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IMPORTANT (Please read to avoid confusion):
Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


ULVER Themes from William Blake's The Marriage of Heaven and Hell" (Jester) 2cd 19.98
Probably the most anticipated metal record of the year outside of the Emperor record, but for a drastically different reason; everyone was curious how much it might suck. After all, this is the record that got them dropped from Century Media for not being metal enough. Early reviews made repeated references to 'trip hop' and 'Tricky' and 'Portishead'. Even distributors were wary of carrying what apparently was a non-metal record, hence our difficulty in ordering it.
This is as unlikely a direction as one could imagine for Ulver. They hinted at this new direction on their second, 'folk' album, although their next record Nattens Madrigal found them in ferocious buzzing blur mode. William Blake finds a bit of that folk element fused with elements of metal, ambient, goth, trip-hop, 80's industrial and spoken word. You may remember a similarly unconventional mix on the last Arcturus record, although this record is significantly more epic in length (two cd's) and scale (examining the writings of William Blake through the lens of seemingly unrelated genres). What makes this record assuredly Ulver is the sheer audacity of recording what is essentially a literary dissertation. And they've earned the right to do so; releasing three of the best and most original metal records of the last several years as well as being the only sober, educated voice in The Lords of Chaos.
The store is divided on it. Andee and Marc, though confused by it, like it a lot. Jim says he would have loved it in High School. Allan and Elisabeth are still unsure. (And Windy's too busy looking for a carpenter to even have an opinion.) So this is both a warning and a recommendation.

ULVER War Of The Roses (Jester / K-Scope) cd 16.98

ULVER / IMMORTAL Bargnatt - Promo '93 / Promo '91 (Dead Not Found) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Bootleg (note it's on "Dead Not Found" not legit label "Head Not Found") release of early material by two legendary Norwegian black metal acts, the now so avant garde that they're not black metal anymore Ulver and black metal diehards even today Immortal. Of course back in the early '90s, both bands were True with a captial T: raw, church-burning black metal of the purest sort. Demotape tracks from both bands (4 from Ulver, 3 from Immortal), plus an Ulver song from their rare split 7" with Mysticum. Ulver's stuff melds neo-classical melodicism with lo-fi Burzum-style noise-production, which certainly sets the stage for several of their later releases. Immortal's tracks are EXTREMELY lo-fi, with the Popeye death-grunts being the most audible aspect. Oh, the atmosphere! For fans only, of course (who will also no doubt appreciate the shocking anti-Dimmu Borgir tray-card graphics).

album cover UMBERTO Confrontations (Not Not Fun) cd 13.98
Another batch of unabashed Goblin / John Carpenter worship from this aQ beloved synth wrangler, and really not sure what to say about Umberto that we haven't already, from song one here, you're immediately ushered into some creepy, lost world, of ominous spirits and glimmering starlit skies, of long lonely winding roads, old abandoned buildings, and mysteries lurking in the shadows. The sound evokes wandering down dimly lit roads, or late night car chases, pulsating rhythms, swirling synths, throbbing drum machines, chorale like textures, squiggly melodies, lush chordal swells, dark and ominous one second, soaring and dramatic the next, super cinematic and soundtracky, all Umberto needs is a time machine and he could definitely go head to head with Goblin back in the day. Moody retro cinematic synthscapery and tense, dark, electronic moodiness that never fails to evoke a glorious sense of sonic dread, and inevitably has us imagining some outlandish scenario, these sounds playing while we desperately try to elude a mystery killer, or escape from some haunted house. Fantastic!
MPEG Stream: "Night Fantasy"
MPEG Stream: "Initial Revelation"
MPEG Stream: "Confrontation"

album cover UMBERTO Confrontations (Not Not Fun) lp 14.98
Another batch of unabashed Goblin / John Carpenter worship from this aQ beloved synth wrangler, and really not sure what to say about Umberto that we haven't already, from song one here, you're immediately ushered into some creepy, lost world, of ominous spirits and glimmering starlit skies, of long lonely winding roads, old abandoned buildings, and mysteries lurking in the shadows. The sound evokes wandering down dimly lit roads, or late night car chases, pulsating rhythms, swirling synths, throbbing drum machines, chorale like textures, squiggly melodies, lush chordal swells, dark and ominous one second, soaring and dramatic the next, super cinematic and soundtracky, all Umberto needs is a time machine and he could definitely go head to head with Goblin back in the day. Moody retro cinematic synthscapery and tense, dark, electronic moodiness that never fails to evoke a glorious sense of sonic dread, and inevitably has us imagining some outlandish scenario, these sounds playing while we desperately try to elude a mystery killer, or escape from some haunted house. Fantastic!
MPEG Stream: "Night Fantasy"
MPEG Stream: "Initial Revelation"
MPEG Stream: "Confrontation"

album cover UMBERTO Final Exit (Black Moss) one-sided silk-screened 12" 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The latest chunk of seventies/eighties faux giallo soundtrack John Carpenter / Goblin worship from longtime aQ faves Umberto comes in the form of this EXTREMELY limited one-sided silk-screened 12". Umberto, aka Matt Hill, who is one half of psychedelic spacekraut explorers Expo 70, offers up another glorious slab of brooding cinematic ambience, this one a lot more ambient that past outings. More on that in a second. Final Exit is packaged in a super striking fold over sleeve, which features the image of one unlucky man's final exit, laying on a bed, suffocated with a plastic bag over his head, the sleeve also bears the legend: "This record is intended to accompany the last moments of your suffering." It also features a seal, adorned with a flower, and the words "good life / good death". The record itself is one sided, the flipside featuring another image of that same man, this time eyes opened and bulging! Morbid for sure. And the music follows suit. Sort of. In some ways it almost sounds more like a slightly more sinister and soundtracky Expo 70, with warm swoonsome synth swirls, a sort of darkly new age-y drift, moody and broody, with lush swells that sound almost choral, the vibe is definitely majestic and cinematic, but is also minimal and restrained. A few minutes in, percolating synth melodies surface amidst the dark swirls, and then a simple heartbeat like pulse, motorik and minimally propulsive, near the end the sound changes tone and timbre becoming much more gristly and distorted the hum and thrum transformed into a crumbling buzz, ominous and sinister, the whole sound hazy and gauzy, and gradually fading to black.
The record sounds great at both 33 and 45rpm, but we tend to like things slower, so at 33 it definitely sounds much creepier and gloomier.
LIMITED TO JUST 150 COPIES!!! Each one is hand numbered. When we run out, we will NOT be able to get more, so if you want one, act fast.
Word of warning: These come in those super brittle plastic picture disc sleeves that, to be blunt, kinda suck, so every single one of the sleeves is slightly damaged, whether it's cracked on the corner, or with a seam split, it's the nature of those sleeves, and of having them shipped from overseas too (which also resulted in some some bent corners and so forth), so if you're super anal, or a nit picky collector, you have been warned, everyone else, you should be fine, they're all housed in a second polybag anyway, and the records themselves are in perfect condition (and look amazing!), so grab one before they're gone!

album cover UMBERTO Freeze (Not Not Fun) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The first thing you notice is the goofy Eddie Murphy cover art, with the altered tagline "He's been ZUULed, thrown through a window, and arrested." The second thing you notice are the equally cheesy sounds inside, channeling the same eighties VHS soundtrack grooves as before, but somehow, where in the past, Umberto sounded like horror movie scores, or lost John Carpenter soundtracks, or sci-fi fantasy weirdness, this one sounds like it COULD actually have come from an Eddie Murphy movie, funky synthed out grooves, programmed drums, faux horn melodies, at least on "Put An APB On Those Bastards". "Common Street trash" almost sounds like it could have been titled "Love Theme from Common Street Trash", all hazy washed out melodies, another weird horn like refrain, everything super dramatic and heartfelt and again fantastically cheesy. "Going Rogue", laces some piano over soaring strings, some big stadium drums, a slow building super tense, but all too brief bit of dramatic musical tension, before the big finish, "Illegal Entry With Intent To Zuul", with its Barney Miller bassline, sizzling high hats, new wave drums, and yep, another cheesy electronic sax solo, all washed out and woozy, as faded as the crappy VHS print of whatever imaginary movie this came from, the funky bass rooting it solidly mid eighties, same with the sax, the second half gets a little more far out and new wavey, with some strange synth melodies, all the while teetering right on the edge of goofy retro synth revivalism and the sort of thing we weren't sure we understood even the first time around... Goblin fans should be pleased!
MPEG Stream: "Put An APB On Those Bastards"
MPEG Stream: "Illegal Entry With Intent To Zuul"

album cover UMBERTO From The Grave (Permanent) lp 14.98
AT LAST REPRESSED ON VINYL!
Doubtless many movie (and music) buffs would agree that Italian '70s and '80s "giallo" (horror/thriller) cinema, from directors like Dario Argento and Lucio Fulci, had soundtracks usually as evocative and inspirational as any visual aspect of the films, soundtracks which often stand as effective works of art all on their own. The scores by prog band Goblin being perhaps best known, influencing such modern day bands as Zombi and Crime In Choir. Now here's another, utterly blatant and most excellent example of Italian giallo soundtrack worship by a current artist: Umberto!
Umberto is actually a one-man band, that man being Matt Hill, live collaborator / touring member of AQ faves Expo '70! Under his guise of Umberto, he has just released his first album as limited edition cassette and cd-r on the Sonic Meditations label run by Expo '70 mainman Justin Wright. While Expo '70 has proven to be especially adept at channelling the heavy kosmiche bliss of prime '70s krautrock a la Klaus Schulze, Tangerine Dream and Ash Ra Tempel, Umberto is equally savvy at conjuring the dark, suspenseful soundtrack-y sounds of Goblin and the like. With, some cosmic Klaus-y krauty-ness thrown in as well. This definitely sounds like it could be an actual soundtrack, in fact, someone should MAKE a film just to use this as a soundtrack. You can certainly do so in your imagination, aided perhaps by the cinematically suggestive track titles, which include "Running Blade", "Intermission", "Dream Sequence", "Shower Scene", and "End Credits" (the only track here with vocals, otherwise it's all instrumental... and the vocals on this last track are some sort of hard-to understand, chant-like invocation). Listen with the lights off for best results.
Umberto has a heavily synthesized sound, keyboards buzzing and droning and squelching, crunchily distorted or eerily ethereal, sounding at once like ominous Gothic organ music and also spacey futuristic electronica. Mechanical drumming plods along, propulsive beats adding to the menacing atmosphere. There's also plenty of fat disco synth-bass, and we bet folks into Italians Do It Better 12"s, or Black Devil Disco Club, or even skweee would get a kick out of this too, not just Goblin fanatics... but yeah Goblin fanatics (and John Carpenter and Zombi fans too) REALLY ought to check this out! Very cool, very creepy, and even at times kinda catchy-groovy.
MPEG Stream: "Forsaken Dawn"
MPEG Stream: "It Came From The Swamp"
MPEG Stream: "Running Blade"

album cover UMBERTO From The Grave (Sonic Meditations) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Doubtless many movie (and music) buffs would agree that Italian '70s and '80s "giallo" (horror/thriller) cinema, from directors like Dario Argento and Lucio Fulci, had soundtracks usually as evocative and inspirational as any visual aspect of the films, soundtracks which often stand as effective works of art all on their own. The scores by prog band Goblin being perhaps best known, influencing such modern day bands as Zombi and Crime In Choir. Now here's another, utterly blatant and most excellent example of Italian giallo soundtrack worship by a current artist: Umberto!
Umberto is actually a one-man band, that man being Matt Hill, live collaborator / touring member of AQ faves Expo '70! Under his guise of Umberto, he has just released his first album as limited edition cassette and cd-r on the Sonic Meditations label run by Expo '70 mainman Justin Wright. While Expo '70 has proven to be especially adept at channelling the heavy kosmiche bliss of prime '70s krautrock a la Klaus Schulze, Tangerine Dream and Ash Ra Tempel, Umberto is equally savvy at conjuring the dark, suspenseful soundtrack-y sounds of Goblin and the like. With, some cosmic Klaus-y krauty-ness thrown in as well. This definitely sounds like it could be an actual soundtrack, in fact, someone should MAKE a film just to use this as a soundtrack. You can certainly do so in your imagination, aided perhaps by the cinematically suggestive track titles, which include "Running Blade", "Intermission", "Dream Sequence", "Shower Scene", and "End Credits" (the only track here with vocals, otherwise it's all instrumental... and the vocals on this last track are some sort of hard-to understand, chant-like invocation). Listen with the lights off for best results.
Umberto has a heavily synthesized sound, keyboards buzzing and droning and squelching, crunchily distorted or eerily ethereal, sounding at once like ominous Gothic organ music and also spacey futuristic electronica. Mechanical drumming plods along, propulsive beats adding to the menacing atmosphere. There's also plenty of fat disco synth-bass, and we bet folks into Italians Do It Better 12"s, or Black Devil Disco Club, or even skweee would get a kick out of this too, not just Goblin fanatics... but yeah Goblin fanatics (and John Carpenter and Zombi fans too) REALLY ought to check this out! Very cool, very creepy, and even at times kinda catchy-groovy.
MPEG Stream: "Forsaken Dawn"
MPEG Stream: "It Came From The Swamp"
MPEG Stream: "Running Blade"

album cover UMBERTO From The Grave (Sonic Meditations) cd-r 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Doubtless many movie (and music) buffs would agree that Italian '70s and '80s "giallo" (horror/thriller) cinema, from directors like Dario Argento and Lucio Fulci, had soundtracks usually as evocative and inspirational as any visual aspect of the films, soundtracks which often stand as effective works of art all on their own. The scores by prog band Goblin being perhaps best known, influencing such modern day bands as Zombi and Crime In Choir. Now here's another, utterly blatant and most excellent example of Italian giallo soundtrack worship by a current artist: Umberto!
Umberto is actually a one-man band, that man being Matt Hill, live collaborator / touring member of AQ faves Expo '70! Under his guise of Umberto, he has just released his first album as limited edition cassette and cd-r on the Sonic Meditations label run by Expo '70 mainman Justin Wright. While Expo '70 has proven to be especially adept at channelling the heavy kosmiche bliss of prime '70s krautrock a la Klaus Schulze, Tangerine Dream and Ash Ra Tempel, Umberto is equally savvy at conjuring the dark, suspenseful soundtrack-y sounds of Goblin and the like. With, some cosmic Klaus-y krauty-ness thrown in as well. This definitely sounds like it could be an actual soundtrack, in fact, someone should MAKE a film just to use this as a soundtrack. You can certainly do so in your imagination, aided perhaps by the cinematically suggestive track titles, which include "Running Blade", "Intermission", "Dream Sequence", "Shower Scene", and "End Credits" (the only track here with vocals, otherwise it's all instrumental... and the vocals on this last track are some sort of hard-to understand, chant-like invocation). Listen with the lights off for best results.
Umberto has a heavily synthesized sound, keyboards buzzing and droning and squelching, crunchily distorted or eerily ethereal, sounding at once like ominous Gothic organ music and also spacey futuristic electronica. Mechanical drumming plods along, propulsive beats adding to the menacing atmosphere. There's also plenty of fat disco synth-bass, and we bet folks into Italians Do It Better 12"s, or Black Devil Disco Club, or even skweee would get a kick out of this too, not just Goblin fanatics... but yeah Goblin fanatics (and John Carpenter and Zombi fans too) REALLY ought to check this out! Very cool, very creepy, and even at times kinda catchy-groovy.
MPEG Stream: "Forsaken Dawn"
MPEG Stream: "It Came From The Swamp"
MPEG Stream: "Running Blade"

album cover UMBERTO Prophecy Of The Black Widow (Not Not Fun) cd 11.98
It's about a month late for Halloween, but we're still pretty thrilled that this Record Of The Week from last year is now available as a cd! Here's what we said about the original vinyl version which we got in October, last year:
We LOVED the previous Umberto album, From The Grave, and are stoked that he/they/it have finally returned with another full length packed with oodles of Goblin-y goodness, just in time for Halloween!!
But the sound of the Expo 70-associated Umberto is not strictly that scary, at least not all the time, in fact, like Goblin and other '80s Italian fright-film soundtrackers, most of the scary stuff here is really just an *underlying* un-ease, a sinister suspenseful undercurrent over which more "groovy" stuff gets down. And way more groovy this one most definitely is, some serious haunted dancefloor action, or horror movie disco, or whatever you want to call it, but Umberto has for sure upped the funk/groove quotient, lacing the usual cocktail of thick, tense, pulsing synth throb, minimal motorik rhythms and heavy ominous drones with plenty of funky basslines, crunchy modulated keyboard buzz, soaring synths, chanted voices and propulsive grooves... Here and there, the sound gets all stripped down leaving just gurgly, crumbly distorted low end peppered with spaced out booming rhythms, or creepy ambient atmospheres, but the songs tend to slip quickly back into haunted shuffly rhythms, woozy horror movie atmospherics, ominous strings laced funky grooves and dark descending bass blarp.
The second side begins with one of those tracks that sounds like the music that always introduces us to the main character in all those seventies thrillers, the little girl playing with her dollies, the old woman in the garden, the sound is tranquil but subtly sinister, here it's a music box like melody, plinking dreamily beneath haunting strings, and soft swirls of creepy voice like synth, total horror movie soundtrack shivers for sure.
After that it's back to wah guitars, chiming bells, groovy Italo funk haunted dancefloor grooviness, but this time with some cool washed out M83 style female vocal textures, a shoegazey gauze over that propulsive Goblin-y groove.
If we had to pick a single song that was THE ONE here, it would probably be "Someone Chasing Someone Through A House" which sounds exactly LIKE THAT, pulsing throbbing synths, electronic squelches, deep ominous drones, dark swells, foreboding and creepy and tense and SCARY!
The album ends with an upbeat track entitled "Everything Is Going To Be Ok", all sun-coming-up, yay we survived the zombie onslaught good cheer & cheesiness. The sort of music that plays over the closing credits, or even better, over the final shot which lulls you into a sense of false security, before a decaying hand bursts through the ground, or a beast explodes from the water and drag our heroine out of the boar, some sort of shock to let you know that evil won't stay buried... which of course usually leads to a sequel, and we are definitely looking forward to the next installment of groovy Gobliny sonic scares from Umberto!
MPEG Stream: "Temple Room"
MPEG Stream: "Widow Of The Web"
MPEG Stream: "Black Candles"

album cover UMBERTO Prophecy Of The Black Widow (Not Not Fun) lp 14.98
At long last the vinyl of this former Record Of The Week has been REPRESSED!!! Here's what we said the first time 'round:
We LOVED the previous Umberto album, From The Grave, and are stoked that he/they/it have finally returned with another full length packed with oodles of Goblin-y goodness, just in time for Halloween!!
But the sound of the Expo 70-associated Umberto is not strictly that scary, at least not all the time, in fact, like Goblin and other '80s Italian fright-film soundtrackers, most of the scary stuff here is really just an *underlying* un-ease, a sinister suspenseful undercurrent over which more "groovy" stuff gets down. And way more groovy this one most definitely is, some serious haunted dancefloor action, or horror movie disco, or whatever you want to call it, but Umberto has for sure upped the funk/groove quotient, lacing the usual cocktail of thick, tense, pulsing synth throb, minimal motorik rhythms and heavy ominous drones with plenty of funky basslines, crunchy modulated keyboard buzz, soaring synths, chanted voices and propulsive grooves... Here and there, the sound gets all stripped down leaving just gurgly, crumbly distorted low end peppered with spaced out booming rhythms, or creepy ambient atmospheres, but the songs tend to slip quickly back into haunted shuffly rhythms, woozy horror movie atmospherics, ominous strings laced funky grooves and dark descending bass blarp.
The second side begins with one of those tracks that sounds like the music that always introduces us to the main character in all those seventies thrillers, the little girl playing with her dollies, the old woman in the garden, the sound is tranquil but subtly sinister, here it's a music box like melody, plinking dreamily beneath haunting strings, and soft swirls of creepy voice like synth, total horror movie soundtrack shivers for sure.
After that it's back to wah guitars, chiming bells, groovy Italo funk haunted dancefloor grooviness, but this time with some cool washed out M83 style female vocal textures, a shoegazey gauze over that propulsive Goblin-y groove.
If we had to pick a single song that was THE ONE here, it would probably be "Someone Chasing Someone Through A House" which sounds exactly LIKE THAT, pulsing throbbing synths, electronic squelches, deep ominous drones, dark swells, foreboding and creepy and tense and SCARY!
The album ends with an upbeat track entitled "Everything Is Going To Be Ok", all sun-coming-up, yay we survived the zombie onslaught good cheer & cheesiness. The sort of music that plays over the closing credits, or even better, over the final shot which lulls you into a sense of false security, before a decaying hand bursts through the ground, or a beast explodes from the water and drag our heroine out of the boar, some sort of shock to let you know that evil won't stay buried... which of course usually leads to a sequel, and we are definitely looking forward to the next installment of groovy Gobliny sonic scares from Umberto!
MPEG Stream: "Temple Room"
MPEG Stream: "Widow Of The Web"
MPEG Stream: "Black Candles"

album cover UMBERTO The Night Has A Thousand Screams (Rock Action) cd 14.98
It took a while, but last year's Umberto release for Mogwai's Rock Action label finally got some decent US distribution, and we're pretty glad since we've been bugging the label and import distros about it for months now. 'Cause as you know we're huge Umberto fans, we absolutely love his Goblin-worshipping, giallo-inspired sinister cinematic synthscapes and this one's another spinetingler. And it's the (alternate) soundtrack to an actual movie, too! Most Umberto releases have been of the -imaginary- soundtrack variety, but The Night Has A Thousand Screams was composed and performed as live accompaniment for a 1982 slasher flick called Pieces, by cult Spanish director Juan Piquer Simon, as screened at the 2012 Glasgow Music And Film Festival.
As you'd expect, The Night Has A Thousand Screams is rife with the subtle menace of spooky, spacey synths, and lullaby-like melodies plinked out amidst haunting, harrowing drone/groan. There's also often the thump-thump-thump of a bass drum as the beating tell-tale heart of it all. That booming percussion can be pretty prominent in the mix, but we like the "live" sounding urgency of it when it occurs. Many passages leave aside the rhythms for long stretches of pure synth textures, however. Others get really rhythmic, like "The Investigation" with snappy drum machine beats that brings in shades of Umberto's other big influence, John Carpenter, natch.
Not having heard the film's original soundtrack we can't compare it, but we're betting Umberto did at least as good of a job scoring such scenes as "The Dance Studio" and "The Waterbed", and it's one that works just fine for home listening minus the visuals as well. Another wonderfully groovy and atmospheric Umberto creep-out!
MPEG Stream: "Boston, 1942"
MPEG Stream: "The Investigation"
MPEG Stream: "The Waterbed"

album cover UMBERTO The Night Has A Thousand Screams (Rock Action) lp 17.98
It took a while, but last year's Umberto release for Mogwai's Rock Action label finally got some decent US distribution, and we're pretty glad since we've been bugging the label and import distros about it for months now. 'Cause as you know we're huge Umberto fans, we absolutely love his Goblin-worshipping, giallo-inspired sinister cinematic synthscapes and this one's another spinetingler. And it's the (alternate) soundtrack to an actual movie, too! Most Umberto releases have been of the -imaginary- soundtrack variety, but The Night Has A Thousand Screams was composed and performed as live accompaniment for a 1982 slasher flick called Pieces, by cult Spanish director Juan Piquer Simon, as screened at the 2012 Glasgow Music And Film Festival.
As you'd expect, The Night Has A Thousand Screams is rife with the subtle menace of spooky, spacey synths, and lullaby-like melodies plinked out amidst haunting, harrowing drone/groan. There's also often the thump-thump-thump of a bass drum as the beating tell-tale heart of it all. That booming percussion can be pretty prominent in the mix, but we like the "live" sounding urgency of it when it occurs. Many passages leave aside the rhythms for long stretches of pure synth textures, however. Others get really rhythmic, like "The Investigation" with snappy drum machine beats that brings in shades of Umberto's other big influence, John Carpenter, natch.
Not having heard the film's original soundtrack we can't compare it, but we're betting Umberto did at least as good of a job scoring such scenes as "The Dance Studio" and "The Waterbed", and it's one that works just fine for home listening minus the visuals as well. Another wonderfully groovy and atmospheric Umberto creep-out!
MPEG Stream: "Boston, 1942"
MPEG Stream: "The Investigation"
MPEG Stream: "The Waterbed"

album cover UMBERTO Welcome To The Chillzone (The Great Pop Supplement) lp 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
You're not imagining things, that skull in the rearview mirror is looking at you. Expo 70 sideman Matt Hill, aka Umberto, is back... eerie as ever! Following his recent, limited, and now out of print one-sided 12" entitled Final Exit on Italian label Black Moss, comes this strikingly-sleeved 45rpm 12" via UK label The Great Pop Supplement, also quite limited (500 copies only), vinylizing a cassette put out by Solid Melts in an even scarcer edition a year ago. Welcome To The Chillzone consists of two tracks of equal 10:03 durations, really one piece split over two sides, both quietly brooding and creepy, side A slowly unfolding, building up to the somewhat more intense but still restrained side B... which ends, though, as side A begins, the whole composition looping like the original tape. Umberto's sinister sonics are indeed chilling here, full of blissful yet shivery synthwork, like hushed melodic whispers drifting above an ominous hallucinatory hum... eventually there's sequenced rhythmic pulsations, but gentle, this 12" as compelling and effective as any suspense film soundtrack we can think of. As with Final Exit, 'tis more ambient and icy than the deathly disco of Umberto's more electro beat-driven earlier efforts, so next to Goblin and John Carpenter among the giallo-obsessed Umberto's influences, have been added the zoned out cinematic synths of Tangerine Dream, perhaps.
As we said, limited edition of 500 copies, already sold out at the label!! We got a couple dozen, but when they're gone, they're gone, we won't be able to get any more...

album cover UMBRELLAS IN THE SUN A Crepuscule / Factory Benelux DVD 1979-1987 (LTM) dvd 28.00
A two hour plus anthology of rare digitally remastered studio clips and live footage by various groups from the archives of Factory Records, Factory Benelux, Les Disques du Crepuscle between 1979 and 1987. Featuring Antena, A Certain Ratio, Josef K, Caberet Voltaire, Section 25, Durutti Column, New Order, Crispy Ambulance, Tuxedomoon, Paul Haig, Quando Quango and many, many others.

UMBRELLAS OF CHERBOURG (OST) (Sony) 2cd 21.00

UMEZU, KAZUTOKI First Deserter (Knitting Factory Works) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Japanese jazz saxophonist "Doctor" Umezu with some downtown NYC stalwarts (Marc Ribot, Wayne Horvitz, Tom Cora, and Samm Bennett). Great stuff, full of fun. Recommended.

UMEZU, KAZUTOKI Show The Frog (Doubtmusic) cd 24.00
Avant jazz from Japan featuring Kazutoki Umezu on sax.

UMILIANI, PIERO Musicaelettronica, Volume Uno (Easy Tempo) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Sometimes it's hard to keep up with the output of Italian '60s/'70s groovedelica reissue label Easy Tempo. Fortunately this release didn't escape our notice, 'cause it's super great. Italian composer Piero Umiliani has been the subject of numerous reissues and compilations as his "space age bachelor pad" music is finding a newer audience 30 years after it was created. And while the sticker on the cd reminds you that Umiliani's experimental synthesizer (moog, mostly) pop material can favorably be compared to the exotica of Martin Denny, the '60s rock of Jefferson Airplane, and jazz a la Ellington, we're here to tell you that at times the music sounds utterly contemporary, as modern and fresh and full of original ideas as any new "electronica" artist out there. In fact, the electronic material is so clean and avant sounding that we are instantly reminded of Krautrock pioneers Cluster and Neu. You heard me--Cluster. Yeah, it's that good! Not that it's all super serious or anything -- there's a great version of "Caravan" on here worthy of Perrey & Kingsley. Highly recommended!
RealAudio clip: "Motore a loni"

UMILIANI, PIERO Musicaelettronica, Volume Uno (Easy Tempo) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Sometimes it's hard to keep up with the output of Italian '60s/'70s groovedelica reissue label Easy Tempo. Fortunately this release didn't escape our notice, 'cause it's super great. Italian composer Piero Umiliani has been the subject of numerous reissues and compilations as his "space age bachelor pad" music is finding a newer audience 30 years after it was created. And while the sticker on the cd reminds you that Umiliani's experimental synthesizer (moog, mostly) pop material can favorably be compared to the exotica of Martin Denny, the '60s rock of Jefferson Airplane, and jazz a la Ellington, we're here to tell you that at times the music sounds utterly contemporary, as modern and fresh and full of original ideas as any new "electronica" artist out there. In fact, the electronic material is so clean and avant sounding that we are instantly reminded of Krautrock pioneers Cluster and Neu. You heard me--Cluster. Yeah, it's that good! Not that it's all super serious or anything -- there's a great version of "Caravan" on here worthy of Perrey & Kingsley. Highly recommended!

album cover UMILIANI, PIERO Piero's Pleasure (Cherry Red) cd 17.98
The music of Piero Umilani was always the breeziest and most fun-loving of the Italian soundtrack composers. What more proof do you need than the opening track of this collection, a song made famous by the Muppets, "Mah Na Mah Na". But if you've never heard the rich intonation of the male lead vocalist in the original, you really owe yourself a listen. Furthermore, the fact that the song originally came from a soundtrack for a film called Sweden, Heaven and Hell, just adds to Umilani's zany mystique. This collection of sixties and seventies soundtracks is a good start for those who missed out on the now out of print Easy Tempo reissues from the late nineties. There's plenty of whimsical guitar leads, snaking through festive and enchanting xylophones, trumpets, and all manner of eccentric auxiliary percussion one would associate with the decadence and elegance of '60s and '70s era film. When not baroquely festive, Umiliani assuredly works his way through darker moods with trembling string sections, haunting vocals, and lilting guitar lines. And of course, naturally, for good measure, there is some fucking brilliant whistling, which always makes EVERYTHING better, whether it be a compilation of forgotten soundtrack music, or a stroll home from work. It may not be THE definitive collection for Umilani enthusiasts but it has plenty of Italian cinematic soundtrack gems, from spy themes and Spaghetti Westerns to pensive romance and of course, sunny femme-vocalised pop. Anyone looking to brush up Umiliani, or Italian soundtracks in general will cover some important territory with this one.
MPEG Stream: "Mah Na Mah Na"
MPEG Stream: "Isola Tuttofare"
MPEG Stream: "Le Isole Dell'amore"
MPEG Stream: "Un Posto Per Un Addio"

UMILIANI, PIERO Tra Scienza E Fantascienza (Beat) cd 27.00

album cover UMLAUT Total Disfuckingcography (Crimethinc) cd 12.98
There's a lot of talk about intensity in music -- hot guitar licks, fast drumming, empassioned vocals. But then you hear something like the entire recorded output of the mighty Umlaut and from then on you realize that everything you thought you knew about limits of musical ferocity was bullshit. There is no aural equivalent to this raging onslaught of blasting, anthemic hardcore/grind.
Mostly unknown outside of their Scandinavian hinterlands, Umlaut is a secretive outlaw collective of hard-drinking hard-riding anarchist Finnish biker punks who pause only long enough on their ceaselessly marauding cross-tundra doom rides to destroy squats with a typically brief 10-minute set of their incendiary brand of hardcore-crust-grind. Suspiciously evasive in interviews as to the nature of their identity, they espouse their violently radical political beliefs with a vehemence matched only by their loathing of customs agents (on the song "Denied at Customs" sung to the tune of S.O.D.'s "United Forces") and a certain American metalcore band coming to their native land and expecting everyone to speak English.
Most tracks here sound like first-take recordings, and I mean that in a good way -- there's a raw unbridled natural live feel to the songs that make them sound like they're about to disintegrate into chaos at any moment. It is a work of no small heroism on the part of the drummer to keep these songs contained into concrete, if not surprisingly tight, structures. The vocals are positively seething, the guitars the perfect blend of heaviness and rawness, the drums near-death-metal fast and the songs are surprisingly catchy even in their rarely-over-30-seconds length. You could play this on the lowest volume setting and the Finnish motorcycling death squad that is Umlaut will still sound like they're positively charging out of your speakers, ready to run you down and grind your guts into the spokes of their burning wheels.
The real question though is how could a band this amazing actually exist? Seems to good to be true!! I mean, c'mon, Finnish, bikers, metal, hardcore, it's almost like someone deliberately designed the coolest band ever. Weird.
MPEG Stream: "Brothers In Arms"
MPEG Stream: "Intifada (Called Terrorists By Terrorists)"
MPEG Stream: "Denied At Customs"
MPEG Stream: "Bomb Threat"

album cover UMPIO Muelas (Freak Animal) cd 14.98
Here's some uneasy listening courtesy of Finland's Umpio. We had discovered the work of Umpio by way of a collaboration with the long-time aQ-favorite irr. app. (ext.), upon which Mr. Umpio (nee Pentti Dassum) reconstituted a bunch of irr. app. (ext.) material into an album that sounded remarkably like irr. app. (ext.) - profoundly strange collages of mudsucking torpor and psychically unstable gloominess. Muelas is none of that, standing in fully erect glory as a throttling, self-perpetuating explosion of noise-junk, signal-overload, and gleeful sonic destruction. The album's artwork connects the dots of the noise to the phobias and fears of going to the dentist, only to discover the man behind the dental drill is quite the sadist. There's a faux-outsider-artist drawing of phallic creatures with equally phallic dental drills who are converging on the poor patient suffering from some unfortunate tooth malady. There's the standard dental X-ray; and then there's a strange photograph of what actually looks like a dismembered jaw floating in the bottom of a jar, complete with fleshy tissue and decayed molars. Gross. Suitably, the noise that Umpio generates is sharp, crackling, and brutal, with plenty of cut-up configurations that sit somewhere between the pre-digital work of Merzbow and the scatological aktions of Runzelstirn & Gurglestock. Somebody on the internet postulated that the track "Night Goat" might be an uncredited Melvins cover. Why not?
MPEG Stream: "Caries"
MPEG Stream: "Nervous Surgeon"
MPEG Stream: "Night Goat"

album cover UMPIO + IRR. APP. (EXT.) Observation Affects The Outcome (Monochrome Vision) cd 14.98
Those unsettling squiggles, those psychic discharges, that automatic writing, those surreal if furtive glances that we have come to expect from M.S. Waldron / irr. app. (ext.) can be heard loud and clear on Observation Affects The Outcome. The other half of this collaboration is a character named Pentti Dassum, whose come up with the so-absurd-that-it-must-be-Finnish proposal (see Circle's recent Incarnation / Falcon scheme) that Umpio is neither an 'alter ego' nor an 'artist name'. Translated as vacuum from Dassum's native tongue, Umpio is described as a mental / physical location of profound isolation where his experiments with sound can take place. We suppose that could be anywhere. His kitchen. A tent in the woods. An empty swimming pool. A hobbit hole for a long since vanished race of dwarves. A blown out crater from a recent UFO crash. Okay, that sounds about right for Finland. Presumably, Waldron gave a bunch of material to Dassum for him to do with as he saw fit. Whatever Dassum did in his place of isolation, he ended up creating a really great irr. app. (ext.) album. The album lurches through the audio equivalent of a boot-sucking mud, with a gurgling ooze and slimy textures; and it trudges along with a woozy, unstable pace furthered along by moldy prescription drugs with all of the bad-trip attributes that would come from taking such medicines when you might be hoping for relief from some gastrointestinal ailment. Worms boring into your eyeballs up through bloodstream from gashes in your foot. An aktionist unveiling of the four humours through rotten vegetables, dead fish, and crystal-powered radios. Any of these could be right, or none. It's a great album of sonic surrealism no matter who you slice it.
MPEG Stream: "Pt. 1"
MPEG Stream: "Pt. 3"
MPEG Stream: "Pt. 4"

album cover UN The Final Question (ICR) cd 16.98
Whatever this final question is that Paul Bradley and Colin Potter are asking, it is fucking deep. The stalwart British drone artists Bradley & Potter (the latter of whom is also known as being a long-standing member of Nurse With Wound) have collaborated a number of times in the past; and here they present their latest work under the new moniker Un. Not to be confused with the pre-Double Leopards / pre-Fursaxa audio narcotic, this Un brings Potter almost full circle to his early '80s explorations of cosmically tinged synth music, which was marvelously anthologized on his 4cd set Ancient History. An ominous, sawtooth drone sets the stage for an analogue synth take on dark ambient tension, with plenty of ghastly cascades recalling a chilling John Carpenter horror sound design that's been getting quite the workover as of late. But when the arpeggiations begin to come into focus, Bradley and Potter deflate the claustrophobic drones that opened the record, spilling forth an emotive smear of glistening synths and buried melodies orchestrated out the same infatuation with Klaus Schulze, Cluster, and Manuel Gottsching that spawned Emeralds, Outer Space, etc. By the end of the longform drifting, the Final Question becomes beautiful, maudlin, and rapturous. Quite a trip Bradley and Potter have engineered!
MPEG Stream: "The Final Question (extract 1)"
MPEG Stream: "The Final Question (extract 2)"

UN Un (Siltbreeze) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
It's a big mystery.

album cover UN FESTIN SAGITAL Bestias Solares (Black Horizons) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Holy shit, this is so fucked up, but in all the right ways. And thus, becomes our first ever CASSETTE Record Of The Week! One of those records that had EVERYone here sorta freaking out. And on it's first spin in the store, had all the folks in the back rushing up front to see what the heck was playing!
Un Festin Sagital are an occult prog-metal / angular post-punk / psychedelic free noise / black ambient orchestra out of Santiago, Chile that can strip down to the touring essentials of just flute, acoustic guitar, and voice, when need be, in bellowing their complex tales of a forthcoming lysergic apocalypse. But here, it's the full sonic onslaught of Satanic chanting, frenzied tribal rhythms, heavy anthemic riffs, acid-crazed arrangements, and witch/warlock vocals that sound as if they were recorded at the wrong speed, all dotted with some rather pretty moments of psychedelic impressionism. Diabolically strummed flamenco guitar riffs erupt into blisteringly rhythmic assaults of start/stop rhythms that are equal parts King Crimson, Comus, and Uz Jsme Doma. Or imagine Dutch punks the Ex crossed with aQ Record Of The Weekers Yamantaka // Sonic Titan!! A sound that somehow simultaneously reminds us of bedeviled Eastern European peasant folk songs that could very well be possessed gypsy curses from some remote old world village in a muddled sonic palette that also evokes the Art Bears mixed with ritualistic Hindustani vocal modulations, or the Vietnamese girls on Holgar Czukay's "Boat Woman Song". The sound washed out under layers of tape decay and warble, the music seemingly patched together and reassembled in beautiful, yet twisted psych-folk interludes which meander between the volatile rhythmic outbursts with wah-wah inflected, acidic guitar lines and long dizzying sprawls of cinematic creep and kosmische electronics, creating spellbinding atmospheres and gorgeously stunning modern avant heaviness. Strange, fucked-up stuff. Supposedly a new full length is in the works from Beta-Lactam Ring. C40. Limited to 100 copies! And so totally recommended!!
MPEG Stream: "Madre Bestia"
MPEG Stream: "Devocion"
MPEG Stream: "El Final (Tango Fallido)"
MPEG Stream: "El Asesino Del Sol"

album cover UN FESTIN SAGITAL Deimos (Black Horizons) cassette 8.98
This Chilean band holds the distinction of being the first band to get an Aquarius CASSETTE Of The Week award. Their Bestias Solares tape on Black Horizons so blew everyone here away, we couldn't not make it thus. And we later reviewed their double cd on Beta-Lactam Ring too, both of those records displaying this strange group's sound, a sound which found us describing the group, not at all succinctly, as an "occult prog-metal / angular post-punk / psychedelic free noise / black ambient orchestra". That's a pretty crazy and over the top description, but the this is a pretty crazy, over the top outfit, and we're happy to report, that they haven't gotten any less crazy this time around, in fact, to these ears, they keep getting weirder and weirder. The brief opener is all chanted monk-like vocal harmonies wrapped in warped, woozy electronics, hand-clappy drum machines, witchy female vocals, garbled speaking in tongues, strange FX, and while you might think it was just a weird intro, the next song continues down into the sonic rabbit hole, murky bass squelch, a pulsing almost techno beat, more swirling electronics, grunted demonic vocals, accompanying atonal piano pound, that piano exploding into wild psychedelic squiggles, while the rest of the track sounds submerged in fields of static, the result is a sort of warped, woozy, blackened, electro avant techno chamber music? Or something. It's sort of gothic, definitely freaky and fucked up, sort of electronic, whatever it is, we dig it, a LOT!
The third track is a creaking, crumbling drone, that sounds like it could be some lost Nurse With Wound outtake, all deep dirge-y tectonic thrum, sounds like recordings of motorcycles or moaning docks, blurred into dense sonic swells, shot through with distant minor key melodies, dark and meditative, and a bit haunting as well. And finally, things finish off with another brief blast of WTF weirdness, deep drone-y thrum, under spacey synths, plucked pizzicato melodies, swirling wind like whirs, bizarre glitchy percussion, and near the end, primitive drum machine, and glimmering fields of sci-fi planetarium show electronics. So twisted. And so good.
And like all Black Horzions tapes, super fancy packaging, four panel J-card, offset silver printing on bronze metallic paper, purple tapes, LIMITED TO 100 COPIES!!
MPEG Stream: "Terror Deluviano"
MPEG Stream: "La Ofrenda Danzante Del Cuerpo Enamorado"

album cover UN FESTIN SAGITAL Sic Deus Dilexit Mundum (Beta-Lactam Ring) 2cd 15.98
As you may recall, not long ago we had as one of our Records Of The Week, what was more precisely a Cassette Of The Week, a tape on the Black Horizons label by a band of sonic surrealists from Santiago, Chile known as Un Festin Sagital. In that rave review, we mentioned that Un Festin Sagital had a full-length upcoming on the Beta-Lactam Ring label - which made perfect sense, what with Beta-Lactam putting out such weirdness as Nurse With Wound reissues among other things. Well, what we hadn't realized, is that Un Festin Sagital ALREADY had a couple Beta-Lactam cd releases to their credit, that we'd somehow overlooked. So, naturally, we need to review those too. This one's their most recent, from actually just a few months ago - a sprawling double cd set, one studio, one live, packaged in nice gatefold mini-lp style sleeve.
And it's just as crazy and compelling as that tape that turned us on to 'em. We previously described UFS as a "occult prog-metal / angular post-punk / psychedelic free noise / black ambient orchestra" and that's still a good, broad description of what this experimental musical collective is up to - namely WTF? weirdness with a dark, moody vibe to it.
The first disc's epic eight-part, 22+ minute opening track, "El Nino Ateo" should thoroughly infect you with Un Festin Sagital's lysergic musical sickness - or else cause the less stout of heart and eccentric of taste to flee in terror! It's like a sinister soundtrack, part symphonic 20th century classical, part distorted industrial churn, part krauty synth throb. There's eerie Magma-esque choral parts, mumbled incantations, screams, Satanic-sounding chant (shades of Igor Wakhevitch for sure); ominous haunting stretches of avant-classical murk replete with groans and drones and sudden, stabbing piano chords... Clearly "RIO" avant-prog chamber rock a la Art Zoyd is an inspiration, but Un Festin Sagital take it to absurd extremes. You could kind of imagine this is what modern-day aQ prog faves Guapo (who also have a fine new album reviewed this list) might sound like, if only they dwelled in some far off South American mountain village, wore animal masks, and chewed on hallucinogenic jungle plants all day.
"El Nino Ateo" ranges from sheer mesmerism to utter mayhem and back again, as does the rest of this disc, the other three tracks dabbling in gentle acoustic folk ritual, exploding with spastic prog nuttery, and experimenting with atmospheric neo-classical soundscapery. And then there's the second disc, entitled La Muerte Solar, which was recorded live, but you wouldn't know that but for the occasional outburst of applause from the audience - which in UFS's strange sound-world, could easily be mistaken for just another intentional, sampled element of their collage-like compositions. Their 12+ minute rendition of "El Nino Ateo" here is a true tour de force, and the whole disc is easily the equal to the set's studio half.
At their heaviest, they kind of remind us of Orthodox or Blizaro, at their spazziest of Uz Jsme Doma or The Ex, and at their weirdest of NWW or even Reynols (whose Alan Courtis has in fact guested on one of Un Festin Sagital's other albums). Throw in some Circle at their most "operatic", and one of Tatsuya Yoshida's improv groups, roll all that into a ball and smoke it, and you've got some idea of how freaky this shit is! Not every single moment here "works" but overall, yeah, it sure does.
MPEG Stream: "El Nino Ateo"
MPEG Stream: "La Cancion Del Nino Ateo (Nacio, Bailo Y Murio)"
MPEG Stream: "Sic Deus Dilexit Mundum"
MPEG Stream: "Nino Ateo (live)"

album cover UNAGI It Came From Beneath The SFC (442) cd 10.98
It's just a matter of time before one of SF's best kept hip-hop secrets becomes a household name. Unagi has proven to be one of the most consistent and challenging producers of forward-minded hip-hop, replete with nods to the old skool. His latest offering split pretty evenly between warm instrumentals and guest MC tracks that all fit together perfectly as a totally coherent album with NO filler. If you found yourself a little underwhelmed with the latest offerings from Blackalicious and DJ Shadow this might be exactly the record you've been waiting for.
MPEG Stream: "Shoulda Known Better"
MPEG Stream: "Expanded and Up To Date"

album cover UNAGI Keepin' It Eel (self-released) cd 10.98
Here's the second album from SF's Unagi. For this follow-up to his well-received 2003 self-titled first album, he's set aside his vocals and overall DJ Shadow-ish stylings in favor of smoooth soul jams and diva samples. This makes for a rather unexpected shift in focus. Folks who dug Unagi's debut and who were eagerly expecting more might be in for a bit of a jolt. Whereas his previous full length was a totally funky hiphop album, Keepin' It Eel is pretty much a luv-yer-lady-down type of soundtrack! You almost expect Barry White to slip in for a nightcap.
MPEG Stream: "Condorman's Revenge"
MPEG Stream: "Relocation Blues"

album cover UNAGI Reinventing The Eel (442) cd 14.98
Unagi has been one of the most solid forces in the Bay Area hip-hop scene over the last several years. With Reinventing The Eel he continues to display his great taste in vintage soul/funk inspired breaks and invites lots of guest MC's to join in, adding to the flow of these nicely layered tracks. Unagi is carrying on the hip hop tradition that folks like DJ Shadow and Hieroglyphics started a decade ago. We wouldn't be surprised if he ends up on Stones Throw one of these days as his beats and aesthetic would be a perfect fit.
MPEG Stream: "Liftoff"
MPEG Stream: "Bird Of Paradise (Featuring Chee Malabar)"

album cover UNAGI s/t (Kimosciotic) cd 9.98
A fantastic record in the sampladelic genre: fans of DJ Shadow, Barry Adamson, David Holmes should take note! It's rare that we'd quote a press release in an AQ review, but in this case the reasons why I (Windy) like this record so much are exactly what's stated herein:
"Unagi extends an invitation into his unique sonic wonderworld, constructed from forgotten vinyl and dollar bin digging. He serves up mid-fi sample based music, sidestepping the antiseptic production values dominating present day hip-hop. Influenced by luminaries such as Lonnie Liston Smith and Eumir Deodato, Unagi offers tracks carefully crafted with an ear refined through a lifetime of musical consumption. This self-titled debut album is a stylistic drive-by of love. Unagi's magazine is loaded with an array of themes ranging from space jazz, Caribbean cruise ship lounge, roller rink couples' skate and Sunday afternoon afterglow soul fusion."
MPEG Stream: "Crazy Chase"
MPEG Stream: "Blown Away"
MPEG Stream: "Tickle Time"

UNAGI s/t (Kimo Sciotic) lp 11.98
Now on LP! A fantastic record in the sampladelic genre: fans of DJ Shadow, Barry Adamson, David Holmes should take note! It's rare that we'd quote a press release in an AQ review, but in this case the reasons why I (Windy) like this record so much are exactly what's stated herein:
"Unagi extends an invitation into his unique sonic wonderworld, constructed from forgotten vinyl and dollar bin digging. He serves up mid-fi sample based music, sidestepping the antiseptic production values dominating present day hip-hop. Influenced by luminaries such as Lonnie Liston Smith and Eumir Deodato, Unagi offers tracks carefully crafted with an ear refined through a lifetime of musical consumption. This self-titled debut album is a stylistic drive-by of love. Unagi's magazine is loaded with an array of themes ranging from space jazz, Caribbean cruise ship lounge, roller rink couples' skate and Sunday afternoon afterglow soul fusion."
MPEG Stream: "Crazy Chase"
MPEG Stream: "Blown Away"
MPEG Stream: "Tickle Time"

album cover UNAUSTRALIANS s/t (Pulled Out) lp / dvd 15.00
**SALE **SALE* *SALE**
This is quite possibly the most insane outsider-weirdo-grind-metal-what-the-fuck record we have ever heard. Imagine a super lo-fi grindcore, cobbled together from blasting lightning fast drum machines, shredding super tech lead guitars, super processed, almost mechanical riffs, and Melt Banana-like high pitched yelping vocals, all tossed in a blender and spat out at a million miles an hour. Only sometimes all you can hear are the vocals, or the drums disappear underneath an avalanche of guitars, or everything is so amped up it becomes a buzzy blur, topped with high pitched squeaks and yowls. Totally nuts. Imagine Arboga Teenage Riot jamming with Brutal Truth. Or two lps, one a Melt Banana, the other a Deerhoof, both being played simultaneously at 90 rpm, then chopped up and slowed back down to about 60 rpm. So completely dementedly amazing. 46 tracks, most between 30 seconds and 1 minute, no titles, just numbers, 33601 to 33640, except for the last few tracks numbered 1365Y-13659. Wonder if that means that before this lp, the band had already recorded 33,600 songs. We'd believe it! Fans of all the above mention bands and folks who just love the weirdest shit imaginable, this is definitely for you.
LIMITED TO 300 COPIES, we only got 8... Pressed on clear red vinyl. Includes a printed insert, with a DVD of live performances. It's PAL though, so for those of you without the ability to play PAL discs, there's also a free video download of all the same footage.

album cover UNCLE ACID Mind Control (Rise Above) cd 14.98
Uncle Acid's debut came out of nowhere to be the runaway heavy rock hit of last year. And like the last Electric Wizard album, it was one of those rare records that seemed to leap all genre lines. Quickly becoming one of the most played records at aQ, with metalheads and non metalheads alike. Similarly, we sold TONS of them, and not just to heavy music folks. And it most definitely IS heavy. But like Ghost, and Goat, and other heavy bands people flipped for recently, the group's heaviness was tempered by heaping helpings of poppiness, that transformed what at first blush might seem simply like more Sabbath worship into something else entirely.
Originally released in such tiny numbers that initial pressing disappeared before most anyone got a chance to grab it, that and the weird band name, and of course the 'mystery' surrounding the group and its members, resulted in the sort of hype most bands would kill for. But once we (and everybody else) got an earful, we were sold. Heavy and groovy and hooky, super psychedelic, totally rocking, with a very Ozzy-ish vocalist, killer songs that would have translated seemingly just as well to a non metal band, but metal it most definitely was, but the kind of groovy hook filled metal they just don't make so much anymore.
Our first taste of this highly anticipated new record, Mind Control, came in the form of first single "Poison Apple", which pretty much takes up right where Blood Lust left off, sounding like it could have been a deep cut plucked from the first record, a woozy, slithery main riff, that kills, the vocals sing-songy and crazy catchy, lots of swirling psychedelic organ, if anything a little bit darker than the first record, but that's most definitely not a bad thing at all. When we finally did get Mind Control, we were initially convinced that in fact it was much darker and more woozily psychedelic, opener "Mt. Abraxis" is a smoldering slither, all fuzz drenched minor key Sabbathian grooviness, and we were LOVING it, and were totally prepared for a whole record of dark, minor key, psych-metal doom, but then BAM, the song explodes into some seriously catchy, and almost proggy sounding poppiness, still fuzzed out and heavy, but crazy groovy and rocking and sorta FUN sounding if that makes any sense, but then before you know it, they slip right back into another classic doom-ic dirge. Which is pretty much the magic of Uncle Acid, balancing epic Sabbathy true doom groove, with what is essentially heavy popsyke, which results in what will no doubt be lots of folks fave heavy record of 2013, which it's fast becoming for us too.
And it seems a strange coincidence that the new Uncle Acid would come out around the same time as the new Ghost, cuz the two bands definitely share some sonic DNA. Check out tracks like "Evil Love", which sounds exactly like Ghost's modern channeling of Blue Oyster Cult, but of course Uncle Acid crank that sound WAY up into something more lysergic and metallic, but at its core, it's still essentially classic hard rock for sure. Or there's "Follow The Leader" that almost sounds like a more metallic Spacemen 3, super droned out and psychedelic, and laced with slide guitar and a bit of twang, wrapped in clouds of hazy heady buzz, but seriously fuzzed out and dreamily druggy. And while we talk about how hooky and poppy Uncle Acid are, they do deliver the doom, it heaping sludgy spoonfuls, with plenty of tracks unfurling like long lost Sabbath B sides (the whole record way better Sabbath than the new ACTUAL Sabbath song we just heard), and it all culminates in the epic closer "Devil's Work", which seems to be the best fusion of all of the group's disparate influences, a droned out main riff, a dense metallic chug, that churns beneath some super poppy seventies classic rock sounding melodies, and eventually mutates into a hushed, dreamy, drifty, slow burn psych jam fade out.
So fucking great. With this AND the new Ghost, it's a wonder we've managed to listen to anything else at all lately.
MPEG Stream: "Poison Apple"
MPEG Stream: "Mt. Abraxas"
MPEG Stream: "Evil Love"
MPEG Stream: "Follow The Leader"
MPEG Stream: "Devil's Work"

album cover UNCLE ACID Mind Control (Rise Above) lp 41.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Uncle Acid's debut came out of nowhere to be the runaway heavy rock hit of last year. And like the last Electric Wizard album, it was one of those rare records that seemed to leap all genre lines. Quickly becoming one of the most played records at aQ, with metalheads and non metalheads alike. Similarly, we sold TONS of them, and not just to heavy music folks. And it most definitely IS heavy. But like Ghost, and Goat, and other heavy bands people flipped for recently, the group's heaviness was tempered by heaping helpings of poppiness, that transformed what at first blush might seem simply like more Sabbath worship into something else entirely.
Originally released in such tiny numbers that initial pressing disappeared before most anyone got a chance to grab it, that and the weird band name, and of course the 'mystery' surrounding the group and its members, resulted in the sort of hype most bands would kill for. But once we (and everybody else) got an earful, we were sold. Heavy and groovy and hooky, super psychedelic, totally rocking, with a very Ozzy-ish vocalist, killer songs that would have translated seemingly just as well to a non metal band, but metal it most definitely was, but the kind of groovy hook filled metal they just don't make so much anymore.
Our first taste of this highly anticipated new record, Mind Control, came in the form of first single "Poison Apple", which pretty much takes up right where Blood Lust left off, sounding like it could have been a deep cut plucked from the first record, a woozy, slithery main riff, that kills, the vocals sing-songy and crazy catchy, lots of swirling psychedelic organ, if anything a little bit darker than the first record, but that's most definitely not a bad thing at all. When we finally did get Mind Control, we were initially convinced that in fact it was much darker and more woozily psychedelic, opener "Mt. Abraxis" is a smoldering slither, all fuzz drenched minor key Sabbathian grooviness, and we were LOVING it, and were totally prepared for a whole record of dark, minor key, psych-metal doom, but then BAM, the song explodes into some seriously catchy, and almost proggy sounding poppiness, still fuzzed out and heavy, but crazy groovy and rocking and sorta FUN sounding if that makes any sense, but then before you know it, they slip right back into another classic doom-ic dirge. Which is pretty much the magic of Uncle Acid, balancing epic Sabbathy true doom groove, with what is essentially heavy popsyke, which results in what will no doubt be lots of folks fave heavy record of 2013, which it's fast becoming for us too.
And it seems a strange coincidence that the new Uncle Acid would come out around the same time as the new Ghost, cuz the two bands definitely share some sonic DNA. Check out tracks like "Evil Love", which sounds exactly like Ghost's modern channeling of Blue Oyster Cult, but of course Uncle Acid crank that sound WAY up into something more lysergic and metallic, but at its core, it's still essentially classic hard rock for sure. Or there's "Follow The Leader" that almost sounds like a more metallic Spacemen 3, super droned out and psychedelic, and laced with slide guitar and a bit of twang, wrapped in clouds of hazy heady buzz, but seriously fuzzed out and dreamily druggy. And while we talk about how hooky and poppy Uncle Acid are, they do deliver the doom, it heaping sludgy spoonfuls, with plenty of tracks unfurling like long lost Sabbath B sides (the whole record way better Sabbath than the new ACTUAL Sabbath song we just heard), and it all culminates in the epic closer "Devil's Work", which seems to be the best fusion of all of the group's disparate influences, a droned out main riff, a dense metallic chug, that churns beneath some super poppy seventies classic rock sounding melodies, and eventually mutates into a hushed, dreamy, drifty, slow burn psych jam fade out.
So fucking great. With this AND the new Ghost, it's a wonder we've managed to listen to anything else at all lately.
MPEG Stream: "Poison Apple"
MPEG Stream: "Mt. Abraxas"
MPEG Stream: "Evil Love"
MPEG Stream: "Follow The Leader"
MPEG Stream: "Devil's Work"

album cover UNCLE ACID Mind Control (Rise Above / Metal Blade) lp 39.00
NOW AT LAST AVAILABLE AS A (SLIGHTLY CHEAPER) DOMESTIC VINYL RELEASE!
Uncle Acid's debut came out of nowhere to be the runaway heavy rock hit of last year. And like the last Electric Wizard album, it was one of those rare records that seemed to leap all genre lines. Quickly becoming one of the most played records at aQ, with metalheads and non metalheads alike. Similarly, we sold TONS of them, and not just to heavy music folks. And it most definitely IS heavy. But like Ghost, and Goat, and other heavy bands people flipped for recently, the group's heaviness was tempered by heaping helpings of poppiness, that transformed what at first blush might seem simply like more Sabbath worship into something else entirely.
Originally released in such tiny numbers that initial pressing disappeared before most anyone got a chance to grab it, that and the weird band name, and of course the 'mystery' surrounding the group and its members, resulted in the sort of hype most bands would kill for. But once we (and everybody else) got an earful, we were sold. Heavy and groovy and hooky, super psychedelic, totally rocking, with a very Ozzy-ish vocalist, killer songs that would have translated seemingly just as well to a non metal band, but metal it most definitely was, but the kind of groovy hook filled metal they just don't make so much anymore.
Our first taste of this highly anticipated new record, Mind Control, came in the form of first single "Poison Apple", which pretty much takes up right where Blood Lust left off, sounding like it could have been a deep cut plucked from the first record, a woozy, slithery main riff, that kills, the vocals sing-songy and crazy catchy, lots of swirling psychedelic organ, if anything a little bit darker than the first record, but that's most definitely not a bad thing at all. When we finally did get Mind Control, we were initially convinced that in fact it was much darker and more woozily psychedelic, opener "Mt. Abraxis" is a smoldering slither, all fuzz drenched minor key Sabbathian grooviness, and we were LOVING it, and were totally prepared for a whole record of dark, minor key, psych-metal doom, but then BAM, the song explodes into some seriously catchy, and almost proggy sounding poppiness, still fuzzed out and heavy, but crazy groovy and rocking and sorta FUN sounding if that makes any sense, but then before you know it, they slip right back into another classic doom-ic dirge. Which is pretty much the magic of Uncle Acid, balancing epic Sabbathy true doom groove, with what is essentially heavy popsyke, which results in what will no doubt be lots of folks fave heavy record of 2013, which it's fast becoming for us too.
And it seems a strange coincidence that the new Uncle Acid would come out around the same time as the new Ghost, cuz the two bands definitely share some sonic DNA. Check out tracks like "Evil Love", which sounds exactly like Ghost's modern channeling of Blue Oyster Cult, but of course Uncle Acid crank that sound WAY up into something more lysergic and metallic, but at its core, it's still essentially classic hard rock for sure. Or there's "Follow The Leader" that almost sounds like a more metallic Spacemen 3, super droned out and psychedelic, and laced with slide guitar and a bit of twang, wrapped in clouds of hazy heady buzz, but seriously fuzzed out and dreamily druggy. And while we talk about how hooky and poppy Uncle Acid are, they do deliver the doom, it heaping sludgy spoonfuls, with plenty of tracks unfurling like long lost Sabbath B sides (the whole record way better Sabbath than the new ACTUAL Sabbath song we just heard), and it all culminates in the epic closer "Devil's Work", which seems to be the best fusion of all of the group's disparate influences, a droned out main riff, a dense metallic chug, that churns beneath some super poppy seventies classic rock sounding melodies, and eventually mutates into a hushed, dreamy, drifty, slow burn psych jam fade out.
So fucking great. With this AND the new Ghost, it's a wonder we've managed to listen to anything else at all lately.
MPEG Stream: "Poison Apple"
MPEG Stream: "Mt. Abraxas"
MPEG Stream: "Evil Love"
MPEG Stream: "Follow The Leader"
MPEG Stream: "Devil's Work"

album cover UNCLE ACID Poison Apple (Rise Above) 7" 14.98
Elsewhere on this week's list you'll find our review of the new full length, Mind Control, from UK psychedelic stoners Uncle Acid & The Deadbeats, but this right here is the teaser single that came out a few months back. We got a bunch and sold out, and just managed to get a handful more, most likely the last copies we'll be able to get. We won't go into too much detail, as a single like this is mostly for the rabid fans, seeing as it's $15 for two songs, one of which is on the new full length. So basically you're paying for one exclusive track, but it's a doozy, and as we've discovered, Uncle Acid fans are an obsessive bunch, so if you are one, might want to grab one before they're gone.
The A side is "Poison Apple", from the new record, which pretty much takes up right where the last record Blood Lust left off, sounding like it could have been a deep cut plucked from that first record, a woozy, slithery main riff, that kills, the vocals sing-songy and crazy catchy, lots of swirling psychedelic organ, if anything a little bit darker than the first record, but that's most definitely not a bad thing at all. The B side even more than "Poison Apple" sounds like it could have come straight off Blood Lust. swaggery and swinging, groovy and stonery, a wicked main hook, and a kick ass almost classic metal sounding riff. And unlike much of the new record, that does tend toward a sound that's darker, and slower, and more laid back, "Under The Spell" sounds like what Mind Control could have sounded like if the band just made a Blood Lust part two, a poppy heaviness that few bands can pull off as well as these guys, and the more we listen to this track, the more we think it just might be worth the $14.98. Obviously recommended, mostly for fans, but odds are if this ends up being the first thing you hear from Uncle Acid, you'll end up wanting everything else as well!
MPEG Stream: "Under The Spell"

album cover UNCLE ACID Runaway Girls (Rise Above) 7" 14.98
As we wait anxiously for a new full length from these aQ beloved psychedelic stoners (as well as their first ever SF show coming up soon!), for now we have one new track to tide us over. And fear not, it's a groovy good one. Nothing new really, but then we didn't actually want any sort of massive seismic sonic shift, we just wanted MORE, and that's just what you get. A new track called "Runaway Girls" that sounds like it could have been plucked right off of either of their albums proper, with a cool slithery riff, distorted wailing vocals, super melodic Sabbathy basslines, shambolic drumming, wild psychedelic leads and gorgeous guitar harmonies, the whole thing all warm and washed out and dreamily distorted, sounding like it could have been transported from some hard rocking alternate universe sixties, the song twisting and turning, from almost metallic riffing, to shimmery, melodic drift and back again.
The flipside is an acoustic version of what might have been our favorite track from Mind Control, that record's closer "Devil's Work", here recast as something darkly dreamy, and hauntingly folky, the track still fantastic, but more hushed and moody, like some lost Wicker Man track, or some deep cut by an ultra obscure seventies British acid folk combo. Cool!
SUPER DUPER LIMITED!! The batch we got is on blue vinyl, but hard to say if we'll be able to get more when we run out, and what color the next batch will be. And oh yeah, it's a pretty pricey import!
MPEG Stream: "Runaway Girls"
MPEG Stream: "Devil's Work (acoustic)"

album cover UNCLE ACID & THE DEADBEATS Blood Lust (Rise Above / Metal Blade) cd 14.98
Hell yeah, at last! When this now-semi-legendary album was first released by UK heavy psych doom metal specialists Rise Above in 2011, it came out in an ultra limited edition of just three hundred vinyl-only copies, which proved almost impossible to come by. That first edition sold out instantly and those lps started trading for seriously ridiculous amounts of money on eBay and elsewhere. Even though, really, who the heck were Uncle Acid & The Deadbeats? Well it wasn't just the cool band name generating a buzz, the music was awesome, as we later were able to ascertain. Eventually Rise Above did a repress, of which we were able to get a few, though those were expensive too and we were never able to get enough of 'em to actually list. But, we did figure out why this record was in such demand (as we'll discuss in more detail in a moment). We also learned that Blood Lust had also come out on compact disc, but oddly enough via a small Finnish label instead of Rise Above, and again we never were able to get enough of those to list, either. But we had hope that someday, somehow, we'd be able to review this for you, 'cause eventually most Rise Above stuff gets released in the USA by licensees Metal Blade, and while its been a damn long time, we're now pleased to, ta da, finally have Blood Lust on cd at a domestic price. Record Of The Week? You bet!
So, what we thought we were in for, way back when all we knew about band was their name & label, was some lysergic sludgey doomy jamming, like maybe Electric Wizard (another Rise Above band) or UFOmammut. Which we would have been perfectly happy with, of course. But, instead, Uncle Acid & The Deadbeats proved to be a lot more song-oriented and more melodic than we expected, with a kind of poppy '60s garage psych rock side to 'em, amidst their heavy fuzz-filled riffage. The singer (that's ol' Uncle Acid himself, natch, also on guitar in this power trio, and mellotron and synths too) croons his twisted tales of witchburning, black magic, and murder, in a languid whine, his voice nasally pinched and reverb effected, reminding us a bit of Kyle Thomas of aQ faves Witch (and King Tuff and Happy Birthday too by the way). His delivery lends a delicate, decadent touch to the band's brand of both despondent plod and swinging catchiness, able to render lines like "I was born a bitter man, no hopes or dreams / I get my kicks from torturing and screams / I lust for womens blood, and their evil ways / I twist my words to what the good book says" with sick sincerity -and- showmanship, in a way that is surprisingly not very much metallic, instead staying (despite the music's undeniable heaviness) more in the pop realm, though one obsessed with vintage horror films.
These rollicking, but dread-infused tunes are further full of ripping fuzz guitar leads, and lumbering downer riffs. Without a doubt, doom originators Black Sabbath are a major factor in this band's sound, but they're doing something rather different with that particular inspiration than most do. And we're also reminded of some other British '60s/'70s proto-metallers like Stray, High Tide, T2, and May Blitz, who were quite heavy but psych-pop catchy as well. Perhaps very early, very psychedelic Alice Cooper could be added to Uncle Acid's roster of influences too, we're thinking of the way the song "Ritual Knife" marries a pounding tribal beat and urgently chugging ominous riffery with glorious bursts of shining melody come chorus time.
One much more recent band that these guys also remind us of, is Swedish occult rock sensations Ghost, another act whose "pop side" is so effective as to possibly threaten their "metal cred" among the more closeminded. We'd also recommend Uncle Acid to fans of that other recent, equally retro stunner from Rise Above, Admiral Sir Cloudesley Shovell. And, like last week's Record Of The Week by Golden Void, this has that laidback classic sounding '70s psychrock vibe, immediately familiar, though Uncle Acid comes across as much more dark and sinister to be sure. And lastly, fans of Witchcraft should pay attention - we'd rank this up there with that band's celebrated Rise Above debut, we're pretty sure this is gonna be considered a classic too. We're sooooooo glad they didn't just press only those 300 vinyl copies and leave it at that!! You will be too.
This cd reissue includes a bonus track not on vinyl, which provides a nice coda to the record proper, relinquishing the fuzz guitar for acoustic strum and hand percussion, Uncle Acid doing their doom-pop-psych in a more folky style a la, say, Bolan's Tyrannosaurus Rex.
MPEG Stream: "I'll Cut You Down"
MPEG Stream: "Curse In The Trees"
MPEG Stream: "13 Candles"

UNCLE ACID & THE DEADBEATS Blood Lust (Rise Above) lp 39.00
Hell yeah, at last! When this now-semi-legendary album was first released by UK heavy psych doom metal specialists Rise Above in 2011, it came out in an ultra limited edition of just three hundred vinyl-only copies, which proved almost impossible to come by. That first edition sold out instantly and those lps started trading for seriously ridiculous amounts of money on eBay and elsewhere. Even though, really, who the heck were Uncle Acid & The Deadbeats? Well it wasn't just the cool band name generating a buzz, the music was awesome, as we later were able to ascertain. Eventually Rise Above did a repress, of which we were able to get a few, though those were expensive too and we were never able to get enough of 'em to actually list. But, we did figure out why this record was in such demand (as we'll discuss in more detail in a moment). We also learned that Blood Lust had also come out on compact disc, but oddly enough via a small Finnish label instead of Rise Above, and again we never were able to get enough of those to list, either. But we had hope that someday, somehow, we'd be able to review this for you, 'cause eventually most Rise Above stuff gets released in the USA by licensees Metal Blade, and while its been a damn long time, we're now pleased to, ta da, finally have Blood Lust on cd at a domestic price. Record Of The Week? You bet!
So, what we thought we were in for, way back when all we knew about band was their name & label, was some lysergic sludgey doomy jamming, like maybe Electric Wizard (another Rise Above band) or UFOmammut. Which we would have been perfectly happy with, of course. But, instead, Uncle Acid & The Deadbeats proved to be a lot more song-oriented and more melodic than we expected, with a kind of poppy '60s garage psych rock side to 'em, amidst their heavy fuzz-filled riffage. The singer (that's ol' Uncle Acid himself, natch, also on guitar in this power trio, and mellotron and synths too) croons his twisted tales of witchburning, black magic, and murder, in a languid whine, his voice nasally pinched and reverb effected, reminding us a bit of Kyle Thomas of aQ faves Witch (and King Tuff and Happy Birthday too by the way). His delivery lends a delicate, decadent touch to the band's brand of both despondent plod and swinging catchiness, able to render lines like "I was born a bitter man, no hopes or dreams / I get my kicks from torturing and screams / I lust for womens blood, and their evil ways / I twist my words to what the good book says" with sick sincerity -and- showmanship, in a way that is surprisingly not very much metallic, instead staying (despite the music's undeniable heaviness) more in the pop realm, though one obsessed with vintage horror films.
These rollicking, but dread-infused tunes are further full of ripping fuzz guitar leads, and lumbering downer riffs. Without a doubt, doom originators Black Sabbath are a major factor in this band's sound, but they're doing something rather different with that particular inspiration than most do. And we're also reminded of some other British '60s/'70s proto-metallers like Stray, High Tide, T2, and May Blitz, who were quite heavy but psych-pop catchy as well. Perhaps very early, very psychedelic Alice Cooper could be added to Uncle Acid's roster of influences too, we're thinking of the way the song "Ritual Knife" marries a pounding tribal beat and urgently chugging ominous riffery with glorious bursts of shining melody come chorus time.
One much more recent band that these guys also remind us of, is Swedish occult rock sensations Ghost, another act whose "pop side" is so effective as to possibly threaten their "metal cred" among the more closeminded. We'd also recommend Uncle Acid to fans of that other recent, equally retro stunner from Rise Above, Admiral Sir Cloudesley Shovell. And, like last week's Record Of The Week by Golden Void, this has that laidback classic sounding '70s psychrock vibe, immediately familiar, though Uncle Acid comes across as much more dark and sinister to be sure. And lastly, fans of Witchcraft should pay attention - we'd rank this up there with that band's celebrated Rise Above debut, we're pretty sure this is gonna be considered a classic too. We're sooooooo glad they didn't just press only those 300 vinyl copies and leave it at that!! You will be too.
This cd reissue includes a bonus track not on vinyl, which provides a nice coda to the record proper, relinquishing the fuzz guitar for acoustic strum and hand percussion, Uncle Acid doing their doom-pop-psych in a more folky style a la, say, Bolan's Tyrannosaurus Rex.
MPEG Stream: "I'll Cut You Down"
MPEG Stream: "Curse In The Trees"
MPEG Stream: "13 Candles"

UNCLE ACID & THE DEADBEATS Blood Lust (Rise Above) lp 38.00
Hell yeah, at last! When this now-semi-legendary album was first released by UK heavy psych doom metal specialists Rise Above in 2011, it came out in an ultra limited edition of just three hundred vinyl-only copies, which proved almost impossible to come by. That first edition sold out instantly and those lps started trading for seriously ridiculous amounts of money on eBay and elsewhere. Even though, really, who the heck were Uncle Acid & The Deadbeats? Well it wasn't just the cool band name generating a buzz, the music was awesome, as we later were able to ascertain. Eventually Rise Above did a repress, of which we were able to get a few, though those were expensive too and we were never able to get enough of 'em to actually list. But, we did figure out why this record was in such demand (as we'll discuss in more detail in a moment). We also learned that Blood Lust had also come out on compact disc, but oddly enough via a small Finnish label instead of Rise Above, and again we never were able to get enough of those to list, either. But we had hope that someday, somehow, we'd be able to review this for you, 'cause eventually most Rise Above stuff gets released in the USA by licensees Metal Blade, and while its been a damn long time, we're now pleased to, ta da, finally have Blood Lust on cd at a domestic price. Record Of The Week? You bet!
So, what we thought we were in for, way back when all we knew about band was their name & label, was some lysergic sludgey doomy jamming, like maybe Electric Wizard (another Rise Above band) or UFOmammut. Which we would have been perfectly happy with, of course. But, instead, Uncle Acid & The Deadbeats proved to be a lot more song-oriented and more melodic than we expected, with a kind of poppy '60s garage psych rock side to 'em, amidst their heavy fuzz-filled riffage. The singer (that's ol' Uncle Acid himself, natch, also on guitar in this power trio, and mellotron and synths too) croons his twisted tales of witchburning, black magic, and murder, in a languid whine, his voice nasally pinched and reverb effected, reminding us a bit of Kyle Thomas of aQ faves Witch (and King Tuff and Happy Birthday too by the way). His delivery lends a delicate, decadent touch to the band's brand of both despondent plod and swinging catchiness, able to render lines like "I was born a bitter man, no hopes or dreams / I get my kicks from torturing and screams / I lust for womens blood, and their evil ways / I twist my words to what the good book says" with sick sincerity -and- showmanship, in a way that is surprisingly not very much metallic, instead staying (despite the music's undeniable heaviness) more in the pop realm, though one obsessed with vintage horror films.
These rollicking, but dread-infused tunes are further full of ripping fuzz guitar leads, and lumbering downer riffs. Without a doubt, doom originators Black Sabbath are a major factor in this band's sound, but they're doing something rather different with that particular inspiration than most do. And we're also reminded of some other British '60s/'70s proto-metallers like Stray, High Tide, T2, and May Blitz, who were quite heavy but psych-pop catchy as well. Perhaps very early, very psychedelic Alice Cooper could be added to Uncle Acid's roster of influences too, we're thinking of the way the song "Ritual Knife" marries a pounding tribal beat and urgently chugging ominous riffery with glorious bursts of shining melody come chorus time.
One much more recent band that these guys also remind us of, is Swedish occult rock sensations Ghost, another act whose "pop side" is so effective as to possibly threaten their "metal cred" among the more closeminded. We'd also recommend Uncle Acid to fans of that other recent, equally retro stunner from Rise Above, Admiral Sir Cloudesley Shovell. And, like last week's Record Of The Week by Golden Void, this has that laidback classic sounding '70s psychrock vibe, immediately familiar, though Uncle Acid comes across as much more dark and sinister to be sure. And lastly, fans of Witchcraft should pay attention - we'd rank this up there with that band's celebrated Rise Above debut, we're pretty sure this is gonna be considered a classic too. We're sooooooo glad they didn't just press only those 300 vinyl copies and leave it at that!! You will be too.
This cd reissue includes a bonus track not on vinyl, which provides a nice coda to the record proper, relinquishing the fuzz guitar for acoustic strum and hand percussion, Uncle Acid doing their doom-pop-psych in a more folky style a la, say, Bolan's Tyrannosaurus Rex.
MPEG Stream: "I'll Cut You Down"
MPEG Stream: "Curse In The Trees"
MPEG Stream: "13 Candles"

album cover UNCLE ACID & THE DEADBEATS Blood Lust (Picture Disc) (Metal Blade / Rise Above) lp 29.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on domestic PICTURE DISC vinyl!
Hell yeah, at last! When this now-semi-legendary album was first released by UK heavy psych doom metal specialists Rise Above in 2011, it came out in an ultra limited edition of just three hundred vinyl-only copies, which proved almost impossible to come by. That first edition sold out instantly and those lps started trading for seriously ridiculous amounts of money on eBay and elsewhere. Even though, really, who the heck were Uncle Acid & The Deadbeats? Well it wasn't just the cool band name generating a buzz, the music was awesome, as we later were able to ascertain. Eventually Rise Above did a repress, of which we were able to get a few, though those were expensive too and we were never able to get enough of 'em to actually list. But, we did figure out why this record was in such demand (as we'll discuss in more detail in a moment). We also learned that Blood Lust had also come out on compact disc, but oddly enough via a small Finnish label instead of Rise Above, and again we never were able to get enough of those to list, either. But we had hope that someday, somehow, we'd be able to review this for you, 'cause eventually most Rise Above stuff gets released in the USA by licensees Metal Blade, and while its been a damn long time, we're now pleased to, ta da, finally have Blood Lust on cd at a domestic price. Record Of The Week? You bet!
So, what we thought we were in for, way back when all we knew about band was their name & label, was some lysergic sludgey doomy jamming, like maybe Electric Wizard (another Rise Above band) or UFOmammut. Which we would have been perfectly happy with, of course. But, instead, Uncle Acid & The Deadbeats proved to be a lot more song-oriented and more melodic than we expected, with a kind of poppy '60s garage psych rock side to 'em, amidst their heavy fuzz-filled riffage. The singer (that's ol' Uncle Acid himself, natch, also on guitar in this power trio, and mellotron and synths too) croons his twisted tales of witchburning, black magic, and murder, in a languid whine, his voice nasally pinched and reverb effected, reminding us a bit of Kyle Thomas of aQ faves Witch (and King Tuff and Happy Birthday too by the way). His delivery lends a delicate, decadent touch to the band's brand of both despondent plod and swinging catchiness, able to render lines like "I was born a bitter man, no hopes or dreams / I get my kicks from torturing and screams / I lust for womens blood, and their evil ways / I twist my words to what the good book says" with sick sincerity -and- showmanship, in a way that is surprisingly not very much metallic, instead staying (despite the music's undeniable heaviness) more in the pop realm, though one obsessed with vintage horror films.
These rollicking, but dread-infused tunes are further full of ripping fuzz guitar leads, and lumbering downer riffs. Without a doubt, doom originators Black Sabbath are a major factor in this band's sound, but they're doing something rather different with that particular inspiration than most do. And we're also reminded of some other British '60s/'70s proto-metallers like Stray, High Tide, T2, and May Blitz, who were quite heavy but psych-pop catchy as well. Perhaps very early, very psychedelic Alice Cooper could be added to Uncle Acid's roster of influences too, we're thinking of the way the song "Ritual Knife" marries a pounding tribal beat and urgently chugging ominous riffery with glorious bursts of shining melody come chorus time.
One much more recent band that these guys also remind us of, is Swedish occult rock sensations Ghost, another act whose "pop side" is so effective as to possibly threaten their "metal cred" among the more closeminded. We'd also recommend Uncle Acid to fans of that other recent, equally retro stunner from Rise Above, Admiral Sir Cloudesley Shovell. And, like last week's Record Of The Week by Golden Void, this has that laidback classic sounding '70s psychrock vibe, immediately familiar, though Uncle Acid comes across as much more dark and sinister to be sure. And lastly, fans of Witchcraft should pay attention - we'd rank this up there with that band's celebrated Rise Above debut, we're pretty sure this is gonna be considered a classic too. We're sooooooo glad they didn't just press only those 300 vinyl copies and leave it at that!! You will be too.
This cd reissue includes a bonus track not on vinyl, which provides a nice coda to the record proper, relinquishing the fuzz guitar for acoustic strum and hand percussion, Uncle Acid doing their doom-pop-psych in a more folky style a la, say, Bolan's Tyrannosaurus Rex.
MPEG Stream: "I'll Cut You Down"
MPEG Stream: "Curse In The Trees"
MPEG Stream: "13 Candles"

album cover UNCLE ACID & THE DEADBEATS Mind Crawler / Get On Home (Rise Above) 7" 14.98
Another uber pricey 7" single from these much hyped UK psychedelic doomsters, their second from the band's most recent full length Mind Control, the A side here, "Mind Crawler", is a doozy (as is most of Mind Control really), a heavy psych, doom-pop groover, thick fuzzed out riffage, keening vocals buried in the mix, super tranced out and hypnotic, with a killer hook to boot. Not to mention a CRAZY video:
http://www.youtube.com/watch?v=MW_GWB9VQCc
But the real reason to pick this up is for the exclusive B side, a cover of Charlie Manson's "Get On Home", which in the hands of Uncle Acid becomes a bit more psychedelic, but ultimately, other than some added volume and amplification, doesn't stray to far from the original.
Obviously SUPER limited, pressed on green transparent vinyl, and of course, ONE PER CUSTOMER!!!

album cover UNCLE JIM Superstars Of Greenwich Meantime (Abduction) cd 14.98
OK, what would you think if we told you that this record is basically some white guy, sounds like he's in his forties, doing caffine fueled, stream-of-conciousness, foul-mouthed beat poetry backed by jazzy, exotic music? His intellectual macho rants are full of '60s references ("I know who killed Kennedy. It was Ladybird Johnson. She was the only one with the guts to do it.") and surreal stories (there's a whole story about yeti hunters) and other conspiritorial strangeness. He makes very little sense, talking his own brand of hep jive, spewing bile all the while.
So the question is, is this a parody? Or really meant to be taken seriously? Well perhaps not the latter, since Uncle Jim is apparently Alan Bishop of the notoriously confusional Sun City Girls, who are on hand to provide that background music, along with others including Porest. Of course even if you convince yourself that it's some sort of joke, that doesn't mean it's that funny or that you'd want to listen to it. So maybe it's better to decide that this IS actual serious poetry and if you work hard enough to "get it" it'll be brilliant. Or it's just something for hardcore collectors of everything by Alvarius B, Sir Richard Bishop and Charles Gocher, though presumably you all already got the previously issued limited edition vinly version of this...
MPEG Stream: "Liberties"
MPEG Stream: "Graduation Day"

album cover UNCLE TUPELO 89/93: Anthology (Columbia) cd 16.98
So I'm going to try and not gush too much. I don't want to come across like a 13 year old girl reviewing the newest N-Sync record. But it's kind of hard to be objective when you're trying to turn people on to one of your all time favorite bands. And Uncle Tupelo happen to be one of ours (Andee & Windy). And like a lot of other bands that we love, I feel compelled to recommend against any sort of greatest hits, when to me, the actual records have so many great songs that a greatest hits collection invariably leaves out some of the best songs (especially when greatest hits are often determined by sales or radio play). But since their back catalog is currently unavailable, for now this is all we have to work with. So, for those of you who don't know, Uncle Tupelo were one of the first bands to really combine indie/underground american rock and traditional country, into something original and vital. So much so, that the name of their first record 'No Depression' (borrowed of course from the Carter Family) became an actual genre as well as the name of a magazine covering this new alternative country. But regardless of their influence, or their position as THE seminal indie alt.country band, it's all about the music, and over the course of 4 albums, Uncle Tupelo created some of the most stirring, innovative, evocative, gorgeous, and kick ass music of the last decade.
Their debut, 'No Depression' was a furious amalgam of punk rock and country, with guitars on 10, crashing drums and some totally intense songs (check out the sound clips for 'Whiskey Bottle' and 'Graveyard Shift' from that record). They managed to capture a midwestern working man's hopelessness so perfectly that the songs spoke to you even if you lived in the city and had never even seen a tractor.
Their second record 'Still Feel Gone' continued along the same lines but with a little less aggression and a little more melody. Their third record marked a big shift in their sound and direction, when they enlisted Peter Buck of R.E.M. to help them record a record of traditionals (Coal Miners songs and the like) as well as some acoustic (traditional sounding) originals (check out the sound clip for 'Fatal Wound').
Their fourth and sadly last record 'Anodyne' is the record where everything fell into place. The music was pefect. So was the production, and they were finally selling lots of records. A lot of folks criticise 'Anodyne' for being too professional and too polished, but it seems to me, that's where they were headed all along. Top rate players, a gorgeously lush production and probably the best songs of their career helped push them even further into the public eye (check out the sound clip for 'Chickamauga'). But unfortunately for us, that was to be it. The two main songwriters (who by that point essentially wrote their own songs and brought them completed to the band) just needed to follow their own muses. So Jay Farrar went on to form Son Volt and now performs solo, and Jeff Tweedy went on to start Wilco, who are currently in major label hell with an finished record that the label stupidly deemed unreleasable. (The album in its entirety is available for download from Wilco's website, and reportedly over a hundred thousand people have downloaded it!)
So while there -are- plans to eventually release their first three albums, those of you who have never heard Uncle Tupelo might want to pick this up, at least until the original albums are finally released. And those of you who, like me, are Uncle Tupelo obsessives, will find plenty of reasons to own this (two bonus tracks, a demo and a thouroughly Tupelo-ized version of the Stooges' 'I Wanna Be Your Dog' as well as loads of photos and liner notes). And anyone who is at all into "alt. country" and listens to the Palace Brothers, and Songs:Ohia and Red Red Meat and Califone really owes it to themselves to check out Uncle Tupelo. You won't be sorry.
And if you decide to heed our advice and look for the full albums, Uncle Tupelo's last record, 'Anodyne' , their last and perhaps best, -is- still available and we can not recommend it highly enough.
RealAudio clip: "Whiskey Bottle"
RealAudio clip: "Graveyard Shift"
RealAudio clip: "Fatal Wound"
RealAudio clip: "Chickamauga"
RealAudio clip: "I Wanna Be Your Dog"

album cover UNCLE TUPELO Anodyne (Rhino / Sire) cd 14.98
The late great Uncle Tupelo's fourth album is my (Windy, and Andee's too!) favorite. It's SO AMAZING, the perfect marriage between country and rock. Dare I say that even Gram Parsons would agree!
Despite the fact that Anodyne, originally released in 1993, was Tupelo's major label debut and everyone was nervous that it would suck, somehow everything came together and they recorded their most mature and perfect album (and that's sayin' a lot since their first three records are also stellar). Artistic differences eventually broke up the band, with Jeff Tweedy going on to form WILCO and Jay Farrar forming SON VOLT. But listen, if you're a fan of either of those two groups but *haven't* heard Uncle Tupelo yet, do yourself a favor. Ditto if you're a fan of "no depression" style Americana -- most of today's bands will point to Uncle Tupelo as main inspirations.
This record is absolutely classic in flavor, staying power, talent and songwriting. Farrar's downtrodden and minor key heartstring-tuggers alternate with Tweedy's lighter ditties; upbeat fiddle-led numbers are nestled amongst slower tunes. And everywhere is the undeniable tug of the bittersweet to give it incredible depth. I have been listening to this album probably every week for the last ten years and have never gotten tired of it.
Lyrics! Five extra tracks: a Farrar tune, a Tweedy song from 2003(?), and a Waylon Jennings cover; plus live renditions of "Truck Drivin' Man" and "Suzy Q."
MPEG Stream: "Slate"
MPEG Stream: "Acuff-Rose"

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