tones, half formed melodies caught in reverb cascades, and clusters of electronic shimmer. He also revisits some Tubular Bell motifs around soft arppegiations of synthesized chiming, not only bringing Mike Oldfield into the mix but also some of John Carpenter's incidental scores and sound design. Limited to 50 copies!
MPEG Stream: "Expectations"
MPEG Stream: "Good Manners"
MPEG Stream: "Sky Gazing 2"

SHEPHERD The Coldest Day (Exile On Mainstream Records) cd 14.98
Here's the second album from these promising German doomsters, and it's a concept album perhaps, at least in regard to the track titles: "Monday", "Tuesday", "Wednesday" -- there's a song for every day of the week. But the album has eight tracks, which means its has to wind up with the thirteen plus minutes of "Doomsday", the eighth day in Shepherd's apocalyptic week. Musically, this is mid-tempo, rocked-out stoner/doom fare in the vein of Goatsnake or Spirit Caravan. They're definitely into the latter -- indeed, they've brought in none other than the legendary Scott "Wino" Weinrich as a special guest, playing guitar on three of the tracks here and singing on one of 'em as well (demonstrating that Shepherd's usual vocalist doesn't do Wino as well as the man himself). The ultra-dirgey "Doomsday" boasts a special guest as well of interest to many AQ-customers: sax and Rhodes are contributed by a member of Bohren & Der Club Of Gore!
MPEG Stream: "Friday"
MPEG Stream: "Sunday"

SHEPHERD, DOUG Mass Amount Of Love (Plasticage) cd 10.98
We found ourselves showering Doug Shepherd's two new-to-us releases with much adoration even before finding out that he's stacked his decks over the years with terrific guest players from aQ faves Aislers Set and Calexico! Certain familiar traits of those two bands -- bittersweet pop inflections and a bit of rustic desert twang -- make their presence felt, but not obtrusively so. This Portland, OR gent's folk pop songcraft stands strong all on its own. His music runs the pop gamut from gentle and lulling to uptempo and peppery to breezy and janglin'. Aww, all the stuff we love.
Mass Amount Of Love is his 2001 debut full length that was actually recorded back in 1998 right here in SF by one Mr. Wyatt Cusick (of Aislers Set, Track Star and Still Flyin). Imperial Teen's Roddy Bottum and the whole Aislers Set gang contributed to this indie pop luv fest. So wide-eyed and charming, the album closes with a terrific cover of Opal's "A Falling Star".
Psst, the other release that we just got in stock from the man himself is a limited edition cd-r recorded at the famed Wavelab Studios in Tucson, AZ where the wonderful likes of Calexico, M. Ward, Giant Sand and Neko Case frequently work their aural magic. Both are mighty fine and very recommended for fans of all of the abovementioned folks.
MPEG Stream: "Postcard From Everett Ruess"
MPEG Stream: "Majesty And Bloat"

SHEPHERD, DOUG Wavelab Sessions Vol. 2 (Champion Of The New Plastic Age) cd-r 6.98
We found ourselves showering Doug Shepherd's two new-to-us releases with much adoration even before finding out that he's stacked his decks over the years with terrific guest players from aQ faves Calexico and Aislers Set! Certain familiar traits of those two bands -- rustic desert twang and bittersweet pop inflections -- can't help but make their presence felt, but not obtrusively so. This Portland, OR gent's folk pop songcraft stands strong all on its own. His music runs the pop gamut from gentle and lulling to upbeat and peppery to breezy and janglin'. Aww, all the stuff we love.
The ep's delights start right from the opening track "Liquid Gold" which is graced with pretty female backing vocals and some trumpet too (we're guessing it is Rachel Blumberg and Jacob Valenzuela respectively, the credits aren't specific). The following bright tune "Pure Cinema" kicks the tempo up considerably. Good stuff!
This limited edition cd-r's five songs are from a session recorded at the Tucson, AZ studio where the likes of Calexico, M. Ward, Giant Sand and Neko Case regularly lay down their awesome tracks. It's the second release in the studio's Wavelab Sessions series, and is limited to 200! Be quick like a jackalope!
MPEG Stream: "Liquid Gold"
MPEG Stream: "Pure Cinema"

SHEPHERDS Bush Babies (DNT) 7" 4.50

SHEPP, ARCHIE Attica Blues (Impulse) cd 12.98

SHEPP, ARCHIE Black Gipsy (America) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
WOW. And do we mean WOW!! Fifteen classic free jazz records from the late sixties / early seventies, long out of print, finally getting the ULTRA deluxe reissue treatment. Incredibly limited, these will probably be out of print before you know it.
Comes in a gorgeous diecut fullcover three panel sleeve, with new artwork, as well as a huge booklet with the original album sleeve notes, new liner notes in french and english as well as a bunch of cool photos. So nice!

SHEPP, ARCHIE Blase (BYG / Get Back) lp 15.98
Reissued here on 180 gram vinyl in a beautiful gatefold sleeve. Originally released in 1969, Archie Shepp, Lester Bowie, and Malachi Favors (from the Art Ensemble of Chicago), Philly Joe Jones, Dave Burrell, and Jeanne Lee. So nice.

SHEPP, ARCHIE Blase/Live At The Pan-African Festival (Charly / BYG / Actuel) 2cd 21.00
BACK IN STOCK! We thought these Charly reissue cds were gone forever, but lo! here they are again. Dunno what's up, but get 'em while you can. So, here's another in that BYG/Actuel reissue series, documenting American avant-garde jazz giants in exile (in France and Algeria) circa '69. Two discs, two albums here with the great tenor saxophonist Archie Shepp leading ensembles featuring the likes of Lester Bowie, Malachi Favors, Philly Joe Jones, Sunny Murray, Alan Silva, and others. Several Algerian and Tuareg musicans make the scene as well (it's the Pan-African Festival after all). Bow down.

SHEPP, ARCHIE Live In San Francisco (Impulse) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SHEPP, ARCHIE Mama Too Tight (Impulse) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SHEPPARD, AARON Leverage (Psychic Arts) cd-r 8.98
So many cd-r's come our way on what seems like a daily basis, but it isn't often that one of them immediately stops us in our tracks on first listen. These seven tracks by Aaron Sheppard have done just that. Haunting psychedelic solo guitar that manages to be both meditative, spacey, and focused all at the same time. We had no idea who Sheppard was when this first showed up, but his playing won us over immediately. Like Roy Montgomery and James Blackshaw conjuring up a soundtrack for a dazed afternoon, Leverage also has moments that make us think of vintage Robert Fripp, the beauty of Heldon's second album Allez Teia, as well as the recent mind blowing output of Matt Baldwin that we've raved about in the last year. Alternating between more grounded finger-picking tracks to more melting and stretched out sounds, this is by far one of the most engaging and rewarding solo guitar records we've heard in so long.
We actually want to go and on about how much this record has been moving us, but the cd-r is limited to 50 copies, so we should probably stop talking now and give you the chance to grab one of these before they are gone for good...
MPEG Stream: "Flight Path"
MPEG Stream: "The Recidivistic Stowaway"

SHEPPARD, JENNY GRAF The Guitars Project: Iconic Distortions (BOXmedia) picture disc lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Picture disc, elderly ladies playing improv guitar -- that's what this is! But chopped and mixed enough so the source material is pretty much unrecognizable. Actually we'd almost have preferred to hear the original recordings of the ladies playing guitar!

SHERIFF s/t (Hapna) cd 16.98
A mellow, minimal, post-rock, indie-pop duo (guitar/piano and drums) from Gothenburg, Sweden. On the same tip as Palace Bros. Gatr Del Sol and early Low. On Hapna, home to Sagor & Swing, Tape, etc.

SHERIFF Sail, Sail Away (Kning Disk) cd ep 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Sheriff is the Swedish duo Magnus Granberg (vocals, piano, guitar) and Henrik Olsson (percussion), and this is their second release. They are not men of many words. Absolute barebones, intimate, slow and resonant. A piano's keys are struck, the notes allowed to linger languidly. After a few moments they're joined by a deep, very present male voice sing-speaking a handful of lyrics. Each word joins the notes in the air hanging like amber pendants. The following four tracks offer much the same but the piano is occasionally replaced or joined by low plucked guitar strings and strikes of percussion and bowls. An example of just how Spartan the proceedings are: the third song is titled "Stay, Stay" and that word repeated solemnly over and over again forms the better part of the song's lyrics. Brings to mind the most minimal moments of Slint. Hushed and meditative, Sail, Sail Away is an exercise in utter restraint. Super limited, and soon gone, as we only were able to get a handful...
MPEG Stream: "I Say"
MPEG Stream: "Stay, Stay"

SHERIFF LINDO AND THE HAMMER Ten Dubs That Shook The World (EM Records) cd 23.00
Another lost gem from the fine folks at EM records in Japan. How do they do it? We're having trouble even discerning a pattern other than the fact that pretty much everything they release totally rules! This disc is called Ten Dubs That Shook The World and we weren't actually sure it was even a dub record until we threw it on, but it is, and no surprise here, it absolutely rules! Just the fact that one of the tracks is called "Grossly Overweight Dub" pretty much guaranteed that this would be a winner. The interesting thing about Sherriff Lindo & The Hammer is that it is actually the work of Anthony Maher who just so happens to be a member of sound experimentalists the Loop Orchestra. Which makes a bit of sense, when you realize that the Loop Orchestra utilized only analog tape machines and spliced tape to produce their Jeck like dronescapes. Exactly the sort of musical mind and old school approach that would lead someone to be into folks like Lee Perry, King Tubby, Prince Jammy and the like. So when Maher wasn't meticulously plotting out collaged soundscapes with his loop buddies he was holed up in his home studio concocting a vast array of tripped out psychedelic dubs. We're huge proponents of effects, especially in dub, take that snare, hit the delay and let it repeat forever and ever and ever, better still, change the speed and pitch while it's going and create a stuttering wall of dizzying sound. The Bush Chemists are still the champions when it comes to pushing the limits of FX common sense in the quest for the ultimate dub, but Sheriff Lindo comes close. But this isn't gimmicky or anything, this is true dub, but just with an extra helping of delay, so snares stutter and hiccup, huge swaths of melody get buried in sonic murk before drifting higher and higher in the mix, dreamlike dubs floating in a psych swirl of careening rhythms and subtle simple melodies, so awesome. Definitely one of our new favorite dub records (well, new OLD records, as this came out on lp years ago, only 250 copies pressed, but youknow what we mean). Definitely worthy of a place alongside the Perry's and Jammy's and Tubby's in your collection for sure.
As with all EM releases, super deluxe liner notes, original album cover art, lots of photos, and this time liner notes in English too!!!
MPEG Stream: "Dub House Of Horrors"
MPEG Stream: "Grossly Overweight Dub"

SHERLEY, GLEN Live At Vacaville, CA (Bear Family) cd 17.98
Tragic Johnny Cash protege...

SHERMAN, BIM Need To Live, the (EFA) 2lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Collection of rare alternate and otherwise unreleased tracks of Bim Sherman recorded for Adrian Sherwood's ON-U Sound label between 1981 and 1995. Only available on LP.

SHERWOOD, ADRIAN Zero Zero One / Pass The Rizla (Green Tea) 10" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Seems it's been a while since I've heard anything from Mr Sherwood that's tickled my ear. Though not groundbreaking, the two tasty bits here are as good as any of the dub homages on either of the Select Cuts From Blood & Fire comps and it makes me wonder why Sherwood wasn't invited to play a part in them. "Pass the Rizla" features guest vocals from longtime collaborator Bim Sherman and some pounding nyabhinghi drumming that he has such a penchant for.

SHEVALREQ Siege Of Albraca (Hekaloth) cd 16.98
Record number two from these practically indescribable musical miscreants, er, GENIUSES. Where to begin? There's a label called Hekaloth, who in their own way are championing what they consider to be the most important musical advancement in recent history, the guitar synthesizer! And how do they do that? By making these insane records of warped warbly atonal synthesized guitar, accompanied by raw demonic sounding black metal rasps. And if that weren't enough, each record is a concept record, about some historical battle, and each one has some sort of theme: guitar synths mixed with jazz, or mixed with world music instruments, or Asian folk instruments. Did we mention the record covers? They generally feature statues or action figures piled atop and around guitar synth modules, which look just like stereo components, often laid out so the synth modules look like landscapes upon which some medieval battle just so happens to be taking place. In the past we've raved about the first Shevalreq record, as well as discs by Gluttony, Thursar and Xynfonica, to read more wild raving and hyperbolic ranting about these amazingly fucked up records check the website, needless to say, this upholds the high standards set forth by those curious collections of freaked out and fucked up weirdness.
The guitar synth sounds a little like a weird cheap organ, the melodies atonal and warped, there are different modules the player can install in the guitar synth, so out of nowhere some weird melody will surface that SORT of sounds like a koto or something. As far as we can tell this newest Shevalreq is meant to be a little Asian, but once we decided that, in swoops another track that sounds like the sound track to a Nintendo 64 Dungeons And Dragons game, all Renne Faire tinkle and lilting melody, and of course that deep ominous rasp. Some folks here are driven INSANE by this stuff, but some of us LOVE it, this shit is absolutely nuts. Totally bonkers. It appears to be serious, which only makes it more insane and impossibly awesome. Read the other reviews, listen to the sound samples, this is absolutely essential listening for folks into freaky outsider sounds and any sort of fractured fucked up musical weirdness.
MPEG Stream: "Agrikhan's Embassy To Angelique"
MPEG Stream: "In The Dungeons Of The Castle Cruel"
MPEG Stream: "The Rescue Of Marfisa"
MPEG Stream: "The Minotaur"

SHEVALREQ Tournament At Constantinople (Hekaloth / Cyclops) cd 15.98
We raved about a band called Xynfonica a few lists back. A baffling and ridiculous melding of 'classical music' with growled demonic death metal vocals. Some of us were blown away, others of us, well, were not. We discovered Xynfonica was created using nothing but a guitar synthesizer, and the man behind Xynfonica also had a record label, based entirely on this concept of musics made with guitar synthesizers, coupled with evil metal vocals, and had TWO OTHER RELEASES. One world music! And one jazz. Whatthefuck?! We knew we had to hear all of 'em!
So here we have the auspicious debut of Shevalreq. The world music installment of what seems to be a series of truly fucked up outsider musical weirdness. Starting with the cover, Shevalreq was already shaping up to be just as amazing as Xynfonica, the band name and album title in thick purple script, the cover a photo of the guitar synthesizer, and what appears to be a dat machine, and ON TOP OF THE synth and the dat machine are some miniature knights on horseback jousting!!! The back cover shows the same night posing next to the guitar pedals and still on top of the GIANT musical equipment. Inside are pages and pages of lyrics, again, an EPIC, this time concerned with some sort of ancient civilization, jousting, knights, murder, intrigue, castles and royalty, hard to say exactly, especially since it's impossible to understand the lyrics as they're delivered in that monstrous rasp.
And then there's the music. To be totally honest, it doesn't sound all that different than Xynfonica, lots of the tracks sound like a Youtube clip of a cat walking back and forth on a synthesizer keyboard. Coupled with the evil vocals, well, it's just totally bizarre, and to some of us absolute brilliance, but this one stands out as suddenly, the sounds will shift, and we're suddenly listening to tablas, or some Eastern sounding horns, and here and there, Monsieur Shevalreq even busts out little squalls of furious lead guitar. Wailing leads, soaring strings, plink plonky synths, growled invokations, rumbling fake cellos, all woven into a stumbling, damaged concept record about jousting and duels and kings and castles. What more do we need to say?
If you bought the Xynfonica, you almost absolutely need this, if you didn't, we still have some left, or you might as well start with this one. And next time, we'll review the JAZZ one?!?! We can hardly wait.
MPEG Stream: "Tournament Roster"
MPEG Stream: "Argalia's Challenge"
MPEG Stream: "The Jousting Contest"

SHIELDS, CHRISTINE In The Sun (Awesome Vistas) lp 16.98
Wow! Awesome Vistas brings us another stunner with the debut musical release from Sacramento-based artist Christine Shields. Shields, known in the Bay Area for her portraits and ghostly paintings of child spirits, trees and landscapes that evoke a lost Victorian past, has been making and performing music with various groups for awhile, but this is the first time we've heard a full recording and we must say we're quite blown away! Reminding us a bit of Opal or White Magic, Shields and her group have created an amazing record of hauntingly atmospheric chamber folk. Organic vocal harmonies, intricate guitar work, melodica, piano, percussion and bells, evoke a world of beauty and loss, shipwrecks and spirits, dark and light, that is gentle and melancholic but not at all fragile. The songwriting and production are breathtaking and creates the pitch-perfect mood to draw us in and never lets us go. With gorgeous hand-screened covers. Highest Recommendation!

SHIFLET, MIKE The City Is All In Your Head (Celebrate Psi Phenomenon) cd-r 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another mysterious collection of droning wonder from Celebrate Psi Phenomenon, this time from off-duty electrician Mike Shiflet whose 5 pieces on The City Is All In Your Head are excerts from a 12 hour performance which accompanied a sonic sculpture installation. Drone is the order of the day here, and these five tracks are all gorgeously rendered explorations of the vast and varied ambient drone spectrum. From warm fuzzy, warbly organ drones that sound like a surprisingly sonorous vaccuum cleaner rife with shimmering overtones, to a caustic dental drill, to hollow mouthed reverb grinding thrum all pulsing and throbbing, to a crystalline outerspace drone - a static upper register cluster of sound with shifting fuzzy soinc shhhh's underneath and huge fist-to-the-side-of-an-empty-dumpster percussion. All gathered reverentially around the record's centerpiece, a thirty minute slab of massive earth shaking low end rumble, so nice! SUPER LIMITED AS ALWAYS!! NOT SURE WE'LL BE ABLE TO GET MORE WHEN THESE ARE GONE!
MPEG Stream: "Loose Blown Seeds"
MPEG Stream: "The Old Black"

SHIFLET, MIKE & DANIEL MENCHE Stalemate (Sonoris) cd 13.98

SHIFTS 8 Lines (ERS / Staalplaat) lp 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Shifts is the work of Frans de Waard (Goem, Beequeen, and the proprietor of Staalplaat). "8 Lines" features two lengthy buzzing ambient soundscapes constructed mostly through the bouncing / doubling of tracks on an 8 track. One piece is a glistening drone of soft guitar wash, and the other is an eerie manipulation of the perenially avoided 60 cycle hum.

SHIGGAR FRAGGAR Battle Beats, Breaks, Loops, and Shit (Hip Hop Slam) 12" 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Culled from the Shiggerfraggar radio show records that've been lovingly reissued by Billy Jam on disc, this is a prime breaks record for all you turntablist DJs. Speaking of which, has everyone heard about the cool turntable festival happening in LA November 2002? Looks incredible! Everyone from Kid Koala to Philip Jeck. http://http://www.turnament.com/index2.html

SHIGGAR FRAGGAR SHOW Vol.4 (One Eyed Slug Entertainment) dvd-r 23.00
DJ Disk brought this in the other day, a dvd (or dvd-r, we're pretty sure, it's blue on the playing side, whatever that means) version of this video document of the infamous Invisible Skratch Picklz, originally released on VHS ten years ago. Disk, Q-bert, Flare, Shortkut, and the devilish brown-bag masked Shiggar Fraggar himself skritch-skritch-scratch the hell out of a bunch of vinyl on an array of turntables, in a crazed DJ jam session. It's pretty amazing to see them do this live, even today. Indeed, it's what Time Magazine (TIME MAGAZINE!) called "the greatest turntable scratch show ever created". Frenzied fun showcasing mad skillz. For live visuals of classic "Turntablist Orchestrated Music" with a wacky sense of humor, look no further!

SHILO, J. P. As Happy As Sad Is Blue (Smells Like) cd 13.98
One of the joys of working at record stores and doing college radio shows is how much access you end up getting to amazing records that otherwise you might not ever get to come across. And the cool thing about both radio and record stores, is that you're then in a position to share that music with everyone! One such record was by an Australian band called The Hungry Ghosts who released one full length album in 1999 called Alone, Alone. One of those records whose beauty strikes you on first listen and continues to move you a hundred listens down the line. Hungry Ghosts utilized an approach similar to their Australian cohorts, The Dirty Three, yet somehow managed to make their sound maybe even more gorgeous and heartbreaking. I (Irwin) remember playing it for the first time back when I had a show on KSPC in southern California and instantly falling in love. Sadly they seemed to disappear after that record. No trace of them anywhere. I even tried writing them and never heard back. Turns out I wasn't the only one who couldn't find them. John Brooks who was a founding member of the group is said to have entered a black hole of sorts. Later to be found at the Tara institute, a Tibetan Buddhist meditation center in Melbourne. It's there that he went back to his surname of Shilo and with a four-track donated by a fellow resident he began to record music often by candlelight and the results are this absolutely stunning record. You can feel the solitude, the still, the searching and the moments of transcendence. Musical sketches that evoke such a moody elegance. Kind of like if Do Make Say Think and the GYBE camp were forced to trade in all their outbursts and grandiose climaxes and instead go deep within to find the essence of their sound. Steve Shelley of Sonic Youth knew he had to put this out when he finally got the tapes from Shilo and we're so happy he did. Every time we play this in the store someone comes up to see what it is and usually leaves with a copy for themselves. A timeless and totally beautiful record!
MPEG Stream: "Wait"
MPEG Stream: "The Drowning Horse"
MPEG Stream: "La Sirena"

SHIMMER KIDS UNDERPOP ASSOCIATION The Book of Mirrors (Parasol) cd 11.98
These laidback SF popsters make light, sweet-tart songs, and here's a six-song ep for your listening delight! A little backyard ramshackleness, a little swirly 'n' spacy psych-folkish, a little '60s beach blanket worthy with warm vocals, jangly guitars, some horns and hey, was that a recorder we just heard tooting away too? Actually they wouldn't be at all out of place in the warm, creative company of the Elephant 6 collective. Nice.
MPEG Stream: "The Last Joke In Town"
MPEG Stream: "Engines Of The Inner Circle"

SHIMMERING STARS Violent Hearts (Hardly Art) cd 12.98
You'd think by now, that we'd all be sick of reverby garage rock, the whole retro girl group thing that seems to be the M.O. of every new band that pops up these days, but beyond the onslaught of sound alike bands, it's a sound that's tough NOT to love, and when done right, and creatively, it still pushes all our buttons and we can't get enough of it. But more and more these days, the bands that do in fact do it right, are few and far between. Which brings us to Shimmering Stars, a Canadian reverb heavy Spector worshipping dream pop group whose debut, this right here, takes that sixties sound, and melds it to a more fifties sound, reflected by the band's sonic obsession with the Everly Brothers and Del Shannon, and that makes all the difference. Besides the classic, sound all distorted and reverby, dreamy and jangly, the band have come up with some crazy catchy songs, that besides sounding fantastic, also actually sound like they could actually be from the fifties. If someone told you these were all covers, it wouldn't be tough to believe. Granted, the sound here is way more fuzzy and distorted, but the songs are just so perfect, classic and catchy, simple but dreamily melodic. The opening three song salvo here should have you smitten in no time. But the whole record is bursting with could have been classics, in some alternate universe fifties, these guys would have been the biggest band in the land. And be sure to stick around for the closer "Walk Away", a dreamy dirgey chunk of shimmery reverb heavy garage rock pound that while still channeling the fifties should have fans of Thee Oh Sees, Ty Segall, Mikal Cronin and all the rest freaking out big time. Another new pop favorite, which we'll most likely be jamming nonstop along with the new Veronica Falls and the new Big Troubles. SO GOOD!
MPEG Stream: "Walk Away"
MPEG Stream: "Believe"
MPEG Stream: "I'm Gonna Try"
MPEG Stream: "No One"

SHIMMERING STARS Violent Hearts (Hardly Art) lp 12.98
You'd think by now, that we'd all be sick of reverby garage rock, the whole retro girl group thing that seems to be the M.O. of every new band that pops up these days, but beyond the onslaught of sound alike bands, it's a sound that's tough NOT to love, and when done right, and creatively, it still pushes all our buttons and we can't get enough of it. But more and more these days, the bands that do in fact do it right, are few and far between. Which brings us to Shimmering Stars, a Canadian reverb heavy Spector worshipping dream pop group whose debut, this right here, takes that sixties sound, and melds it to a more fifties sound, reflected by the band's sonic obsession with the Everly Brothers and Del Shannon, and that makes all the difference. Besides the classic, sound all distorted and reverby, dreamy and jangly, the band have come up with some crazy catchy songs, that besides sounding fantastic, also actually sound like they could actually be from the fifties. If someone told you these were all covers, it wouldn't be tough to believe. Granted, the sound here is way more fuzzy and distorted, but the songs are just so perfect, classic and catchy, simple but dreamily melodic. The opening three song salvo here should have you smitten in no time. But the whole record is bursting with could have been classics, in some alternate universe fifties, these guys would have been the biggest band in the land. And be sure to stick around for the closer "Walk Away", a dreamy dirgey chunk of shimmery reverb heavy garage rock pound that while still channeling the fifties should have fans of Thee Oh Sees, Ty Segall, Mikal Cronin and all the rest freaking out big time. Another new pop favorite, which we'll most likely be jamming nonstop along with the new Veronica Falls and the new Big Troubles. SO GOOD!
MPEG Stream: "Walk Away"
MPEG Stream: "Believe"
MPEG Stream: "I'm Gonna Try"
MPEG Stream: "No One"

SHINDIG Quarterly #3 magazine 11.98
Another big thick issue (146 pages) of this Mojo-meets-Ugly Things music mag from England, devoted to cool music of '60s / '70s vintage, or stuff that sounds like it. This ish, baroque popsters The Left Banke (you saw our reviews of their recently reissued records) grace the cover. Also: Annette Peacock, Buffalo Springfield, the High Llamas, Roy Harper, and Los Dug Dug's, amongst others! There's a Munster label feature, an article about the "Paisley Underground" scene, and a Hawkwind album art feature that threw us into confusion: is the album called "In Search Of Space", as we always had thought, or actually "X In Search Of Space", which seems to be the case?

SHINDIG! #15 magazine 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A mixture of Mojo and Ugly Things, this colorful magazine is always a nice read for those who like their music a little bit on the vintage side. On the cover this month, The Hollies! Wait, no, flip it upsidedown, it's the Ramones as the cover stars!! Also this issue: The Bosstown Sound, Popol Vuh, Stephen Stills, The Incredible String Band, reviews, news, all the usual stuff...

SHINDIG! #16 magazine 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another issue of this rad retro mag from England, featuring Paul Revere and the Raiders on the cover, along with cult power poppers Shoes, psychsters Sun Dial, proggers Caravan, and plenty more... The Stooges, Alex Chilton, The Lemon Drops, The Yardbirds, Granny's Intentions, all that and more this ish.

SHINDIG! #17 magazine 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another issue of this colorful British magazine devoted to cool music from way back when, the psychedelic and punk eras in particular... The cover is shared this ish by the legendary Lee Hazlewood and the cheerful insanity of Giles, Giles, & Fripp (pre-King Crimson psych pop genius). Also inside, everything from the Damned's Captain Sensible, to proto-metallers Bang, to Michael Fennelley of The Millenium and Crabby Appleton, to UK heavy proggers Samuel Prody... and plenty more, old and new. Lotsa reviews, news, all the usual stuff. Basically if you read Mojo and/or Ugly Things, you should be reading Shindig! too.

SHINDIG! #18 magazine 9.98
"Psych, garage, prog, powerpop, soul, folk..." are this retro-minded magazine's into. This ish, features The Birds (no, not the Byrds) on the cover. Y'know, Ron Wood's band before he was in the Stones. Also: Swedish psych poppers Tages, John Sebastian, The Remains, The Purple Hearts, and plenty more. Including a free 21 track download thingee.

SHINDIG! #19 magazine 8.98
Big and brightly colored, every issue of UK music magazine Shindig! is good readin', if you're into the old school sounds they celebrate, mostly '60s and '70s rock, folk, pop, prog, garage... This issue's got the pre-fab four, The Monkees, on the cover, with a story about their cult movie Head (as Shindig! terms it, their "celluloid suicide note"). Then there's also stuff about Aussie legends The Easybeats, The Iveys (pre-Badfinger band, y'know), Todd Rundgren, Free Design, proto-metallers Banchee, Kaleidoscope (UK not USA), Jim Sullivan, and plenty more, including a ton of reviews, ads for stuff to salivate over, oh and an appreciation of the cover to The Poppy Family's 1969 single "Which Way You Goin', Billy?".

SHINDIG! Issue #5 magazine 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.