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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 WAYCROSS Aren't We The Lucky Ones (Waycross) cd 10.98
A new album from this popular local combo who play a full, polished brand of shadowy twang. Delving into the darker side of country music a la Cowboy Junkies and Trailer Bride with layers of sliding, spidery reverbed guitar and gritty organs. The melancholic female lead vocals bring to mind the subdued yet powerful delivery of Hope Sandoval or Carly Simon. They're backed by higher, more angelic vocals. Their decision to include a tripped out cover of Blondie's "Heart Of Glass" seems very strange and out of place. The over the top warbly wah-wah guitars and plodding rhythms totally distracts from the brooding, languid Waycross atmosphere they've so carefully crafted. Instead, it comes across as an alienating, druggy blues rock rendition. Seems like they should've made it either a hidden final track or preferably just reserved it for the live setting in which it's surely a crowd pleaser. That said, if you can program your cd player to skip track 9, you'll have a cohesive, pleasing listen.

RealAudio clip: "B-Sides"
RealAudio clip: "Wicked"
RealAudio clip: "Heart Of Glass"

album cover WAYLANDER Honour Among Chaos (Listenable Records) cd 13.98
Those unintimidated by metal of the power, folk, or medieval variety, hail! Waylander are back yet again with another album of Irish folk metal, set to sharpen the listeners mental and metaphorical swords. Sometimes when we write these reviews it's hard to know what to say. It seems that there are metalheads who can vibe on flute and other folk instruments, and there are those that don't. Well, we believe that this record is one of those rare times a band can bridge the gap. While the harps and such blaze on, crunchy guitars and howling vocals keep things from ever getting too gimmicky. Basically, it stays heavy even with some unusual instrumentation, which can sometimes feel like it's softening the song. And with song titles like "Taker of Heads," or "To Dine In The Otherworld," these guys are on the path to pure metallic nirvana. Any true metalhead will easily find something to love about this record. Give it a listen, and we think you'll agree. Recommended!
MPEG Stream: "To Dine in the Otherworld"
MPEG Stream: "Walk with Honour"

WAZOO s/t (World In Sound) cd 21.00
Zappa-y hippie pop psych from Detroit, circa 1970.

WC West Side Heavy Hitter cd 22.00

WE Antenna Tool and Die (Asphodel) 12" 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Unlike We's full length, this 12" features far fewer jungle beats and much more layered, scratchy texturing. If someone told you it was Stockhausen, you'd be really impressed. The vinyl is probably the MOST BEAUTIFUL we have ever seen, even nicer than Stereolab's "Emperor..." import, which, you may recall, was gold glitter encased in clear vinyl. This 12" is composed of grey, blue, yellow, and purple concentric circles of varying widths, some perfectly centered and some off center. Truly a beautiful object.

WE Decentertainment (Liquid Sky) cd 15.98
We's first album "As Is" may still stand as the finest documentation of the Brooklyn Illbient sound. But their third album is pretty great too, an excellent electronica release in its own right and warrants complementary comparisons to AQ fave Amon Tobin. "Decentertainment" is filled with deep ambient headphone brain tuning stuff, stoned / downer hip hop beats and soulful vocal snippets complete with vintage vinyl scratchiness. Then a quick tempo change switches gear into bouncy drum & bass breaks surrounded by interesting samples and dubbed out melodies.

WE Decentertainment (Liquid Sky) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We's first album "As Is" may still stand as the finest documentation of the Brooklyn Illbient sound. But their third album is pretty great too, an excellent electronica release in its own right and warrants complementary comparisons to AQ fave Amon Tobin. "Decentertainment" is filled with deep ambient headphone brain tuning stuff, stoned / downer hip hop beats and soulful vocal snippets complete with vintage vinyl scratchiness. Then a quick tempo change switches gear into bouncy drum & bass breaks surrounded by interesting samples and dubbed out melodies.

WE Square Root of Negative One (Asphodel) cd 13.98
Their first record was such a breath of fresh air at the time. An original, consistently interesting, unpredictable and inspired approach to ambient and drum'n'bass. New Yorkers Olive, Lloop and Once11 have made a recording to equal their last. Their approach in this record is identical to their last (they even brought Eyvind Kang back in), lacking only uniqueness. But if you liked the first, you will certainly like this one.

WE ALL TOGETHER 2 (Lazarus) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover WE ALL TOGETHER s/t (Get Back) lp 21.00
We've previously reviewed a singles collection by these early '70s psych-popsters from Peru, but somehow never reviewed the reissues of either of their two records, despite 'em being longtime aQ faves. But, we just discovered that we could still get copies of their first, self-tltled album, on vinyl, so figured we'd do a little write-up. Basically, We All Together were responsible for some of the world's best ever Beatles/Paul McCartney worship, this side of Wings. In fact, they cover two post-Beatles McCartney tunes here, as well as a song by Beatles proteges Badfinger. But you'd think they'd written 'em, the way their originals are totally in the same style of dreamy pop balladry Peppered (ahem) with psychedelic studio effects. All ten tracks here on their 1972 debut are replete with sad piano melodies, sweet backing vocal harmonies, and oh yeah they bust out some fuzz guitar too on the likes of "Hey Revolution".
Brilliant, affecting stuff, given some extra charm by virtue of being from Peru and not England or the USA. Super recommended, something we'll always love, up there with any Beatles-y thing from anyplace (Emitt Rhodes, Aerovons, Rainbow Ffolly, what have you). It you haven't heard 'em before, you're in for a treat.
MPEG Stream: "Children"
MPEG Stream: "It's A Sin To Go Way"
MPEG Stream: "Hey Revolution"

album cover WE ALL TOGETHER Singles (Repsychled / Lion Productions) cd 15.98
Hard to beat this disc if you like Beatlesy psych pop from back in the day! Very recommended to all Lennon/McCartney fans. A few years ago we used to stock cd reissues of the two albums released by this early '70s Peruvian outfit, a band who evolved from '60s psych act Laghonia and who obviously worshipped the Fab Four (and their solo efforts, especially, seeing as how they cover both "Band On The Run" and "Bluebird" by McCartney's Wings). It's a bummer that those two discs have been out of print for a while, but we're happy that the Repsychled label (Tarkus, Traffic Sound, etc.) has teamed up with another fave reissue label of ours, Lion, and put out this singles collection, basically a "best of" We All Together! Of the 13 cuts here, eight seem to be included on the band's two albums, leaving five we hadn't heard before. So even if you DO already have those cds you might want this, and if you don't, it's currently the best way to get acquainted with the magic of We All Together's sweet and sad pop psych music. Pepperisms abound, with studio experimentation and backwards guitar ("Soy Timido"), and as well there's some rousing rockers ("Sally"). The use of piercing ARP synth brings to mind that equally Beatlesy Malaysian band Truck whose reissue we reviewed recently... if you liked Surprise, Surprise you'll dig this for sure! Likewise if you like the Aerovons or Badfinger (also covered here). Not that the Beatles are their only influence...both Roy Orbison and Tchaikovsky are cited in the liner notes as songwriting inspirations! The liner notes by the way, are extensive, in English and Spanish, and the cd booklet also includes lots of vintage photos.
MPEG Stream: "Soy Timido"
MPEG Stream: "Symbol Queen"
MPEG Stream: "Everyday"

WE ARE INVISIBLE s/t (self-released) cd 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover WE ARE SCIENTISTS Brain Thrust Mastery (Astralwerks) cd 10.98

album cover WE ARE SCIENTISTS With Love And Squalor (Virgin) cd 13.98
Some fresh blood arrives at the dance party already in full swing with the likes of The Faint, Franz Ferdinand, The Killers and Bloc Party. Well, we can say one thing, they can play the style really well -- heck, as shown above, there's already been plenty of bands to prep the genre's template of thumpin' kickdrum, jangly rock guitar and affected angst boy vocals. That said, their lyrics are pretty darn painful, but maybe you can somehow turn a deaf ear to the actual words being sung and just enjoy the punchy, catchiness of With Love And Squalor.
MPEG Stream: "Nobody Move, Nobody Gets Hurt"
MPEG Stream: "This Scene Is Dead"

album cover WE BE THE ECHO Stanislaw Stories (Chuckbeat) cd 10.98
Post-rock gets a little metallic when We Be The Echo are around. Although their central sound is one of Chicago style mathy post-rock, the SF band does muscle its way outside of its boundaries from time to time. Whereas the music that falls under those two genre umbrellas is for the most part about precision, We Be The Echo play it loud and loose. Ultimately this serves to alternately benefit (high energy level) and hinder (somewhat muddled math parts) the impact of many songs on Stanislaw Stories. Nine propulsive instrumentals.
MPEG Stream: "Disco Fever Blister"
MPEG Stream: "Hymn & Hearse"

WE THE PEOPLE Mirror of our Minds (Sundazed) 2cd 19.98
We quote from the right-on back cover blurb: "Rising from the crowded garage band underbelly of 1966 American suburbia, Florida's We The People prove to be an unbelievably dynamic aggregation; versatile in the true sense of the word. From punkish R&B screamers and eastern-toned proto-psych mini-masterpieces to soul and pure pop, this fivesome covered all of the bases with consistently amazing results."

album cover WE THE PEOPLE Too Much Noise (Sundazed) cd 14.98
Lodged somewhere between The Seeds garage aggression and The Kinks pop lyricism is Florida's greatest sixties "never-was" band, We The People. Supported by two strong in-house songwriters, We The People were almost too pop-savvy and musically accomplished to be called a garage band, but they could tear it up with the wildest proto-punk groups out there but also deliver smart and clever lyrics, killer pop hooks and dreamy psych vibes. The opening Morricone-ish guitar hook of "In the Past" (covered by The Chocolate Watch Band) is the clincher, along with the feedback rave-ups of "You Burn Me Up and Down" and "Too Much Noise" and the moody tremolo pensiveness of "(You Are) The Color Of Love" and "Alfred, What Kind of man Are You?". Unfortunately, they never received any wide national attention, despite being signed to RCA Victor, and after one key songwriter jumped ship, it pretty much sealed the band's fate. This anthology collects their best and most essential singles, a much needed pairing down from the completist 2cd set Sundazed issued a decade ago. While it has almost the same tracks as the early Collectables reissue, the tracklisting is greatly improved for better flow, making this feel like the album that was never made. Seriously, there's not a bum cut on here, and they're all original songs. Essential!
MPEG Stream: "Mirror Of Your Mind"
MPEG Stream: "In The Past"
MPEG Stream: "Alfred, What Kind of Man Are You?"

album cover WE WERE PROMISED JETPACKS In The Pit Of The Stomach (Fatcat) cd 14.98
A few years back, there seemed to be a glut of dour angular new wave combos, many of which we dug like crazy, band after band of sharply dressed, angular hair-ed rockers kicking out some of the hookiest jams in ages, Maximo Park, Franz Ferdinand, Frightened Rabbit, The Editors, Interpol and the like, and however much of a glut there may have been, we could never get enough. And We Were Promised Jetpacks, not only benefited from having a bad ass band name, but they also seemed to up the ante on guitar crunch, and heavy buzz, and they wedded that extra muscle to some killer songs, often ditching the whole short sharp new wave thing for brooding slow build post rock epics, all underpinned by a distinctly dark, low slung Joy Division gloomy undercurrent, it's like they read our minds and took Mogwai, Godspeed and Maximo Park and created some sort of Frankensteinian epic hook filled new wave band just for us, and then to top it off gave said band an awesome ridiculous name.
Needless to say we were pretty psyched for this new one, and the opening track instantly convinced us that the wait was not in vain, a wild progged out epic post rock opening with tumbling drums and crashing chords, all woven into some dizzying stop start mathiness, then the riff comes in, and it's a killer, and then the band come in and sound crazy heavy, the song shifting to bass / drum verse, peppered with bursts of crunchy guitar jangle, there's even a crazy majestic epic post rock crescendo finishing off in a blaze of new wave buzz and pound. And while we're tempted to proclaim that the best track here, pretty much everyone we listen to becomes our favorite, at least until we move on to the next one, "Through The Dirt And The Gravel", is some seriously heavy noisepop, with some thick buzzing bass, and a hook to die for, and closer "Pear Tree" is dark and heavy and brooding, the perfect new wave slow build post rock hybrid, the sort of song that sans vocals would sound right at home on a Mogwai record, but as is just might be the perfect finish to a nearly perfect record.
Fans of the above mentioned bands, as well as other sonically similar outfits like Kaiser Chiefs, Futureheads, Arctic Monkeys, Art Brut, Bloc Party and the like will go crazy for this. And if you've yet to hear these guys, this is the perfect place to start, just check out that first sound sample, odds are you'll be as smitten as we are.
MPEG Stream: "Circles And Squares"
MPEG Stream: "Medicine"
MPEG Stream: "Through The Dirt And The Gravel"

album cover WE WERE PROMISED JETPACKS In The Pit Of The Stomach (Fatcat) lp 16.98
A few years back, there seemed to be a glut of dour angular new wave combos, many of which we dug like crazy, band after band of sharply dressed, angular hair-ed rockers kicking out some of the hookiest jams in ages, Maximo Park, Franz Ferdinand, Frightened Rabbit, The Editors, Interpol and the like, and however much of a glut there may have been, we could never get enough. And We Were Promised Jetpacks, not only benefited from having a bad ass band name, but they also seemed to up the ante on guitar crunch, and heavy buzz, and they wedded that extra muscle to some killer songs, often ditching the whole short sharp new wave thing for brooding slow build post rock epics, all underpinned by a distinctly dark, low slung Joy Division gloomy undercurrent, it's like they read our minds and took Mogwai, Godspeed and Maximo Park and created some sort of Frankensteinian epic hook filled new wave band just for us, and then to top it off gave said band an awesome ridiculous name.
Needless to say we were pretty psyched for this new one, and the opening track instantly convinced us that the wait was not in vain, a wild progged out epic post rock opening with tumbling drums and crashing chords, all woven into some dizzying stop start mathiness, then the riff comes in, and it's a killer, and then the band come in and sound crazy heavy, the song shifting to bass / drum verse, peppered with bursts of crunchy guitar jangle, there's even a crazy majestic epic post rock crescendo finishing off in a blaze of new wave buzz and pound. And while we're tempted to proclaim that the best track here, pretty much everyone we listen to becomes our favorite, at least until we move on to the next one, "Through The Dirt And The Gravel", is some seriously heavy noisepop, with some thick buzzing bass, and a hook to die for, and closer "Pear Tree" is dark and heavy and brooding, the perfect new wave slow build post rock hybrid, the sort of song that sans vocals would sound right at home on a Mogwai record, but as is just might be the perfect finish to a nearly perfect record.
Fans of the above mentioned bands, as well as other sonically similar outfits like Kaiser Chiefs, Futureheads, Arctic Monkeys, Art Brut, Bloc Party and the like will go crazy for this. And if you've yet to hear these guys, this is the perfect place to start, just check out that first sound sample, odds are you'll be as smitten as we are.
MPEG Stream: "Circles And Squares"
MPEG Stream: "Medicine"
MPEG Stream: "Through The Dirt And The Gravel"

album cover WE WERE PROMISED JETPACKS These Four Walls (Fat Cat) cd 14.98
Another killer brooding angular guitar-ed dour-ish hook filled modern new wave record from Scotland, this time from the awesomely monickered We Were Promised Jetpacks, whose sound will no doubt by now be familiar to fans of outfits like Maximo Park, Frightened Rabbit, Franz Ferdinand, Interpol and the like, and while WWPJ don't necessarily revolutionize -that- sound, they do know their way around a pop song, managing to wind taut chiming guitars, muscle-y drumming, buzzy synths, and yowled emotional vocals into slow burning epics, rife with crunchy guitars, epic post rock swells, some bursts of almost metallic heft, and plenty of low slung bass heavy grooves. The first song alone was enough, we were sold within seconds, a woozy muted dark riff, looped beneath a weary croon, building and building for nearly half the song, the guitars growing ever more insistent, tinkling chimes joining the nearly percussionless jam, before the track finally explodes into a massive Mogwai-ish blowout.
And so it goes. Crunchy guitars, anthemic choruses, a gloomy Joy Divisiony rhythm section, hooks like crazy, some songs hushed and intimate, but others wrapped in huge gauzy streaks of Godspeed / Mogwai / Sigur Ros epic post rock haze (and one of the songs even has a Conet Project sample!). Heavy and hooky, dark and jangly and a new favorite for sure.
MPEG Stream: "It's Thunder And It's Lightning"
MPEG Stream: "Ships With Holes Will Sink"
MPEG Stream: "Roll Up Your Sleeves"

album cover WE WERE PROMISED JETPACKS These Four Walls (Fat Cat) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another killer brooding angular guitar-ed dour-ish hook filled modern new wave record from Scotland, this time from the awesomely monickered We Were Promised Jetpacks, whose sound will no doubt by now be familiar to fans of outfits like Maximo Park, Frightened Rabbit, Franz Ferdinand, Interpol and the like, and while WWPJ don't necessarily revolutionize -that- sound, they do know their way around a pop song, managing to wind taut chiming guitars, muscle-y drumming, buzzy synths, and yowled emotional vocals into slow burning epics, rife with crunchy guitars, epic post rock swells, some bursts of almost metallic heft, and plenty of low slung bass heavy grooves. The first song alone was enough, we were sold within seconds, a woozy muted dark riff, looped beneath a weary croon, building and building for nearly half the song, the guitars growing ever more insistent, tinkling chimes joining the nearly percussionless jam, before the track finally explodes into a massive Mogwai-ish blowout.
And so it goes. Crunchy guitars, anthemic choruses, a gloomy Joy Divisiony rhythm section, hooks like crazy, some songs hushed and intimate, but others wrapped in huge gauzy streaks of Godspeed / Mogwai / Sigur Ros epic post rock haze (and one of the songs even has a Conet Project sample!). Heavy and hooky, dark and jangly and a new favorite for sure.
MPEG Stream: "It's Thunder And It's Lightning"
MPEG Stream: "Ships With Holes Will Sink"
MPEG Stream: "Roll Up Your Sleeves"

WEAKENER, THE What Do You Know About It (WordSound) cd 14.98
Mick Harris is no longer Scorn, he is the Weakener--but Scorn fans won't mind 'cause Mick is still making his trademark kind of scary bass-heavy electronica that WordSound makes a good new home for.

WEAKERTHANS Left And Leaving (Sub City) cd 13.98
Causing quite a stir with our neighbours to the north, it's the Weakerthans featuring former Propagandhi member John K. Samson. Don't be expecting any fiery political punk though, this is coming from quite a different direction. However, let it be known the attention and accolades are very deserved - often-brittle vocals convey poetic narratives from and about a depressed region around Winnipeg, Manitoba (a central province of Canada). Samson is a fantastic lyricist, nailing the most achingly personal sentiments and weighty political commentaries. Desolate, intimate and filled with heartache. From the first strains of "Everything Must Go!" to the final chord of "Slips And Tangles", this is some damn fine, melancholic, hook-laden emo pop. An all-time Cup fave, 'Left and Leaving' is their second full length and it stands head and shoulders above the rest... of their own releases and any other emo band's for that matter. Very very recommended.

album cover WEAKERTHANS Reconstruction Site (Epitaph) cd 15.98
Record number two from John Samson and his not-so-merry band of bittersweet pop punk minstrels. Samson cut his teeth in political punkers Propagandhi, but left to follow his own particularly personal pop path of minor key jangle, dreamy melody, not-overtly-catchy hooks (but hooks nonetheless) and lyrics that you could never imagine fitting comfortably in a pop song. But they do. Sort of. Like poems by Pynchon or Vollman set to music. Hyper literate but still personal and affecting. Samson's vocals are reminiscent of Robyn Hitchcock, as is his wordplay and penchant for meandering tales of love and loss, while the sound is like a punkier popppier version of recent AQ faves, the Decemberists. A dense and tangly first listen, but as you dig deeper, it grows and grows and starts to feel like a record you just can't live without.
MPEG Stream: "(Manifest)"
MPEG Stream: "The Reasons"
MPEG Stream: "Reconstruction Site"

album cover WEAKERTHANS, THE Reunion Tour (Epitaph) cd 15.98
On a regular basis, Andee and Cup armwrestle over which is the best Weakerthans album. Her heart has a special velvet rope spot for their second one, Left And Leaving. Their subsequent releases (including this one) are very good, no question. Yet they just pale in comparison to the greatness of one of her all-time favorites. Almost every one of its songs nails you right in the heart with their crushworthy emotive boy vocals, big guitars, irresistible hooks and near-anthemic refrains. John K. Samson's bookish yet immensely heartfelt lyrics appeal to all ages -- imagined highschool sweetheart scrawlings on looseleaf, latenight brutal and sweet bedroom ruminations, non-heavyhanded social/political commentaries, brainy academia -- and they never fail to trigger a yearning ache in the chest and pit of the stomach.
On the other hand, Andee opts for Reconstruction Site. It's a little more power poppy he thinks, but heck, as both Cup and Andee can agree, they're both pretty dang awesome.
Now four years later, their fourth full length enters the ring (fyi: it's not actually a reunion, they never broke up!), and it's aiming for our hearts right from the get go! Without a doubt, Reunion Tour is far more immediately engaging than Reconstruction Site, and is almost as endearing as Left And Leaving. In fact, it fits in comfortably and warmly familiar right between those two albums. Samson's voice is sounding its strongest, most self assured, and the rest of the band is right there with him. If we had our way, this band's songs would be on every highschool movie soundtrack and every bestfriend/sweetheart mixtape. Go on, shyly shuffle your feet, slouch your shoulders in a wellworn vintage cardigan sweater, and bob your head along to these fine tunes!
MPEG Stream: "Tournament Of Hearts"
MPEG Stream: "Sun In An Empty Room"

album cover WEAKLING Dead As Dreams (tUMULt) cd 11.98
The posthumous debut from (and, thus, swansong of) San Francisco's most cult black metal act, Weakling. Despite their local, non-forested, non-wintry origins, Weakling was a band capable of destroying the best Scandinavia has to offer (as we witnessed upon two occasions, when Weakling had the honor of opening the San Francisco shows by Norwegians Mayhem and Enslaved, and proceeded to make both bands look like punk rockers in comparison! Weakling were so much more epic and intense). All this without any of the ignorant posturing or hackneyed corpsepaint of their peers.
Ghastly, anguished vocals and bloodchilling keyboards combine with dual trebly buzzsaw guitars and inhuman trance inducing drumming to create an atmosphere of utter grinding grimness. Weakling draws upon '90s black metal in the Norwegian tradition (especially the raw and primitive likes of Darkthrone, Burzum and Immortal) and then creates uniquely fucked song structures of epic length (20 minutes per, in some cases).
And, like the best music, Weakling also transcends genre. In some ways, "Dead as Dreams" possesses elements that can be considered akin to the avant garde, experimental creations of the Swans, Skullflower, Steve Reich, or even Yoko Ono. Imagine an extensive, utterly mesmerizing Hermann Nitsch piece, composed for black metal band.
It's a suffocating soundscape of riffing and drone. Subterranean satanic art rock that equals metal. Nihilistic, depressive and never ending.
Featuring Josh formerly of The (Fucking) Champs as well as drummer Lil' Sunshine from local death metallers Sangre Amado (R.I.P) and Saros. And of course, John Gossard of...well, John Gossard. (And The Gault / Asunder / Iron Vegan / Dispirit) Local black metal maniac/death rocker extraordinaire. Weakling is largely the result of his devotion to black metal dementia.
We are not engaging in baseless hyperbole when we say: this should be crowned black metal album of the year. Any year. EVERY YEAR! FOREVER!!!! Seriously. Essential.
MPEG Stream: "Cut Their Brains And Place Fire Therein"
MPEG Stream: "This Entire Fucking Battlefield"
MPEG Stream: "No One Can Be Called As A Man While He'll Die"

WEAKLING Dead As Dreams (tUMULt) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally, after countless setbacks and delays tUUMULt is finally ready to unleash the posthumous debut from (and, thus, swansong of) San Francisco's most cult black metal act, Weakling.
This record was cursed from day one, with the gods conspiring to keep it buried and forgotten (not to mention Weakling's initial insistance that only one copy be pressed, and that copy be given to some kid in Europe, and tUMULt's initial plan of burying all the copies, and selling maps, forcing customers to dig up their copy of the record...anyone who wants to get their copy this way can contact Andee here at the store and arrange something along those lines with him). However, we have overcome the production gremlins, and the record is now available!
Despite their local, non-forested, non-wintry origins, Weakling was a band capable of destroying the best Scandinavia has to offer (as this author witnessed upon two occasions, when Weakling had the honor of opening the San Francisco shows by Norwegians Mayhem and Enslaved, and proceeded to make both bands look like punk rockers in comparision!). All this without any of the ignorant posturing or hackneyed corpsepaint of their peers.
Ghastly, anguished vocals and bloodchilling keyboards combine with dual trebly buzzsaw guitars and inhuman trance inducing drumming to create an atmosphere of utter grinding grimness. Weakling draws upon 90's black metal in the Norwegian tradition (especially the raw and primitive likes of Darkthrone, Burzum and Immortal) and then creates uniquely fucked song structures of epic length (20 minutes per, in some cases).
And, like the best music, Weakling also transcends genre. In some ways, 'Dead as Dreams' possesses elements that can be considered akin to the avant garde, experimental creations of the Swans, Skullflower, Steve Reich, or even Yoko Ono. Imagine an extensive, utterly mesmerizing Hermann Nitsch piece, composed for black metal band.
It's a suffocating soundscape of riffing and drone. Subterranean satanic art rock that equals metal. Nihilistic, depressive and never ending.
Featuring Josh from The Champs (new record on Drag City in the fall) as well as drummer Lil' Sunshine from local death metallers Sangre Amado.
This is the super limited double lp version (the cd will be out in three or four weeks). It is a double lp on high quality black veined, red vinyl, housed in a breathtaking black and blood red gatefold. Everyone who bought that Earth LP off the last AQ List should seriously consider investing in this as well, that is if you think you are no weakling. We are not engaging in baseless hyperbole when we say: this should likely be crowned black metal album of the year.
Essential.
MPEG Stream: "Cut Their Brains And Place Fire Therein"
MPEG Stream: "This Entire Fucking Battlefield"
MPEG Stream: "No One Can Be Called As A Man While He'll Die"

album cover WEAPON Drakonian Paradigm (Ajna) cd 14.98
We were initially intrigued by this Canadian black metal horde after discovering that they recorded their first few records in Bangladesh, of all places, before band leader Vetis Monarch returned to Canada, and the band went on to create this blackened monster, Drakonian Paradigm, which is interesting for several reasons. Besides the strange Bangladeshi angle, the fact that this was released on Ajna might have you imagining something much more buzzing and black, and while some buzz and black is definitely present, Weapon's sound is way more classic metal, a little thrash, a little death, a little NWOBHM, killer riffs, loads of melody, harmonized leads, the vocals are guttural and growly, and the band do offer up brief bursts of blast beats here and there, but just as often, the band will lock into some super melodic, but still super heavy chug fest, the drums locked in with the guitars, while over the top, leads soar and squeal, in fact guitar solos are everywhere, and they're awesome, adding all sorts of wild frenetic melody to the proceedings, and the vocals are just not grunts, there are weird chanted bits, strange almost falsetto parts, the vocals are often stereo panned super hard too, so they seem to swoop from speaker to speaker.
But when the band do decide to get all black metal, they offer up some seriously intense blasting and buzzing, the riffs gnarled and frenzied, the drums chaotic and on the verge of collapse, which only adds to the classic metal feel, no triggers or sampled drum bullshit, these guys sound like a rock band rocking out, and rocking out hard, and even at its fiercest, the band will infuse some particularly grim segment with some serious minor key melody, or they'll slow things down and get all woozy and psychedelic, adding synths, underpinning the slow building crunch, sometimes they even ditch the metal all together and weave together some almost noise rock sounding heaviness, again held together by awesomely melodic guitar leads, and some unlikely harmonies, or they might slip into some fluttery, folky psychedelia, all dreamy and acoustic, but before too long, the sound transforms into something mower power metal or Iron Maiden than Darkthrone or Beherit. At first we were a bit thrown off by Drakonian Paradigms, maybe we were expecting something more Nightbringer-y, something more overtly black, perhaps based on the Ajna connection, but after a couple listens, we forgot all about that, and just dug this more and more, for what it is, not black, not thrash, not death, just METAL, and this is in fact, fast becoming one of our new favorite metal records.
MPEG Stream: "Weapon"
MPEG Stream: "Cacophony! Black Sun Dragon's Tongue!"
MPEG Stream: "Serpentine Ayat"

album cover WEAPON Drakonian Paradigm (Ajna) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We were initially intrigued by this Canadian black metal horde after discovering that they recorded their first few records in Bangladesh, of all places, before band leader Vetis Monarch returned to Canada, and the band went on to create this blackened monster, Drakonian Paradigm, which is interesting for several reasons. Besides the strange Bangladeshi angle, the fact that this was released on Ajna might have you imagining something much more buzzing and black, and while some buzz and black is definitely present, Weapon's sound is way more classic metal, a little thrash, a little death, a little NWOBHM, killer riffs, loads of melody, harmonized leads, the vocals are guttural and growly, and the band do offer up brief bursts of blast beats here and there, but just as often, the band will lock into some super melodic, but still super heavy chug fest, the drums locked in with the guitars, while over the top, leads soar and squeal, in fact guitar solos are everywhere, and they're awesome, adding all sorts of wild frenetic melody to the proceedings, and the vocals are just not grunts, there are weird chanted bits, strange almost falsetto parts, the vocals are often stereo panned super hard too, so they seem to swoop from speaker to speaker.
But when the band do decide to get all black metal, they offer up some seriously intense blasting and buzzing, the riffs gnarled and frenzied, the drums chaotic and on the verge of collapse, which only adds to the classic metal feel, no triggers or sampled drum bullshit, these guys sound like a rock band rocking out, and rocking out hard, and even at its fiercest, the band will infuse some particularly grim segment with some serious minor key melody, or they'll slow things down and get all woozy and psychedelic, adding synths, underpinning the slow building crunch, sometimes they even ditch the metal all together and weave together some almost noise rock sounding heaviness, again held together by awesomely melodic guitar leads, and some unlikely harmonies, or they might slip into some fluttery, folky psychedelia, all dreamy and acoustic, but before too long, the sound transforms into something mower power metal or Iron Maiden than Darkthrone or Beherit. At first we were a bit thrown off by Drakonian Paradigms, maybe we were expecting something more Nightbringer-y, something more overtly black, perhaps based on the Ajna connection, but after a couple listens, we forgot all about that, and just dug this more and more, for what it is, not black, not thrash, not death, just METAL, and this is in fact, fast becoming one of our new favorite metal records.
MPEG Stream: "Weapon"
MPEG Stream: "Cacophony! Black Sun Dragon's Tongue!"
MPEG Stream: "Serpentine Ayat"

album cover WEAPON Embers And Revelations (Relapse) cd 14.98
Full length number three from this black metal horde (from Canada, via Bangladesh), whose black metal is more of a sort of blackened death/classic metal, and whose sound gets more and more polished with every release, not just production wise, but songwriting too, the opening track here pretty much lays it all out, beginning with a moody atmospheric intro, before some blackened riffing rolls in, midtempo tribal drumming, some almost death metal vokills, a loping tranced out churn, and then some chugging harmonics-laced crunch, before a totally classic metal guitar melody swoops in, a gloomy almost death rocky bassline, then the song splinters into a murky sprawl of pounding furious blackened death metal, slipping from roiling murk to soaring majesty and back again, progged out and intricate, with little Eastern flourishes here and there. As always, we're reminded of Absu, Melechesh, Bathory, old Morbid Angel, the sound simultaneously modern and totally retro, some of the tracks impossibly catchy (like the bridge on "Vanguard Of The Morning Star") sounding almost like some At The Gates part, which leads to a second bridge that's even still more epic and hook heavy, others are weirdly chuggy and churny, like the awesomely titled "Crepuscular Swamp, Unhinged Swine", which unfurls like some weird swaggery slo-mo death metal stomp, and still others, like "Disavowing Each In Aum" and "Shahehshah" are super layered, and ultra melodic, the group's downtuned death metal churn, wreathed in all sorts of near psychedelia, lush textures, and impossibly lovely melodies, which are all somehow deftly fused to Weapon's classic sounding DM, creating a twisted hybrid that manages to reinvigorate the tired tropes while pushing all our classic blackened death metal buttons!
MPEG Stream: "The First Witness Of Lucifer"
MPEG Stream: "Crepuscular Swamp, Unhinged Swine"
MPEG Stream: "Disavowing Each In Aum"

album cover WEAPON Embers And Revelations (Relapse) lp 21.00
Full length number three from this black metal horde (from Canada, via Bangladesh), whose black metal is more of a sort of blackened death/classic metal, and whose sound gets more and more polished with every release, not just production wise, but songwriting too, the opening track here pretty much lays it all out, beginning with a moody atmospheric intro, before some blackened riffing rolls in, midtempo tribal drumming, some almost death metal vokills, a loping tranced out churn, and then some chugging harmonics-laced crunch, before a totally classic metal guitar melody swoops in, a gloomy almost death rocky bassline, then the song splinters into a murky sprawl of pounding furious blackened death metal, slipping from roiling murk to soaring majesty and back again, progged out and intricate, with little Eastern flourishes here and there. As always, we're reminded of Absu, Melechesh, Bathory, old Morbid Angel, the sound simultaneously modern and totally retro, some of the tracks impossibly catchy (like the bridge on "Vanguard Of The Morning Star") sounding almost like some At The Gates part, which leads to a second bridge that's even still more epic and hook heavy, others are weirdly chuggy and churny, like the awesomely titled "Crepuscular Swamp, Unhinged Swine", which unfurls like some weird swaggery slo-mo death metal stomp, and still others, like "Disavowing Each In Aum" and "Shahehshah" are super layered, and ultra melodic, the group's downtuned death metal churn, wreathed in all sorts of near psychedelia, lush textures, and impossibly lovely melodies, which are all somehow deftly fused to Weapon's classic sounding DM, creating a twisted hybrid that manages to reinvigorate the tired tropes while pushing all our classic blackened death metal buttons!
MPEG Stream: "The First Witness Of Lucifer"
MPEG Stream: "Crepuscular Swamp, Unhinged Swine"
MPEG Stream: "Disavowing Each In Aum"

album cover WEAPON From The Devil's Tomb (Ajna) cd 14.98
Latest blast of classic/black/death metal from this Canadian-by-way-of-Bangladesh metal horde, and as much as we loved their debut, Drakonian Paradigms, From The Devil's Tomb is even better. Heavier, better riffs, better production, more epic and intense and intricate songwriting, and most importantly, at least to us, WAY weirder. Not as in twisted damaged weird, just way more creative and strange, riffs, arrangements, the whole thing. The first song along should make things perfectly clear, after some strange tinkling chimes and swirling backwards FX, the guitars come in, filthy and distorted, and then the song proper kicks in, and the guitars are huge, a lurching, lumbering doomy plod, laced with some strange little super distorted high end squalls, until finally, the frantic black riffing swoops in, and the band explode into a blast of murky, muddy, downtuned death metal churn, that SLAYS. The song plays out, flitting back and forth between classic metal riffage, complete with squiggly leads, doomy crush, and blackened blast. The second song is just as gloriously twisted, with a super dynamic mathy start/stop opening, that leads into a woozy post rocky drift, with gorgeous harmonized guitars, the sound moody and minor key, before again spitting out more DM fury. And that's basically what makes Weapon so interesting is how they infuse their blackened blasting and DM grind with classic melody, old school riffage, wah guitars, leads, Eastern melodies, sitar, organ, whatever the fuck they feel like tossing in, it all somehow works, and serves the greater good, that good being pure evil, evil attained via furious fucked up blackened heaviness. Probably our favorite track though would have to be the final jam, "Towards The Uncreated", which mixes some galloping blackness, with some surprisingly melodic midtempo post rockisms, not to mention some super emotional, melancholic leads, creating a strangely moody metallic bit of doom flecked mystery, bookended of course by blasts of gnarled black crush.
Recommended for anyone who digs Absu, Bathory, Melechesh, Mayhem, Morbid Angel and the like, or any sort of blackened death metal / deathlike black metal.
MPEG Stream: "From The Devil's Tomb"
MPEG Stream: "Vested in Surplice and Violet Stole"
MPEG Stream: "Furor Divinus"

album cover WEAPON From The Devil's Tomb (Ajna) 2lp 17.98
Now available on vinyl.
Latest blast of classic/black/death metal from this Canadian-by-way-of-Bangladesh metal horde, and as much as we loved their debut, Drakonian Paradigms, From The Devil's Tomb is even better. Heavier, better riffs, better production, more epic and intense and intricate songwriting, and most importantly, at least to us, WAY weirder. Not as in twisted damaged weird, just way more creative and strange, riffs, arrangements, the whole thing. The first song along should make things perfectly clear, after some strange tinkling chimes and swirling backwards FX, the guitars come in, filthy and distorted, and then the song proper kicks in, and the guitars are huge, a lurching, lumbering doomy plod, laced with some strange little super distorted high end squalls, until finally, the frantic black riffing swoops in, and the band explode into a blast of murky, muddy, downtuned death metal churn, that SLAYS. The song plays out, flitting back and forth between classic metal riffage, complete with squiggly leads, doomy crush, and blackened blast. The second song is just as gloriously twisted, with a super dynamic mathy start/stop opening, that leads into a woozy post rocky drift, with gorgeous harmonized guitars, the sound moody and minor key, before again spitting out more DM fury. And that's basically what makes Weapon so interesting is how they infuse their blackened blasting and DM grind with classic melody, old school riffage, wah guitars, leads, Eastern melodies, sitar, organ, whatever the fuck they feel like tossing in, it all somehow works, and serves the greater good, that good being pure evil, evil attained via furious fucked up blackened heaviness. Probably our favorite track though would have to be the final jam, "Towards The Uncreated", which mixes some galloping blackness, with some surprisingly melodic midtempo post rockisms, not to mention some super emotional, melancholic leads, creating a strangely moody metallic bit of doom flecked mystery, bookended of course by blasts of gnarled black crush.
Recommended for anyone who digs Absu, Bathory, Melechesh, Mayhem, Morbid Angel and the like, or any sort of blackened death metal / deathlike black metal.
MPEG Stream: "From The Devil's Tomb"
MPEG Stream: "Vested in Surplice and Violet Stole"
MPEG Stream: "Furor Divinus"

WEATHERALL, ANDREW Nine O'Clock Drop (Nuphonic) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Truth in advertising? Well, not here. This is not a new Andrew Weatherall (of AQ faves Two Lone Swordsmen) album, but a compilation of his favorite tracks from the early 80s with the electro-club / death-disco hits by Dominatrix, 23 Skidoo, A Certain Ratio, 400 Blows, The Normal, Chris & Cosey, and more.

WEAVE! s/t (Pacific Reasons) cd ep 9.98
Cool new/no wave inspired rock jams. Angular and infectious.
MPEG Stream: "Mouthpiece Hysteria"
MPEG Stream: "Little Liar"

WEAVE! s/t (Pacific Reasons) lp 11.98
Cool new/no wave inspired rock jams. Angular and infectious.

WEAVER, JANE The Fallen By Watch Bird (B-Music / Finders Keepers) cd 15.98
With guests including Wendy from Wendy & Bonnie!

album cover WEBB BROTHERS Maroon (Atlantic) cd 12.98
Ah, nepotism. And oh, to be the son or daughter of famous parents, guaranteeing you at least a shot, a movie, a record deal, whatever. So it's always nice when the offspring don't drop the ball and embarass themsleves and their folks. Such is the case with the Webb Brothers, yes, Webb as in the sons of Jimmy Webb. Not sure if the elder Webb would have dug 'Maroon', but he definitely would've been proud. Not much twang here though, just lush, carefully crafted modern (and retro!) pop. Think Jellyfish, Beach Boys, Posies, Boxtops, Bigstar, High Llamas, Supertramp. That sort of thing. While the boys may not have Jimmy Webb-caliber voices, the songs pretty much make up for it. A little dark. A little sexy. But really weird (especially lyrically) and really catchy. My favorite track has to be 'All The Cocaine In The World', as a huge angelic chorus sings the title in breathtaking harmony (and in case you were wondering, all the cocaine in the world... is not enough to bring you back or something likr that). One of my favorite new pop records!!!
RealAudio clip: "The Liar's Club"
RealAudio clip: "I Can't Believe You're Gone"
RealAudio clip: "All The Cocaine In The World"

album cover WEBER, REINHOLD Elektronische Musik (Red Lounge) cd 18.98
Early electronic compositions from Karlruhe native and Stockhausen pupil Reinhold Weber. 2 long pieces inflected with oscilating bloops and bleeps, sirens and a delayed German narration.


MPEG Stream: "Schopfung"
MPEG Stream: "Musica Mundana 1969"

album cover WEBER, WINDY I Hate People (Blue Flea) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We love music. But even so, it's not like we love everything. Here at the store, we've all got different tastes and enjoy different things to varying degrees. Regular readers will notice there are only a few unanimous picks, but pretty much everyone here loves Windy & Carl!
This release veers into way different territory than might be expected, but will still please plenty of W&C's more adventurous fans. Before hearing the record, rumors were circulating about how harsh it supposedly was, and how it sounded nothing like what we'd expect. Well, after checking it out, that's true, and then again it's not. Many of the same sonic qualities are present: warm drones, whispy guitars, etc. But it's in the melodies where this really diverges from the norm. Whereas W&C typically go for major-key, pretty drones, this work has a truly sinister quality to it. To really engage with the music, you need to at least become acquainted with the general concept.
On the surface, I Hate People sounds very unlike what we'd expect from the kindhearted dog-lover, musician, and Michigan record store owner we've come to know and love. So let's talk more about this specific release. Well, the cover sports her 1987 passport photo, which shows a very Siouxsie and the Banshees-esque, punk-meets-goth Windy. On the inside there is a short musing on Sirens, which can be summed up by one particular line: "at one point or another, we've all wanted an island." I Hate People is a record that openly paints human relationships as being a Self versus Other paradigm, and then juxtaposes that with the relationship between sailors and sirens. Windy hates people because people are the only thing that can truly hurt us. Okay, you get it. We don't want to get all pedantic. So what does it sound like? Sonically, the release definitely reflects a musical exploration of those ideas. At times more or less frustrated, but throughout it evokes a certain feeling of anxiousness and alienation, but never apathy. This record maybe be best suited for Windy & Carl fans who can stomach the idea of truly disturbing drones, or possibly even fans of leftfield, ambient black metal. Yeah. So if none of that scares you, dare to delve in! This is a great release, and we hope to see more solo work from both Windy AND Carl! Recommended!
MPEG Stream: "Untitled 1"
MPEG Stream: "Untitled 2"

album cover WEBER, WINDY I Hate People (Kenedik Records) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We love music. But even so, it's not like we love everything. Here at the store, we've all got different tastes and enjoy different things to varying degrees. Regular readers will notice there are only a few unanimous picks, but pretty much everyone here loves Windy & Carl!
This release veers into way different territory than might be expected, but will still please plenty of W&C's more adventurous fans. Before hearing the record, rumors were circulating about how harsh it supposedly was, and how it sounded nothing like what we'd expect. Well, after checking it out, that's true, and then again it's not. Many of the same sonic qualities are present: warm drones, whispy guitars, etc. But it's in the melodies where this really diverges from the norm. Whereas W&C typically go for major-key, pretty drones, this work has a truly sinister quality to it. To really engage with the music, you need to at least become acquainted with the general concept.
On the surface, I Hate People sounds very unlike what we'd expect from the kindhearted dog-lover, musician, and Michigan record store owner we've come to know and love. So let's talk more about this specific release. Well, the cover sports her 1987 passport photo, which shows a very Siouxsie and the Banshees-esque, punk-meets-goth Windy. On the inside there is a short musing on Sirens, which can be summed up by one particular line: "at one point or another, we've all wanted an island." I Hate People is a record that openly paints human relationships as being a Self versus Other paradigm, and then juxtaposes that with the relationship between sailors and sirens. Windy hates people because people are the only thing that can truly hurt us. Okay, you get it. We don't want to get all pedantic. So what does it sound like? Sonically, the release definitely reflects a musical exploration of those ideas. At times more or less frustrated, but throughout it evokes a certain feeling of anxiousness and alienation, but never apathy. This record maybe be best suited for Windy & Carl fans who can stomach the idea of truly disturbing drones, or possibly even fans of leftfield, ambient black metal. Yeah. So if none of that scares you, dare to delve in! This is a great release, and we hope to see more solo work from both Windy AND Carl! Recommended!
MPEG Stream: "Untitled 1"
MPEG Stream: "Untitled 2"

album cover WEDARD Einsamer Winterweg (Regimental) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

WEDDING PRESENT Mini (Cooking Vinyl) cd 11.98

WEDDING PRESENT Singles 1995-97 (Spin Art) cd 14.98
All gathered up here on one cd, odds and ends from the Wedding Present vault including acoustic versions, live tracks, and covers of Tom Waits and Butterglory. Dave Gedge and co. even take on the theme from Cheers. Is this a good thing? We're not sure, but fans of Mr. Gedge's furry muppet voice and pop song polish will surely want to round out their WP collection.

album cover WEDDING PRESENT Take Fountain (Manifesto) cd 14.98
This is indeed the first Wedding Present album in eight years! While it's not like David Gedge has been sitting on his hands all this time -- he's had his share of other irons in the fire, one of them being the glorious band Cinerama -- but to that we still say, "Holy smokes!" The first AQ customer to buy it had this to say, "Gloriously heartbreaking. Makes me want to drink expensive liquor & sleep around." And to that we say, "Oh my!" While we didn't have quite the same reaction, we can wholeheartedly confirm that all of you Wedding Present devotees have certainly been rewarded for your admirable patience. Mr. David Gedge delivers his trademark top-notch pop goods with Take Fountain. Somewhat darker and more subdued than the WP of old, but no less captivating -- he's definitely brought a great deal of the smooth elegance of his other group Cinerama into the mix, and it blends super well. Happy to hear that even after eight years, Wedding Present pop songs continue to snap, sparkle and soar in that unmistakable Gedge fashion. Recommended.
MPEG Stream: "Ringway To SeaTac"
MPEG Stream: "Larry's"

album cover WEDDING PRESENT, THE Search For Paradise: Singles 2004-5 (Manifesto) cd+dvd 16.98
In case you're a Wedding Present completist who missed 'em when they were originally released as imports over the last coupla years OR in case you're a bit of a neat freak who wants everything in one tidy package, here's a cd/dvd set of U.K. singles (released on the band's own label Scopitones) and videos from 2004 and 2005. Eleven of the fourteen songs were previously unreleased in the U.S., and three of the six videos were previously unavailable anywhere!
MPEG Stream: "Bad Thing"
MPEG Stream: "The Girl With The Curious Smile"

album cover WEDNESDAY, ASH (AND FRIENDS) Love And Other Numbers 1980-1984 (The Omni Recording Corporation) cd 17.98
Some of these tracks have been floating around on blogs for ages, it was only a matter of time before someone would gather them all up and release a killer compilation, shouldn't be too surprised it ended up being Omni! This Australian synth pioneer is probably best known for the bubbly synth pop classic "Love By Numbers", with its near literal lyrics, the verses simply AW reciting numbers from 1 to 100 (and then some, but it fades out around there), in a thick weirdly Teutonic accent, his count interrupted here and there by a dreamy girl pop chorus of "It Must Be Love", before it's right back to the counting, all over some terrific minimal wave electro pop. Originally released with the awesomely titled B-side "Boring Instrumental", which is a glorious little chunk of stripped down lilting electronic pop, not boring in the least. And then it gets really weird. Check out "Sex II", which lays down a groovy squelchy minor key electro groove, over which AW, and his female counterpart, recite what sounds like a strange not especially sexy, grocery list, from avocado, to rare beef finely sliced, aspirin, a kumquat, three floral toilet rolls, a pork sausage, a cantaloupe, a jar of Vaseline, chicken giblets, crumpets, mayonnaise (this one delivered in a near orgasmic croon, as is chopped liver, rump steak and Listerine!), the whole thing laced with little electronic squiggles, the boy / girl vocals delivering their various items extremely passionately/seriously, more so as the list continues, the track occasionally also augmented by breathless panting, all over a sort of chorus of thick soaring majestic synth swirl and some crunchy fuzz guitar. Might be the most replayed track here. But that's only the beginning, there's a twisted cover of the Count Five's "Psychotic Reaction" which is nearly unrecognizable, made all woozy and fuzzy and soft focus, there's the VERY Elvis-y electro-rockabilly of "Boom Boom Baby", which also predicts the sound of eighties big haired synth weirdos Sigue Sigue Sputnik, there's the woozily psychedelic "The Galvanized Garden Of Inner Peace", that also has a little rockabilly swagger to it, there's another version of "Sex II", instrumental this time, the music even more playfully exaggerated and the sounds super dubbed out, there's the dark bloopy, distorted guitar driven, electro slither of "Do-Do" replete with some weird deep vocals intoning "GET OFF THE FLOOR!!", everything reverbed and drenched in echo, there's "The Ballad Of A Metronome", which is classic eighties pop, but with some truly strange sung/spoken vocals, there's also the warped piano ballad "Radiation Injection", which is more goofy and playfully silly than the title might suggest, but with some snarly almost Suicide like vox tethered to the bleepy bloopy music. Pretty much every track here is a twisted gem, covering all of AW's outfits, from his solo single, to his stints fronting the Metronomes, Thealonian Music and Modern Jazz. He would later go on to record with Nina Hagen, he's actually STILL a live member of Einsturzende Neubauten, the liner notes, as with all Omni releases, are extensive, and detail AW's musical life, and of course there are lots of rare photos and reproductions of original record sleeves. But give a listen to the sound samples, we're guessing you'll be immediately hooked!
MPEG Stream: "Love By Numbers"
MPEG Stream: "Boring Instrumental"
MPEG Stream: "Sex II"
MPEG Stream: "Boom Boom Baby"
MPEG Stream: "Psychotic Reaction"
MPEG Stream: "The Ballad Of A Metronome"

album cover WEE You Can Fly On My Aeroplane (* (Asterik)) cd 14.98
The latest from the *(Asterik) label run by the Numero Group folks should perk up the ears of all those who have kept up with their great Eccentric Soul series. In fact one of the earliest releases in that series put the spotlight on the


album cover WEE HAIRY BEASTIES (KELLY HOGAN & JON LANGFORD) Animal Crackers (Bloodshot) cd 15.98
You might recall Bloodshot Records' rollicking frolicking children's music compilation The Bottle Let Me Down from a few years back. 'Twas fun for the whole family! Well, they've jumped back into the playpen for another go 'round. This time, the indisputable lord and lady of the label Jon Langford and Kelly Hogan have teamed up for this delightful collection of off-kilter kiddies' tunes. With songs like "A Newt Called Tiny", "Flies On My Taters", Ragtime Duck" and "Lightnin' The Turtle", who can resist? Hmmmm, wonder if they're available for babysitting.
MPEG Stream: "Flies On My Taters"
MPEG Stream: "Ragtime Duck"

album cover WEED Deserve (Couple Skate) lp 14.98
The opening minute or so of "Heal", the first track on Deserve, at first blush seems like it could give very much the wrong impression of these Canadian noise poppers, although the more we listen to Deserve, the more it seems like maybe it was in fact ultimately the all together RIGHT impression. The record opens with a squall of swirling feedback, what sounds like multiple guitars unfurling layer upon layer of feedback, and even when the song kicks in proper, it's mostly a crumblingly distorted single chord, over pounding caveman drumming, until all of a sudden, that noisiness coalesces into some impossibly perfect pop, a twisted chunk of nineties style indie rock jangle, wistful and super melodic and crazy catchy, albeit, plenty noisy and fuzzy, distorted and blown out, and from there on out, the song swings deliriously from lilting, loping, Sebadoh-style lo-fi pop, to a full bore, buzzing psychedelic sort-of-chorus/refrain, howled vocals over one of those chord changes that gives you chills, the sort of thing most bands struggle to come up with, but throughout the course of Deserve, these guys seem to toss off those moments like there was some limitless supply, and who knows? Maybe for these guys there is. Deserve gives us no reason to think otherwise. But before we can get to more of those moments, the band finish off "Heal" with a full two minutes worth of abstract psychedelic feedback noise drenched drift, almost as if in the studio, they just leaned their guitars against the amps, and stepped out for a smoke. But it's that willful, listener baiting noisiness, and the fact that of "Heal"s six and a half minutes, less than three is proper 'song', that helps balance the group's popsmithery, with a sort of sneering punk rock energy, that as you might imagine, finds its way into even the poppiest moments here. And there's something about two minutes of droned out noise, that when the second track "Set Me Back" finally explodes, there's a sense of sonic relief, that only adds to what is yet another glorious slab of blown out fuzz pop, big guitars, deep crooned vocals buried in the mix, melodies to die for, and another one of those choruses, that sounds like it was plucked right out of some classic Dinosaur Jr jam, but Weed's sound is more muddy and murky, and all the better for it, swirling and psychedelic, every song here, sounds like one of those songs or one of those bands that should have been huge, but instead, stayed your little secret, the best band nobody else knew about, understood, or in most cases had ever even heard, or heard of. And that totally taps into something most music nerds hold near and dear, and positions Weed, no matter how popular they get, as the sort of band, that could easily become YOUR band.
And while there's nothing nearly as chaotic and freaked out as the opener, there is most definitely no shortage of fuzz pop bliss. "Gun Shy" is rollicking and punky, but again, crazy catchy, mixing droned out guitar, furious buzz, tangled melodies, and some super heavy, almost emo sounding noiserock blowouts. "Silent Partner" almost sounds like a slightly punkier, more youthful Swervedriver, and that shoegaze vibe surface throughout, giving all of Deserve a fantastically dreamy, druggy vibe, a sound that shifts easily from hazy, fuzzy drift, to grinding punkish pound and back again, often settling somewhere right in between, and again, amidst all this noisiness and sonic chaos, all this crunch and fuzz, blast and pound, is some of the craftiest popsmithery we've heard in ages, the sort of thing, that recast, and super polished, could have the potential to be the next big thing, thankfully, these guys seem to have no interest in that at all. The poppiness of these jams more like some sonic artifact, the seemingly random result of nothing but loud guitars, sweaty, bloody basement shows, lots of booze, youthful exuberance, and just fucking rocking, it's the perfect mix of that classic nineties indie rock sound that we can't ever seem to get enough of STILL, home brewed fuzz pop, and wild, chaotic noise rock crunch, all woven into something more fresh and and raw and punk and poppy, and it's just about the best thing we've heard in forever.
MPEG Stream: "Heal"
MPEG Stream: "Set Me Back"
MPEG Stream: "Gun Shy"
MPEG Stream: "Silent Partner"

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