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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.


album cover WEED IN THE HEAD / GORILLA MONSOON Suicide Feelings / A Lesson In Darkness (Grimm Grinner) 10" 9.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
**SALE **SALE* *SALE**
This is a downtuned stoner sludge face off between two German outfits, who tackle their Sabbath obsessions in slightly different ways. Weed In The Head start things off with delicate clean guitar figures, which are interrupted by ULTRA distorted blasts of metal riffing, the kind of distortion that is so fuzzed out the sounds are almost crumbling into pieces. Doesn't take long before the clean guitar disappears under an avalanche of groovy sludge, pounding Cromagnon drums and wailing sort of Ozzyish vocals. A weird blend of Sabbathy groove and Kyuss-y desert rock, heavy but most definitely stoney and groovy. Things occasionally slow down into almost Eyehategod territory and eventually bliss out into a druggy trippy Monster Magnet style space jam. Cool!
Gorilla Monsoon (named for the wrestler we presume) counter with their own stoner psych sludge groove, starting out with a gorgeous bit of hazy ambience, all guitar distortion and feedback, before the main riff powers through, kicking up all that ambience into a swirling sonic dust storm. Dark and murky, but a bit more rocking than WITH, and much harsher vocals, that swoop wildly from a King Fowley type growl to a near Khanate like hellish shriek. There are some sludgy Eyehategod moments, lots of loping midtempo fuzz and groove, but like Weed In The Head, Gorilla Monsoon are ultimately channelling the spirit of the mighty Sabbath (heck, the singer's nom du rock is even Jack Sabbath) and there ain't nothing wrong with that.
Packaged in a nice fullcover foldover sleeve and pressed on nice thick vinyl

album cover WEEDEATER God Luck And Good Speed (Southern Lord) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Even being the sort of person who knows almost nothing about drugs, I do know the usual preferred delivery method for pot is inhalation, not ingestion (to the lungs, not the stomach). Not that you can't cook it up in a brownie, but the guys in Weedeater sound like they just shovel handfuls of weed straight into their gaping jaws, like some sort of drug crazed harvesting machine, or like a stoner rock engineer dumping coal into the engine of a locomotive, which makes sense, as it's obvious these guys need enough weed to power the relentless, downtuned, full bore stoner metal crush found on God Luck And Good Speed.
A relative stoner rock institution, Dixie Dave and company have been spewing their filthy, crusty, blown out, drug rock for going on 10+ years now, and before that Dixie fronted the equally heavy and even crustier Buzzov-en, so this man knows his way around a stoney riff and a druggy groove, and this shit sounds just as good now as it did a decade ago, and I don't even smoke pot. So I can only imagine how amazing this must sound highÉ
But even NOT high, Weedeater destroy! Like some impossible crossbreeding experiment gone hellishly wrong, one part Eyehategod, one part Sleep, one part Corrosion Of Conformity, one part Bongzilla, guitars tuned so low the strings drag along the ground, amps stacked so high, they need a ladder to crank those knobs to 11. The vocals a harsh demonic mewl, almost more black metal than stoner metal, the drums simple but massive.
Recorded mostly by Steve Albini, except for one track by CoC's Mike Dean, and that track is the weirdest of the bunch, just bass, banjo and baritone crooning, a creepy stoner country ballad, which somehow sounds right at home amidst the crushing low slung heaviness surrounding it on all sides.
Plus song titles like "Wizard Fight", "Weedmonkey" and they even cover Skynyrd's "Gimme Back My Bullets"!
Packaged in a cool mini gatefold lp-style sleeve, the art embossed and printed in gold metallic ink, with a little hymnal inside with all the lyrics, just like a mini stoner bible.
MPEG Stream: "God Luck And Good Speed"
MPEG Stream: "Alone"
MPEG Stream: "Gimme Back My Bullets"

album cover WEEDEATER God Luck And Good Speed (Southern Lord) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW AVAILABLE ON VINYL!!!
Even being the sort of person who knows almost nothing about drugs, I do know the usual preferred delivery method for pot is inhalation, not ingestion (to the lungs, not the stomach). Not that you can't cook it up in a brownie, but the guys in Weedeater sound like they just shovel handfuls of weed straight into their gaping jaws, like some sort of drug crazed harvesting machine, or like a stoner rock engineer dumping coal into the engine of a locomotive, which makes sense, as it's obvious these guys need enough weed to power the relentless, downtuned, full bore stoner metal crush found on God Luck And Good Speed.
A relative stoner rock institution, Dixie Dave and company have been spewing their filthy, crusty, blown out, drug rock for going on 10+ years now, and before that Dixie fronted the equally heavy and even crustier Buzzov-en, so this man knows his way around a stoney riff and a druggy groove, and this shit sounds just as good now as it did a decade ago, and I don't even smoke pot. So I can only imagine how amazing this must sound highÉ
But even NOT high, Weedeater destroy! Like some impossible crossbreeding experiment gone hellishly wrong, one part Eyehategod, one part Sleep, one part Corrosion Of Conformity, one part Bongzilla, guitars tuned so low the strings drag along the ground, amps stacked so high, they need a ladder to crank those knobs to 11. The vocals a harsh demonic mewl, almost more black metal than stoner metal, the drums simple but massive.
Recorded mostly by Steve Albini, except for one track by CoC's Mike Dean, and that track is the weirdest of the bunch, just bass, banjo and baritone crooning, a creepy stoner country ballad, which somehow sounds right at home amidst the crushing low slung heaviness surrounding it on all sides.
Plus song titles like "Wizard Fight", "Weedmonkey" and they even cover Skynyrd's "Gimme Back My Bullets"!
MPEG Stream: "God Luck And Good Speed"
MPEG Stream: "Alone"
MPEG Stream: "Gimme Back My Bullets"

album cover WEEDEATER Jason... The Dragon (Southern Lord) cd 15.98
Like some warped children's fairytale designed for seriously stoned adults, all sitting around on dirty couches, bongs in hand, following along in their little storybooks, a strange voice begins to deliver the tale of Jason... The Dragon (oof, a bad pun for sure, and perhaps a vague reference to that other stoner dragon Puff?), but before the voice finishes with his tale, a thick ominous buzz begins to surface, and suddenly everything seems just a little bit more (in)tense, as if the sun was suddenly blotted out by huge black winged shadows, and before you know it, the sky begins to fall, and the ground opens up, unleashing a torrent of impossibly thick, buzzing bass, and pounding skull splitting drum damage, and a harsh demonic rasp, all woven into some seriously blown out sludgey groove, and so begins the latest chunk of drugged out tarpit heaviness from stoner sludge doomlords Weedeater, and if you weren't sold already, give it one more track, cuz "Mancoon" is a seriously ripping slab of ultra heavy downtuned in-the-red sludgeblues groove, with a guitar sound so blown out it sounds like your speakers melting, and that's what these guys do pretty much better than anyone, melding swinging grooves to abject sludge drenched heaviness, stumbling from Eyehategod style feedback soaked death march doom buzz trudge, to almost Southern rock sounding stoner rock, but everything oozing with grit and filth, and wrapped in the sonic version of a halo of flies, every track a lumbering and crushing, slo-mo stoner doom juggernaut, oh that is except for the weird acoustic tracks, like "Palm And Opium" a strange twang flecked lo-fi hoedown, all acoustic guitar, and woozy slide, augmented by thick distorted buzz, and some seriously creepy Buttholes style processed vox, or the record closer "Whiskey Creek", with it's chirping crickets, Deliverance style banjo, the sound or rain falling, some rumbling bass, creepy and strangely beautiful, and then after a few moments of silence, some strange old timey saloon sounding barrelhouse piano, definitely a bizarre way to finish of a bizarre record, but these guys have always been a bit cracked, and fans of slow and low ultra heaviness, and swinging Sabbathy stoner crush, like Sleep, pre-Weedeater outfit Buzzov*en, Eyehategod, Electric Wizard, Dozer, Dopethrone, Bongripper, Acrimony, and the like, it seriously doesn't get much better than this.
MPEG Stream: "Hammerhandle"
MPEG Stream: "Jason... The Dragon"
MPEG Stream: "Whiskey Creek"

album cover WEEDEATER Sixteen Tons (Crucial Blast) cd 15.98
Our friend Adam at Crucial Blast does it again (after his release of Finnish thrashers Katastrofialue from last week's list) with this new slab of blues-scum-metal from North Carolina's Weedeater. Featuring Dave from the mighty Buzzoven, Weedeater basically inhabit the same sonic (outer) space as Buzzoven, crusty, sludgy, stumbling, stoned, pummelling and relentless. Think a 'more rocking' Eyehategod or something. Filthy and furious and fucking awesome. A split release with Colorado's Berserker Records. Fans of sludge (Boris, Corrupted, Eyehategod, Melvins, Harvey Milk) and stoner rock (Kyuss, Electric Wizard, Eternal Elysium) will eat this up!

album cover WEEKEND All-American / Youth Haunts (Mexican Summer) 10" 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The smoking hot Mexican Summer label unleashes another new great band to the world, this one actually resides right here in San Francisco. Weekend blast out two songs on this 10" overflowing with a refreshing lo-fi rocking and shoegazey vibe. Kind of like a Woodsist band doing covers of Nowhere era Ride, or a less monochromatic Crystal Stilts letting loose on Unrest covers, or The Chills crossed with early My Bloody Valentine. They also remind us a bit of a more ramshackle and raw version of Desolation Wilderness who have also recently been creating great songs from a similar sonic perspective but with a bit more polish and fleshed out production. Weekend keeps things fuzzy and blown own and a bit raw which for sure works in their favor and also aligns them well with the likes of Wavves, Pearl Harbor, Grass Widow, etc.
Both songs on here are fucking great! But we wouldn't feel right if we didn't mention that it is only two songs (one of which will be on their forthcoming full length) which makes the $20 pricetag seem a bit, well, outrageous. Of course this is extremely limited and will be gone before the blink of an eye, and we really do love all the music Mexican Summer has been putting out but we do think the cost might be getting a little out of hand. That being said when it comes to the music in these grooves, we're totally sold!

album cover WEEKEND End Times (Slumberland) 7" 6.98
Brand new blast of shoegazey fuzz pop jangle from this SF outfit, the A side just a slightly abbreviated 'radio' edit of the track "End Times" from their Sports full length, and while we're happy to hear that song again and again and again, for fans it's the B-side that's the big attraction here, which finds Sports' opening jam, the 6+ minute "Coma Summer", a blast of summery jangley shoegaze pop bliss, here transformed into something much murkier and gloomier, the sounds washed out and echo drenched, lots of softly swirling effects, the drums almost krautrock sounding in their motorik simplicity, while the vocals seem to have been transformed into streaks of high end sound, blurred into the whirling washed out background, the sound distorted and lo-fi, sounding more like something you might find on an Ariel Pink / John Maus record, that same sort of alien FM radio broadcast, via fucked up 4 track, and while it definitely sounds NOTHING like anything else on Sports, as a brief blast of warped lysergic weirdo krautpop, it's pretty goddamn great.
Comes with a download coupon as well.
MPEG Stream: "Coma Summer (Speculator's Subconscious Mix)"

album cover WEEKEND Jinx (Slumberland) cd 13.98
At first you're greeted by the warmth of an ethereal new age synth that wouldn't sound out of place on a Vangelis record, and then the peace is broken by a repetitive staggered static echo, followed by driving throbbing bass and then pounding toms. Finally the plucked echo of guitar strings emerges and crescendos into an all encompassing wash. And then the vocals come in, almost like a distant echo. It's literally like hearing all the pieces of a band fall into place over the span of a couple of minutes. It's a great start to a record, and the perfect introduction to Weekend's brand of shoegaze drenched post-punk. Jinx is Weekend's second album, and since they're from our neck of the woods it's hard not to feel a little hometown pride as we submerge ourselves into their reverb soaked dreamscape. For those who are new to the world of Weekend, the quickest way to describe them would be: a shoegaze band you can actually dance to! A bit like if My Bloody Valentine had formed a few years earlier and hopped onto the Factory Records roster. There are serious hooky Joy Division/New Order bass lines aplenty, filling the songs with a sense of urgency that make it almost impossible to sit still, complimented nicely by some upbeat high energy drum work. But on the other end of the spectrum there are the guitars and the vocals - all ghostly echoes and sorrowful blanketing melodies. As soon as that first chorus kicks in with the repeated refrain of "I feel sick, sick, sick in my heart" it becomes clear that you may have just entered into the saddest dance party ever. The vocals are arguably the most classically 'shoegaze' thing about the record in fact. They drift in and out of the songs like some half forgotten memory. Only on "Celebration, FL" do they and the rest of the band ever approach something that could be considered joyful, and even then there's a lingering bittersweet wistfulness throughout. It ends up making for a really great mix, taking the best bits of both genres and using them to their fullest effect. While some shoegaze bands have a tendency to drag, Weekend's rollicking uptempo rhythm section never allow this to happen. And while post punk can often be overly tuneless or sparse, the wall of sound guitars and haunting vocals apply some much needed texture and melody to the proceedings. Clearly it's a good time to be 'gazing in the Bay Area with the likes of Deafheaven and Whirr currently making big crashing waves in the genre as well, and we certainly wouldn't hesitate to add Weekend to the leading lights of that ever growing list.
MPEG Stream: "Mirror"
MPEG Stream: "Oubliette"
MPEG Stream: "Scream Queen"

album cover WEEKEND Jinx (Slumberland) 2lp 19.98
At first you're greeted by the warmth of an ethereal new age synth that wouldn't sound out of place on a Vangelis record, and then the peace is broken by a repetitive staggered static echo, followed by driving throbbing bass and then pounding toms. Finally the plucked echo of guitar strings emerges and crescendos into an all encompassing wash. And then the vocals come in, almost like a distant echo. It's literally like hearing all the pieces of a band fall into place over the span of a couple of minutes. It's a great start to a record, and the perfect introduction to Weekend's brand of shoegaze drenched post-punk. Jinx is Weekend's second album, and since they're from our neck of the woods it's hard not to feel a little hometown pride as we submerge ourselves into their reverb soaked dreamscape. For those who are new to the world of Weekend, the quickest way to describe them would be: a shoegaze band you can actually dance to! A bit like if My Bloody Valentine had formed a few years earlier and hopped onto the Factory Records roster. There are serious hooky Joy Division/New Order bass lines aplenty, filling the songs with a sense of urgency that make it almost impossible to sit still, complimented nicely by some upbeat high energy drum work. But on the other end of the spectrum there are the guitars and the vocals - all ghostly echoes and sorrowful blanketing melodies. As soon as that first chorus kicks in with the repeated refrain of "I feel sick, sick, sick in my heart" it becomes clear that you may have just entered into the saddest dance party ever. The vocals are arguably the most classically 'shoegaze' thing about the record in fact. They drift in and out of the songs like some half forgotten memory. Only on "Celebration, FL" do they and the rest of the band ever approach something that could be considered joyful, and even then there's a lingering bittersweet wistfulness throughout. It ends up making for a really great mix, taking the best bits of both genres and using them to their fullest effect. While some shoegaze bands have a tendency to drag, Weekend's rollicking uptempo rhythm section never allow this to happen. And while post punk can often be overly tuneless or sparse, the wall of sound guitars and haunting vocals apply some much needed texture and melody to the proceedings. Clearly it's a good time to be 'gazing in the Bay Area with the likes of Deafheaven and Whirr currently making big crashing waves in the genre as well, and we certainly wouldn't hesitate to add Weekend to the leading lights of that ever growing list.
MPEG Stream: "Mirror"
MPEG Stream: "Oubliette"
MPEG Stream: "Scream Queen"

album cover WEEKEND La Variete (Cherry Red) cd 17.98
If you ever wondered what happened to Alison Statton from Young Marble Giants, then you might want to check this out. Early eighties jazz-lounge pop with saxophone in the vein of early Everything But The Girl, Antena, Carmen, and The Marine Girls.
Not as compelling as Colossal Youth, but really not that bad either.

album cover WEEKEND Red (Slumberland) cd ep 8.98
Brand new ep from these SF shoegaze / jangle poppers, and it's a doozy, taking up right where their aQ beloved Sports album left off, launching right into it with the hazy, dirgey, dreamy "Sweet Sixteen", with its slow pounding beat, low slung bassline, reverbed ethereal vocals, and thick grinding swaths of guitar, which are soon joined by lush chiming melodies, the sound epic and expansive, moody and brooding, we've found ourselves playing it over and over and over. Which means it took us a while to get to "Hazel", which is a bit more propulsive, and very eighties sounding, almost like their take on this whole retro new wave thing, but holy shit is it the sort of song that would be a massive hit in a perfect world, a killer hook surrounded buy weirdly effected guitars, crunchy riffs, all wed to a killer groove, thick fuzzy bass, the sound occasionally exploding into sweetly psychedelic squalls. The rest of this 5 song ep follows suit, dipping into druggy dark shoegaze crunch on "Your Own Nothing", the sound thick and dark and fuzzy, but still rife with melodies and another wicked hook, or bouncy retro fuzz pop on "The One You Want" that sounds like it should be on the soundtrack to a modern John Hughes style teenage classic, and finally, the oddly titled "Golfers", with its thick, downtuned dirgey riff, echoey vox, tribal drumming, and melancholy guitar melody, a dreamy chunk of minimal gloom pop, that might be this ep's real gem.
MPEG Stream: "Sweet Sixteen"
MPEG Stream: "Hazel"

album cover WEEKEND Red (Slumberland) 12" 10.98
Brand new ep from these SF shoegaze / jangle poppers, and it's a doozy, taking up right where their aQ beloved Sports album left off, launching right into it with the hazy, dirgey, dreamy "Sweet Sixteen", with its slow pounding beat, low slung bassline, reverbed ethereal vocals, and thick grinding swaths of guitar, which are soon joined by lush chiming melodies, the sound epic and expansive, moody and brooding, we've found ourselves playing it over and over and over. Which means it took us a while to get to "Hazel", which is a bit more propulsive, and very eighties sounding, almost like their take on this whole retro new wave thing, but holy shit is it the sort of song that would be a massive hit in a perfect world, a killer hook surrounded buy weirdly effected guitars, crunchy riffs, all wed to a killer groove, thick fuzzy bass, the sound occasionally exploding into sweetly psychedelic squalls. The rest of this 5 song ep follows suit, dipping into druggy dark shoegaze crunch on "Your Own Nothing", the sound thick and dark and fuzzy, but still rife with melodies and another wicked hook, or bouncy retro fuzz pop on "The One You Want" that sounds like it should be on the soundtrack to a modern John Hughes style teenage classic, and finally, the oddly titled "Golfers", with its thick, downtuned dirgey riff, echoey vox, tribal drumming, and melancholy guitar melody, a dreamy chunk of minimal gloom pop, that might be this ep's real gem.
MPEG Stream: "Sweet Sixteen"
MPEG Stream: "Hazel"

album cover WEEKEND Sports (Slumberland) cd 12.98
Finally! The full length debut from these SF jangle noisepoppers, and it's as good as their two song Mexican Summer 10" had us hoping it would be.
Fuzzy, jangly, shoegazey, reverby, a little new wavey, a little droney, super catchy and buzzy and dreamy, pretty much everything we want a new pop record to be.
The first song "Coma Summer" is a dizzying collision of sounds and styles, that displays everything we love about these guys. Jangly Unrest style guitars chime beneath distant crooned oooooh's, eventually buzzy crunchy guitar rock wraps itself around the original guitar, the bassline buzzy and Joy Division-y, the sound repetitive and trancey, then still MORE guitars come in, some seriously MBV worthy buzzsaw blur, over which vocals keen in the distance, then the vocals proper come in, all deep and dramatic and new wavey, accompanied by woozy washed out warped sounding melodies that seem to melt before our ears, and so it goes, shifting from loping brooding jangle to soaring bleary psychedelic bliss to fuzzy minimal new wave pound, and it's not just that it sounds amazing, but that the amazing sounds have been crafted into a killer song, hooky and hazy and damn near perfect.
The second song is more of the same, we heard "Youth Haunts" on that Mexican Summer 10" which we then described as something akin to "a Woodsist band doing covers of Nowhere era Ride, or a less monochromatic Crystal Stilts letting loose on Unrest covers, or The Chills crossed with early My Bloody Valentine" and that pretty much still totally applies, and not just to this track, but to the whole record. Lush yet lo-fi, broody and propulsive, but also noisy and blown out, sunshiney and poppy here and there, but just often, dark and melancholy, easily one of our new favorite records, from one of our new favorite local outfits.
MPEG Stream: "Coma Summer"
MPEG Stream: "Youth Haunts"
MPEG Stream: "Monday Morning"

album cover WEEKEND Sports (Slumberland) lp 17.98
Finally! The full length debut from these SF jangle noisepoppers, and it's as good as their two song Mexican Summer 10" had us hoping it would be.
Fuzzy, jangly, shoegazey, reverby, a little new wavey, a little droney, super catchy and buzzy and dreamy, pretty much everything we want a new pop record to be.
The first song "Coma Summer" is a dizzying collision of sounds and styles, that displays everything we love about these guys. Jangly Unrest style guitars chime beneath distant crooned oooooh's, eventually buzzy crunchy guitar rock wraps itself around the original guitar, the bassline buzzy and Joy Division-y, the sound repetitive and trancey, then still MORE guitars come in, some seriously MBV worthy buzzsaw blur, over which vocals keen in the distance, then the vocals proper come in, all deep and dramatic and new wavey, accompanied by woozy washed out warped sounding melodies that seem to melt before our ears, and so it goes, shifting from loping brooding jangle to soaring bleary psychedelic bliss to fuzzy minimal new wave pound, and it's not just that it sounds amazing, but that the amazing sounds have been crafted into a killer song, hooky and hazy and damn near perfect.
The second song is more of the same, we heard "Youth Haunts" on that Mexican Summer 10" which we then described as something akin to "a Woodsist band doing covers of Nowhere era Ride, or a less monochromatic Crystal Stilts letting loose on Unrest covers, or The Chills crossed with early My Bloody Valentine" and that pretty much still totally applies, and not just to this track, but to the whole record. Lush yet lo-fi, broody and propulsive, but also noisy and blown out, sunshiney and poppy here and there, but just often, dark and melancholy, easily one of our new favorite records, from one of our new favorite local outfits.
MPEG Stream: "Coma Summer"
MPEG Stream: "Youth Haunts"
MPEG Stream: "Monday Morning"

WEEKEND The '81 Demos (Vinyl Japan) cd 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
These four tracks are some of the few post-Young Marble Giants songs that we've heard from YMG singer Alison Statton. Not surprisingly, the arrangements by the Weekend don't stray far from the immensely catchy art-pop minimalism of the aforementioned Young Marble Giants, but with pastoral guitar work pushing the Weekend into a territory occupied by early Durutti Column.

album cover WEEKEND The '81 Demos (Blackest Ever Black) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Yes! Rarely has a collection of four songs captivated us as much as this welcome reissue and first-time vinyl release of Weekend's '81 demos. When it was released on cd for the first time back in 1995 on Vinyl Japan, we couldn't stop listening and now hearing the tracks on vinyl nearly 20 year later, we are smitten all over again. Weekend was Alison Statton's band formed shortly after the demise of beloved British post-punk minimalists Young Marble Giants (whose Colossal Youth was a former ROTW, and one of our favorite albums ever!). Weekend ended up having more of a breezy jazzier vibe than YMG, closer to Marine Girls, Antena, Durutti Column and The Field Mice, putting out a sole full length, La Variete in 1982. While we loved that record (though not everyone here did, as the inclusion of saxophone in anything but a strict jazz context can be a real deal-breaker for some), the real discovery was the demos that featured 4 songs from La Variete, but much more stripped down (read: no sax!) and bittersweet, sounding probably close to what YMG would have sounded like had they continued. With Statton on voice and bass, and supported by chiming guitar, drum machine, violin and percussion, these songs are exquisitely executed and allowed ample room to breathe. The stunner being the 9 minute "Red Planes", which is given a beautifully slow instrumental build before the vocals come in and break our hearts. "Drumbeat" and "Nostalgia" are barely more upbeat, but carry the same sense of cool detachment that made Colossal Youth so damn charming. The final track "Summerdays" is an instrumental in the sunny pastoral vein of Durutti Column or the recently reissued Maurice Deebank. For fans of all of the above bands as well as Low, Galaxie 500, Heavenly, and Beach House. It may seem short, but trust us, you'll be playing this over and over and over again!
MPEG Stream: "Nostalgia"
MPEG Stream: "Red Planes"

album cover WEEKS, GREG Awake Like Sleep (Ba Da Bing!) cd 14.98
This is record number three for Greg Weeks, and the one that's really finally gotten our attention. His previous disc on Ba Da Bing! was a stripped down, boy-and-his-guitar folky singer-songwriter kinda record, and while he is still essentially playing folk music, on "Awake Like Sleep" he has begun to experiment with electronics and synthesizers resulting in a sound completely alien but warm and familiar at the same time: a sort of lilting chamber folk with electro-baroque flourishes, reminiscent of sixties and seventies folk-rock bands from England. Indeed, he's been compared to AQ-faves Comus, and while we don't think his stuff really sounds like those pagan freaks, there is a certain parallel, maybe as if one of the Comus dudes went solo. Where Comus was all maniacal and relentless, Weeks imbues his music with tension and a more subtle mania, borne of sadness and loneliness. These emotions manifest themselves as haunting melodies, dreamy flutes, church organs, discordant keyboards, spooky theremins, distorted bass, and warbling melodies that sound as if they were being played on a broken old turntable. It's all under a gauzy cloud of antiquated synth sounds and gently plucked guitars, invoking an alone-in-an-old-dark-house-on-a-moor kind of melancholia. The lyrics are simple and emotional, delivered in a plaintive almost whispered tenor that occasionally slips into a damaged falsetto that is completely heartbreaking. The most surprising aspect of what is essentially a folk record, besides the use of electronics and synthesisers, is the occasional spaced out psychedelic jam, with booming Bonham beats and swirling acid leads which build to moments where the song threatens to burst wide open, positively seething with barely restrained fury, like a huge black storm cloud threatening to unleash its violent storm. "Awake Like Sleep" never really gets all that heavy, but it's still really "heavy", if you know what we mean. People into the current strain of lo-fi bedroom folk-damaged indie-pop (for instance, Tower Recordings, P.G. Six, Neutral Milk Hotel and other Elephant Six stuff, or even a less twee Magnetic Fields) should like this!
RealAudio clip: "Made"
RealAudio clip: "Past Four Corners"
RealAudio clip: "These Days"

WEEKS, GREG Bleeker Station (Keyhole Records) cd 14.98

album cover WEEKS, GREG Blood Is Trouble (Ba Da Bing!) cd 13.98
It's been a long couple years since we've had a Greg Weeks record proper. But those years weren't spent idle, not at all, instead he spent that time recording and performing with his group Espers, a much folkier and much more ethereal affair than his solo stuff. The Espers record was absolutely breathtaking, sweet and druggy and folky, with angelic female vocals alongside cellos, dulcimers and flutes. Thankfully Weeks' new record takes some of that more ethereal wispiness and weaves it into the darker, tenser psych-doom-folk he records under his own name. Fuzzy keyboards and warbling synths lay down ominous drones as a prickly sonic bed for delicately fingerpicked minor key guitars, moaning cellos, swooning mournful melodies, distant spacey blips, suffling understated drumming, heartfelt, multitracked vocals, all very hazy and druggy and otherworldly. Not quite as 'weird' as his previous full length Awake Like Sleep, Blood Is Trouble sounds, as much as I hate to say it, more mature. Which is not a bad thing at all. The songs are more fully realized, and don't rely as heavily on weird instrumentation. Beautiful and heartfelt, in different hands this could have been a classic singer songwriter sort of record, but Weeks manages to transform it into a hazy psychedelic gem, equal parts Incredible String Band, Low and Nick Drake. Or something like that. You get the drift. This is just an amazing and beautiful record. Psych folk fans will love it for sure, but it's just accessible enough to maybe 'turn on' the rest of you!
MPEG Stream: "Day For Night"
MPEG Stream: "Dusted"

album cover WEEKS, GREG Slightly West (Acuarela) cd 9.98
New ep from AQ fave Greg Weeks, on the tiny Spanish label Acuarela. "Slightly West" takes up right where Weeks' totally amazing "Awake Like Sleep" record left off. More lonely low key psychedelic folk (ala P.G. Six, Charalambides, Tower Recordings, etc.), wrapped in a wash of thick warm analogue-sounding synths, making for a sort of dark and melancholy, alien folk music.
Dreamy and gauzy, ethereal and wispy, warm and summery, but not in a Beach Boys-surfing-USA-fun-in-the-sun sort of way, more like a last-day-of-summer-before-the-girl-you've-spent-the-past-two-weeks-falling-in-love-with-leaves-forever-late-nights-wrapped-in-blankets-in-front-of-a-roarin-fire-crashing-surf-moon-reflected-on-the-water-broken-hearted sort of way. Gently plucked guitars and mournful sad-boy vocals (with occasional angelic female background vocals) weave gorgeously simple tales of love and loss, while tinkling pianos glisten on the surface and gossamer keyboards, sustaining on 2 or 3 notes, turn simple pop songs into dreamy late night psychedelic soundscapes (the same way keyboards transformed Yo La Tengo's "Painful"). Also features some really disturbing/amazing/sexy/demented cover art by Tracy Nakayama, featuring naked young people and a woman strangling an ostrich with a belt!
MPEG Stream: "One Summer Night"
MPEG Stream: "Unsettled (By The Sun)"

album cover WEEKS, THE Comeback Cadillac (Esperanza Plantation) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The first thing we thought when we threw this one, was that these guys remind us quite a bit of the Rock-A-Teens, which is never a bad thing. They have the same sort of Southern gothic swagger, thick reverbed guitars, yowled throaty vocals, a little Southern rock, a little rockabilly, but jammed into more of a noise rock sound. The record opens with a serious blast of jagged distorted garage stomp, with plenty of stops and start, some noodly leads, but all wrapped around a hook that won't quit, and some killer guitar harmonies. But right after that the band slows it down to near-ballad territory, all lilting strums and chiming bells, until the track fractures into a weird rollicking buzz drenched sort-of-jig, that explodes into a rollicking rocker, with deep crooned vocals and sharp crunchy guitar chug and a total pogo rhythm and more leads squiggling all over the place.
The vocalist has some Nick Cave going on for sure, which perfectly suits the bands sharp noisy downer rock, like a super charged Dirty Three, or even a less Irish Pogues, or maybe a less fucked up Lubricated Goat, and of course the aforementioned Rock-A-Teens. We also hear some Paw, but odds are that one's too obscure and unlikely for most folks, which is probably for the best. But stir in some serious Southern rock tendencies, a little punk rock, polish it up a bit and you have the Weeks. Supposedly the average age of the Weeks is 18, which is pretty nuts considering that these guys sound like way more like old bearded dudes from the South sporting big old skull rings, and wearing pointy toed boots and rumpled old seersucker suits...
MPEG Stream: "Comeback Cadillac"
MPEG Stream: "Teary-Eyed Woman"
MPEG Stream: "Altar Girl"

WEEN 12 Golden Country Greats (Elektra) cd 17.98
Unlike so many bands who want out of their major label contracts and so break up after one album, Ween just reinvent themselves. This record features instrumentation by several overlooked-by-all-but-the-most-devoted-liner-note-readers old time session musicians who played on Ween's favorite country records of yesteryear. Jen-you-wine hillbilly music? The lyrics are still ridiculous.

album cover WEEN God Ween Satan (Restless) cd 15.98
Before Ween were the soundtrack to every frathouse in the land, Windy and Andee worshipped at the altar of "God Ween Satan". Less poppy, and WAY less polished, "God Ween Satan" is their first record and is full of catchy sloppy punky silliness and stupidly profound lyrics. Fans of later Ween, the Dead Milkmen and the Warlock Pinchers will feel right at home. Plus three unreleased bonus tracks!
RealAudio clip: "Birthday Boy"
RealAudio clip: "Fat Lenny"

album cover WEEN La Cucaracha (Chocodog) cd 16.98
Awwwww Weeeeeeeeen!
Love to hate 'em?
Hate to love 'em?
So dorky.
So damaged.
So fucked up.
So fun.
For the erratic Ween no musical style is out of the question nor out of their league. On La Cucaracha they unflinchingly navigate through country, reggae, blues rock, and AOR balladry. Once they catch wind of smartypants/dumbass songs like "Object", "Lullaby" and "My Own Bare Hands", Tenacious D fans might take a shine to this specific Ween album too! As usual not for everyone, but those who dig it will dig in good!
(Yes the vinyl version is insanely expensive.)
MPEG Stream: "Object"
MPEG Stream: "My Own Bare Hands"

album cover WEEN La Cucaracha (Chocodog) lp 27.00
Awwwww Weeeeeeeeen!
Love to hate 'em?
Hate to love 'em?
So dorky.
So damaged.
So fucked up.
So fun.
For the erratic Ween no musical style is out of the question nor out of their league. On La Cucaracha they unflinchingly navigate through country, reggae, blues rock, and AOR balladry. Once they catch wind of smartypants/dumbass songs like "Object", "Lullaby" and "My Own Bare Hands", Tenacious D fans might take a shine to this specific Ween album too! As usual not for everyone, but those who dig it will dig in good!
(Yes the vinyl version is insanely expensive.)
MPEG Stream: "Object"
MPEG Stream: "My Own Bare Hands"

album cover WEEN Live In Chicago (BMG) 2cd 28.00

album cover WEEN Quebec (Sanctuary) cd 17.98
Gene and Dean Ween are back, which is sure to be a cause for jubilation among many. However, we're not diehard Ween fans, and while there's titles in the Ween catalog we definitely enjoy, Quebec's not high up on that list. The best thing about it is the Motorhead pastiche that leads off the album. After that, they do what they do, but it's just not as funny as old Ween, although still quite as proficient musically. Total studio musician/songwriting hack chopsism. There's no easily-discerned theme, and we quickly lost interest after that Motorhead bit, as we said. *However*, had a hardcore Ween fan reviewed this for us, there's always the chance that they'd say we were missing something, so don't let us stop you from Ween-ing out with this one.
MPEG Stream: "It's Gonna Be a Long Night"

album cover WEEN Shinola Vol. 1 (Chocodog) cd 16.98

WEEN The Mollusk (Elektra) cd 15.98

WEEN The Pod (Elektra) cd 18.98

WEEN White Pepper (Elektra) cd 16.98
With tons of cash for studio musicians and recording time you'd think a couple of creative stoners like Gene and Dean Ween could come up with gem after gem of sugary sweet and entertaining pop, but for some reason this ain't happening. The production is great, the musicians are great, but the joke is tired. Never the less, if you want a grandly produced effort of mock early eighties radio rock (a la Bread or America), this is your bag.

album cover WEEVIL SERIES, THE Larva / Pupa / Adult 3 x 12" 31.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been trying to track these down for ages, a mysterious set of dubstep 12"s, some of the coolest, darkest, grimiest dubstep we've heard, all housed in plain white sleeves, no info except for a stamp of either a larva, a pupa or an adult Weevil, that symbol designating which of the three Weevil Series 12"s it is. We decided it was probably better to sell these as a set, as they were difficult to track down, and had to be shipped overseas, and odds are if you want one, you're probably gonna want the set.
Originally a customer sent us a link to some samples online and all it took was about 30 seconds and we were hooked. Dark and creepy, ominous and menacing, the sound rough and textured and raw and not at all slick or glossy, the beats, slipping from dubstep stutter to almost jungle skitter, the background a swirl of spaced out effects, deep bass swells, mysterious voices, and when the beat drops, it drops hard, the bass buzzing, thick and corrosive.
The first volume, Larva, is seriously grimy, muted buried rhythms and roiling black clouds, the beat gradually growing more intense, the drop huge, the beat nearly knocking us over, the dubstep definitely a little jungly. The second track offers up some super effected distorted dancehall style toasting over an echo drenched beat, and warped bass warble, and the drop here too is fierce, the bass a fat fuzzed out wobble, the beat jagged and stuttery, a super raga style dubbed out groove that kills. The final track gets a bit more darksteppy, the tempo cranked up, definitely more jungle than dubstep, the beat wreathed in clouds of squelch and synthy squiggle, and peppered with bits of African Head Charge like ambience. So good.
And the second volume, Pupa, is just as good, starting out with a clipped lurching groove, and some vocals that are chopped up and transformed into a weird sort of bassy hiccup, almost like a croaking frog, the beat stripped down and minimal, all skitter, wreathed in clouds of swirling psychedelic hiss and whir, and haunting black ambience, a strangely off kilter hip hop-ish chunk of dark dark dubstep. The second track mixes it up again, setting the beat against a backdrop of woozy synth swirl, wrapped around a skipping chunk of warbly bass buzz, wrapped in swirls of glitch and static, the sound more laid back and droney, hypnotic and washed out, which leads into the final track, a big block rockin beat, laid over fuzzed out bass, and all sorts of dubby effects and extra percussion, again, with some swirly synths laid down in the background.
Finally, the set finishes off with part three, Adult, which shifts gears again, the first track a murky bit of super minimal droned out mesmer, the beat, muted and buried beneath a field of static, and blurred low end fuzz, laced with random bits of clatter, like some super abstract Chain Reaction Heroin House take on lo-fi dubstep, crusty, and sinister, and abstract and haunting and AWESOME.
The second track continues in the same direction, similarly minimal and stripped down, not nearly as murky, but with a seriously clinical, motorik clipped beat, surrounded by Geiger counter like chitter, all over little flurries of high hat, and subtle bits of dubbed out FX, super hypnotic and WAY too short.
Finally, the closing track picks up the pace, that creepy processed raga like toasting returns, over metallic clouds of billowy bass, the beats laid back and stripped way down, the thick buzzing bass pulse driving the groove, everything surrounded by what sounds like field recordings of a forest or jungle, a darkly psychedelic bit of dubbed out bass heavy murk. So good. We haven't stopped listening to these since we first got them in. Dubstep jam of the year? Last year? This year? Any year? Hell yeah!!
Each 12" is limited to 300 copies, hand numbered, and hand stamped, all in plain white sleeves. And remember we're selling all three 12"s together as a single set.
MPEG Stream: "Larve A1"
MPEG Stream: "Larve A2"
MPEG Stream: "Pupa A"

album cover WEEZER Hurley (Epitaph) cd 15.98
No one with a pop bone in their bodies can argue that the first Weezer record (the Blue album) is anything but an all time classic pop record, a practically perfect slab of indie rock / power pop. Most of those same folks loved Pinkerton too, record number two, flawed, but in an awesomely idiosyncratic and crazy catchy way. Even the Green album, record #3, had some great songs, the Weezer sound was still intact, and sure there were some misfires, but those were made up for by some serious gems. Maladroit was an underdog record, revisiting it now, it's pretty dang good, but at the time, it was, to Weezer fans, all but the most obsessive, the beginning of the end.
Make Believe is where most of us gave up, the insipid hit single "Beverly Hills" the worst offender, but the record, as well as the one that followed, the Red album, were pretty much total writeoffs. Mainman Rivers Cuomo was more of a novelty song writer and occasional tabloid personality. Then something happened with Raditude. The last record, awesomely stupid cover art, and some lame collaborations, but there were some seriously almost classic Weezer jams hidden in there. And now we come to Hurley, their latest, and maybe best in a long while, weirdly enough, it's also their first NOT on a major label, but whatever, the important thing is, this record is pretty good.
That classic Weezer sound in full effect, the thick chugging guitars, the vocal harmonies, the soaring power pop choruses, the goofy pop culture referencing lyrics, but for the first time in a long time it actually works, and even the weird experimental bits, acoustic ballads, some synth drum machine drive groovers, they all sort of work. It's no masterpiece, that's for sure, if you want a Weezer masterpiece, go get the self titled debut, or if you want some Weezerish perfect pop, check out the Ovens, but if you've been dying for a great Weezer record, well then this might be the one. Or if not great, pretty dang good. And we're digging it more and more with every listen!
And did we mention the awesomely ridiculous cover art, a picture of Hurley from the TV show Lost! Recommended, mostly for longtime Weezer fans, but heck, it's definitely good enough that it might win over some new fans for sure...
MPEG Stream: "Memories"
MPEG Stream: "Ruling Me"
MPEG Stream: "Trainwrecks"

album cover WEEZER Make Believe (Geffen) cd 16.98
Oh Weezer, we read and hear so much about Rivers Cuomo and his dysfunctional band, and all the lineup changes and how he's giving up music to go back to school and he's going to be celibate but then WAIT, a new record is in the works, but the band hates each other, but he is still the master of pop music, and they're on the cover of Rolling Stone and on and on and on. You think with that kind of drama and attention this 5 years in the works new Weezer record would be tense and intense and emotionally fragile and darkly aggressive and maybe the pop record to end all pop records. But it's not. Not even close. It's tepid, Weezer-by-the-numbers, the single "Beverly Hills" is the most anemic pop song we've heard in ages, with embarassingly trite lyrics and a hook that has been used in no less than 5 other Weezer songs. But wait, things definitely pick up after that, a return to Weezer of old? Not quite, but it's not all that bad, in fact some of the songs are pretty darn good. It's no blue album, it's no Pinkerton, it's no green album either. But that's a whole lot to hope for. And while he may be a pop genius, anyone so distracted by school and personal insecurity and band unrest would be hard pressed to squeeze out a masterpiece. But a masterpiece is what we expect, and we know he's capable of it. He's pulled it off at least three times! It just feels like the passion is gone, the fire, the emotion, like Weezer is no longer something he NEEDS to do, just something he has to do. It still sounds great, in fact better than ever, BIG Rick Rubin production, big guitars, lush harmonies, but the songs just don't live up to the sound. That said, we still LOVE Weezer, we've been dying for this record to come out, and we'll hang on to this, and listen to it over and over, hoping that the pop genius is of the slow growing variety, and eventually it will just hit us, and then we'll feel pretty dumb for writing this review. Here's hoping!
MPEG Stream: "Beverly Hills"
MPEG Stream: "Perfect Situation"
MPEG Stream: "This Is Such A Pity"

album cover WEEZER Maladroit (Geffen) cd 16.98
I have to be honest, I sort of outgrew Weezer (or maybe they outgrew me) after their second record, Pinkerton, which while not a bad record at all, in fact a fantastic record, definitely showed signs of, how can I say this, a sort of laziness, a "the sound is there but where are the songs?" sort of thing. I think one of the problems is that they set the bar so high with the first record, where EVERY song was, or could have been a huge hit. Pinkerton was about half and half, and after that they seemd to just be going through the motions. That said, there -were- some kick ass tunes on the 'green' record, and there are some awesome tracks on this here record too. Check out the sound clip for 'Keep Fishin', kind of Cheap Trick and the Sweet with a sort of MTV pop punk vibe. Fans already obviously have this, but newcomers to the land of Weezer would be better served picking up the first two Weezer records before venturing into records three and four.
RealAudio clip: "American Gigolo"
RealAudio clip: "Dope Nose"
RealAudio clip: "Keep Fishin'"

WEEZER Pinkerton (DGC) cd 12.98

album cover WEEZER s/t (red) (Geffen) cd 17.98
Just knowing that this band made Pinkerton makes the fact that this record sounds like a weird mash up of Sugar Ray and The Offspring that much more depressing. Though the YouTube based single/video "Frank and Beans" is pretty funny.
MPEG Stream: "Pork And Beans"
MPEG Stream: "Dreamin'"

album cover WEEZER Weezer (Geffen) cd 17.98
The first peep from these guys after a five year absence! And sure as heck it's full of those familiar power guitar melodies and sunshine-y, super-boy vocal harmonies. So why don't I feel any better? What's wrong? What's missing? Well for one thing the lyrical twists and odd subject matter for which Weezer were well known are nowhere to be found. And there just doesn't seem to be anything to distinguish this album as a Weezer record. Certainly it's got good pop tunes, but sorta in a faceless not-really-all-that-catchy kind of way. Fans obviously must own this, but even their admittedly weak last album Pinkerton was catchier and more distinctly Weezer. Oh well. Check out records by The Stereo, or the Get Up Kids or Reggie and the Full Effect to see how the students have surpassed their teachers.
RealAudio clip: "Hash Pipe"

album cover WEGMULLER, WALTER Tarot (Spalax) 2cd 32.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This 1973 krautrock rarity was reissued a few years ago as a deluxe box set complete with reproductions of the Tarot cards designed by German gypsy painter Walter Wegmuller. That uber-expensive deluxe version quickly went out of print, and now we have a nicely presented double cd set of the same music, minus the cards. The 21 tracks on here are, however, dedicated to the Major Arcana of the Tarot deck. Whether you're into the mysticism of this or not, its the trippy "kosmiche" krautrock music that makes this worthy of purchase. Wegmuller (with producer Rolf-Ulrich Kaiser) directed an all-star cast of German underground musicians including Manuel Gottsching, Walter Westrupp, and Dieter Dirks in creating a sometimes maniacal, sometimes zoned-out krautrock classic. It really is similar to early Ash Ra Tempel, Brainticket, or the Cosmic Jokers (indeed, the cast of musicians pretty much IS the Cosmic Jokers). Wild, weird stuff that wanders from electronic soundscapes with portentous voice-overs to acid guitar freakouts to mellow flute-led folk jams... Every track/card is different. If you can tolerate some of the hippy excesses (and the talking), this has much to offer. We can imagine that the Current 93/NWW folks must have been really into this!
RealAudio clip: "Die Hohepriesterin"
RealAudio clip: "Der Hohepriester"

WEGNER, BASTIAN Elmsfeuer (Sahko) cd 24.00

WEHOWSKY, RALF & BRUCE RUSSELL Sights (Corpus Hermeticum) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover WEINBERG METHOD, THE ...of Non-Synthetic Electronic Rock (Normal ) cd 14.98
One of the most gleefully eccentric albums around right now is a re-issue from 1970! Fans of the bizarre genius of Bruce Haack and Raymond Scott gather 'round! Heck, you're undoubtedly already more than familiar with Mr. Fred Weinberg, but for those of us who missed it the first time around... Here's 18 tinkly twinky twisted compositions (including 7 bonus tracks) that would probably be deadringers for television theme songs and commercial jingles if they were being performed on a more - ahem! - traditional array of instruments, but such is not the case! The Weinberg Method involves the electronic manipulation and mutation of "natural" sounds (y'know, from the world around you: car horns honking, sirens squealing, toilets flushing, hearts beating, etc). These sounds are then inserted where those of the string, horn or percussion instruments would have been. Incredibly strange music indeed! We should also note that the liner notes suggest "this album be played at 33, 45 and 78 rpm." Kinda hard to do on a cd, but probably well worth the effort!
RealAudio clip: "A Child's Life"
RealAudio clip: "Animosity"
RealAudio clip: "Keen Machine"
RealAudio clip: "Ah, Ha!"

WEINBERG METHOD, THE ...of Non-Synthetic Electronic Rock (Normal ) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of the most gleefully eccentric albums around right now is a re-issue from 1970! Fans of the bizarre genius of Bruce Haack and Raymond Scott gather 'round! Heck, you're undoubtedly already more than familiar with Mr. Fred Weinberg, but for those of us who missed it the first time around... Here's 18 tinkly twinky twisted compositions (including 7 bonus tracks) that would probably be deadringers for television theme songs and commercial jingles if they were being performed on a more - ahem! - traditional array of instruments, but such is not the case! The Weinberg Method involves the electronic manipulation and mutation of "natural" sounds (y'know, from the world around you: car horns honking, sirens squealing, toilets flushing, hearts beating, etc). These sounds are then inserted where those of the string, horn or percussion instruments would have been. Incredibly strange music indeed! We should also note that the liner notes suggest "this album be played at 33, 45 and 78 rpm." Kinda hard to do on a cd, but probably well worth the effort!
RealAudio clip: "A Child's Life"
RealAudio clip: "Animosity"
RealAudio clip: "Keen Machine"
RealAudio clip: "Ah, Ha!"

WEINSTEIN, DAVID Perfume (Avant) cd 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Equipped with naught but a sampler, Weinstein creates disjointed, alienated soundtracks that sound like Tipsy without the groove. His pieces swing between a nostalgia for the music of the past, and premonition of the music of the future.

WEINSTEIN, DEENA Heavy Metal: The Music And Its Culture (Da Capo Press) book 17.00
Chicago university professor Deena Weinstein unleashes the revised edition of her 1991 scholarly study of heavy metal!! We loved her on NPR's Anthem talkshow, playing Emperor and other metal, and discussing the differences between speed metal, thrash metal, and black metal, in an intellectual, but genuinely enthusiastic manner, unlike some of the 'ironic' poseurs featured on the same show, who shall remain nameless.
Weinstein's book is a balanced and academic look at heavy metal music, its fans, and its role in society. This new edition adds a new 'Metal in the '90s' chapter, as well as an updated list of '100 Definitive Metal Albums' that now includes Arcturus and At The Gates, In Flames and Hammerfall, etc.
Essential for all serious fans of either cultural studies or heavy metal, preferably both!

album cover WEIRD OWL Ever The Silver Cord Be Loosed (Tee Pee) cd 14.98

WEIRD WAR If You Can't Beat 'Em, Bite 'Em (Drag City) cd 14.98
Aka the Scene Creamers.

WEIRD WAR Illuminated By The Light (Drag City) cd 14.98

MPEG Stream: "Mental Poisoning"
MPEG Stream: "Put It In Your Pocket"

album cover WEIRD WEEDS Hold Me (Zum) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on Vinyl!
We listed the latest record by Texas folk pop ensemble the Weird Weeds a few lists back, and everybody dug it like crazy, so we got in touch with the band and got a handful of their first record, Hold Me. Which is just as good!
A dizzying blend of random ethereal popness and shimmery dreamlike folkiness with a healthy heaping of arty angularity. Slightly confusional and a little schizophrenic, but the Weird Weeds' off kilter playfulness is exactly what makes this combo so totally appealing. Fun and freaked out, but always soft and dreamy, even at their most convoluted.
One side of the band's sound is all fluttery flutes and swoonsome strings, little bits of strum and twang wrapped into perfect little nuggets of sunshine-y West Coast pop. A little country, a little hippy, all super sun dappled with plaintive vocals and simple minor key strumming.
The other side of their sound is a much more obtuse assemblage of stumbling drums, twinkling guitar harmonics, lots of tangled squiggly almost metallic guitar solos over wildly strummed acoustic guitars, a constant angular Deerhoof art-rockiness that perfectly plays to the interaction between super high sad boy vocals and dreamy angelic female vocals. While these guys are definitely far out, and these songs are not at all straight forward, the weirdness never overshadows their pop sense, which makes Hold Me a total delight for pop kidz and artrock nerds alike.
MPEG Stream: "Paratrooper Seed"
MPEG Stream: "Fifty Dollars"

album cover WEIRD WEEDS Weird Feelings (Sounds Are Active) cd 11.98
We're not exactly sure how we stumbled upon the Weird Weeds, a mysterious experimental pop outfit from Texas, but we're sure glad we did. This, their second full length, is totally captivating and weird as fuck. Even the opening one two punch is sort of confusingly brilliant, the sweet opening track, softly strummed guitar, simple chimes, and harmonized female vocals, followed by the bizarre rhythmic workout of the second track, a processed whump of a rhythm track, quickly surrounded by effervescent swirls of droning high end, and gorgeous intertwined vocals. It is definitely pop, but unlike any pop we've ever heard. Maybe the closest comparison would be Animal Collective, but Weird Weeds are a whole different animal, the core of their sound seems to be an upper register drift, be it some weird metallic shimmer, high end guitar jangle, or the dreamy female vocals combined with the mostly falsetto male vocals. And just as important to WW's sound is percussion. Every song leans heavily on whatever off kilter rhythm the band establishes, often lurching from near static shuffle to a loping pound, and just as quickly back again. The song structure is a bit off kilter as well, super complex and convoluted, sounding either like a pop band afflicted with the worse case of ADD ever, or like each song is a composite of 10 or 20 other little songs. The effect is intoxicating, and when the band unfurls a twangy little ditty, you find yourself braced for the inevitable shift to some other random melodic tangent, and when it sometimes doesn't come, you find yourself being almost disappointed. Hard to believe such a massive expansive sound could come from such a compact ensemble. And that the simplest ingredients, guitar, percussion and vocals, could be whipped into such a heady psychedelia! Droney, drifty, twangy, dreamy and strangely lovely.
MPEG Stream: "Weird Feelings"
MPEG Stream: "Nose To The Wind"
MPEG Stream: "In Your Arms"
MPEG Stream: "Tupper"

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