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Aquarius Records San Francisco

New Arrivals #482

New Arrivals #482

New Arrivals #482

:::::::::::::::::: aQuarius recOrds
/\/\/\/\/\/\/\/\/\ New Arrivals #482
:::::::::::::::::: August 28th, 2015

Beloved Customers and Friends:

Rah rah rah! Friday nite! List nite! Hope you’re as excited as we are,
got a ‘nother good one we think. It’s just as big as our last list,
and this time we’ve got three rad Records Of The Week picked out for
you – and besides those, there are now-on-vinyl versions of a couple
of other recent Records Of The Week on this list, and also a now-on-
cassette version of another. Plus lots more wonderful stuff.

For our Records Of The Week, we’ve got a varied assortment, all
different but all sharing some form of trippiness. There’s the
mysterious f’d up drug pop our latest Castle Face crush, CREEPING
PINK. There’s the newest slab of sprawling esoteric doom-drone
psychedelia from Italian invokators NIBIRU. And also the eagerly
anticpated reissue of an lp from 1981 by CLARA MONDSHINE, shining
indeed with spacey, delightfully melodic, hypnotic krautronics!

So those are all quite recommended, yeah. And then, plenty of other
things too, we won’t do the big run down on everything in this intro,
you can just read on, but suffice to say that there’s lots of killer
soundtrack stuff, some weird & wonderful proto-metal, abject
industrial action and space age jazz and demented black metal and
global garage psych and early exotica and drunken punk, and even avant-
garde opera… you’ll see. Cosmic needs will be met, as will your pop

New albums from such old faves as WILCO, CHELSEA WOLFE, GNAW THEIR
reviewed. Plus many new discoveries, and old ones too in the form of
reissues… So please read thoroughly!

While we have your attention… As mentioned last week, we’ve got
another cool instore coming up soon – Mac McCaughan from Superchunk
will be doing a solo acoustic set here at AQ on Thursday September
17th, at 6:30pm sharp!!! If you can’t make it down, our pals at will be live streaming it, you’ll be able to watch it
right from the aQ website if you want. But if you can be here in
person, that’s even better!

Oh, and next week, please keep an eye on our Instagram postings
aquariusrecordssf on Instagram), as there are some tasty vinyl
giveaways we’ll be doing during the week, via that particular social
media platform ‘cuz we like it.

All right, thanks for tuning in. Enjoy the list, enjoy the weekend,
and enjoy the summertime, as it winds down…

And as always, thanks for reading the list, passing it on to all your
friends who love weird music, shopping at our store, turning -us- on
to all sort of great stuff, and helping us spread the word and get all
this great music to the people who love it. YOU!! And as always,
please realize that we work really hard on the list, so if you find
out about stuff through us, please try to buy your records from us.
That way we can keep on doing what we do, and we’ll always be here
with our ears to the ground, and with cds full of metalcore pitbulls,
death metal parrots, gamelan playing elephants, recordings of glaciers
cracking, ice melting, zamboni’s, life support systems, drag races,
audience applause, and of course self flagellating Norwegian dwarves,
moaning telephone wires, recorded exorcisms, a capella straight edge
metalcore, high school battles of the bands, movie theater organ
music, Christian psychedelic folk, Bhangra Black Sabbath as well as
all the metal, indie rock, electronica, punk rock, reggae, dub,
sixties psych, krautrock, classic rock, country and anything else your
heart may desire. So thanks. A bunch!

read the most recent New Arrivals list online where you can SEE COVER
ART and HEAR SOUNDCLIPS we prepared for you. Plus it makes ordering
almost effortless ’cause a single mouse click will pop an item
directly into your shopping cart! No more trying to remember
everything that you wanted to order after having read a hundred or so

CLARA MONDSHINE “Luna Africana” (Fifth Dimension) cd 17.98
The music of such ‘70s krautrock pioneers as Kraftwerk and Can
has long been treasured; and during the cd reissue boom of the ‘90s
yet more classic kosmische & motorik sounds of the seventies were
rediscovered, from the likes of Cluster and Neu!, along with many
other amazing but lesser-known acts of the era revealed via the
exhaustive efforts of dodgy but helpful labels like Germanofon. Yet,
of course, there’s always more! And now it seems that a second
generation of rather more obscure cosmic, electronic krautrock from
the eighties is giving up its secrets, little by little, with reissues
by artists like You, Gunter Schickert (well, his later works), and
Rudiger Lorenz, to name just a few. To name another: Clara Mondshine.
OH YES!!! We’ve been intrigued by this artist & album ever
since seeing mention of it in a useful reference book we found called
New Sounds: A Listener’s Guide To New Music, published in 1987…
like, someone really should reissue this! Happily, someone just did.
And here it is. One might hope for Clara Mondshine to be the rare
female (or perhaps transexual, a la Wendy Carlos) krautrock composer,
but no, in fact Clara Mondshine was the pseudonym or project name for
a man named Walter Bachauer, a radio director and journalist as well
as composer and musician. His krautrock pedigree does extend back to
the ‘70s when he played in Peter Michael Hamel’s excellent improvising
acoustic/ethnic ensemble, Between. As a solo artist, he released three
albums under the Clara Mondshine moniker, starting with this one, Luna
Africana, in 1981. (Perhaps he would have made more records, but he
sadly passed away in 1989.)
Mondshine’s music on Luna Africana is DIY cosmic electronica,
‘Berlin School’ style, made with analog synths and other probably
fairly lo-tech, lo-fi electronic gear. Mondshine’s repetitive machine
mesmerism is super droney and trippy, and almost playful too, these
all-instrumental space-outs also sometimes having a touch of ethnic/
world music to ‘em as well (a la Between). This is also another
example of something at the intersection of krautrock and (good) new
age. Hence titles, once translated into English, like “Raga Of The
Rising Planet” and “Harp Of The Amazons”. On one track, delightful
melodic figures repeat over equally charming pulsing patterns of
motorik rhythm, followed by a more atmospheric excursion into the
outer space drone-zone on the next, and then it’s back to relaxing
runs of gentle tones over cyclic bleep-bleep-bloop, wreathed in whips
of drone… What’s not to like about that? Definitely for fans of much
Cluster, Kraftwerk, A.R. & Machines, and Axxess from France, among
others… Also, we just realized that an edit of the first track on
here was included on that excellent Dirty Space Disco compilation we
crushed on a few years back!
Note: also reissued on vinyl, but we couldn’t get enough lps to
list, hopefully more will be forthcoming soon.

CREEPING PINK “Mirror Woods” (Castle Face) cd/lp 13.98/15.98
There’s a dearth of actual info about the the ‘band’ Creeping
Pink, whose Mirror Woods is the latest release on the Castle Face
label run by Thee Oh Sees’ John Dwyer and a couple of his cronies. All
we could find was a picture of a long haired dude on a dirt road, and
a poem-like description penned by Dwyer, in which he compares Creeping
Pink to The United States Of America, Vangelis, July, Silver Apples
and Arthur Russell (or at least AR’s NY apartment). All of which we
can definitely see. We might also add Sentridoh, the fucked up, home
brewed, early acoustic alter ego of indie rock institution Sebadoh,
cuz along with the various mutated psych elements, the fractured
beats, the collaged samples, and melted melodies, there’s a streak of
outsider, avant, downer folk, fused to some serious psychedelic drug-
pop. In fact if we had to whip up some band math, it might look
maybe WHITE FENCE x ELEPHANT SIX = CREEPING PINK. You probably get the
idea. This stuff is damaged, and druggy, gorgeously shambolic, noisy,
loose, but also pretty, lilting, shimmery, dreamlike and mesmerizingly
Many of the tracks here are more fragments than songs, but in
the tradition of other lo-fi visionaries, those ‘pieces’ weave the
proper ‘songs’ (themselves barely even songs by most traditional
standards), into a lush, flowing psychscape, that drifts drowsily from
the motorik, soft focus haze pop of “Come Into My World”, pairing
warbled vox with blurry, retro new-wave-isms, the whole thing
seemingly recorded on some seriously fucked up old cassettes, to the
baroque DIY pop of “Sour Fruit”, which reminds us of a less
purposefully antagonistic Strapping Fieldhands. From there on out,
“Peaches” unfurls as a murky, smeary space jam, hypnotic and loopy,
while “Bacavan Blues”, is some sort of glam-folk piano ballad, one
that’s dipped in droning organs, and wreathed in yet still more
warble. The bulk of he record tends toward a laid back and trippy,
droned out zoner-fi folk-pop that over the course of the record,
bolsters each chunk of perfect (albeit damaged) poppiness (the
impossibly catchy “The Town”), with more abstract soundscapery (the
gorgeously hazy “A Well Placed Mirror”), or FX drenched mellow creep
(the haunting, brooder “By This River Again”), or even moments of
straight up Joe Meek like sonic alchemy and kitchen sink
experimentalism (the kosmische lullaby closer “Mirror Woods Abduction”).
Plenty poppy, extremely trippy, easily on the far out side of
the Castle Face canon, the sort of thing that will appeal to fans of
weirdo/avant/outsider/lo-fi pop, and still definitely recommended for
the more adventurous fans of the usual CF suspects (Ty Segall, Thee Oh
Sees, White Fence, Fuzz, Bare Wires, Warm Soda, Trin Tran, etc.).

NIBIRU “Padmalotus” (Argonauta) cd 13.98
Those who fancy a little didgeridoo in their doom, get ready
for the latest from esoteric Italian doom-psych cult Nibiru, who have
returned to visit our plane of existence again, bringing with them
another intense new set of sonic rituals. The two previous albums from
this trio of shamanic freaks, Caosgon and Netrayoni, were both
throbbing slabs of trance-inducing, ceremonial stoner rhythm and
riffage, and that heavy, and heavily rhythmic, aspect of earlier
Nibiru is well represented here, for instance, by the repetitive,
tumbling, bass heavy attack that kicks in about two thirds of the way
through track 2, “Ashmadaeva”, preceded however by an expanse of
droned-out atmospherics. The pounding track 3, “Trikona”, is another
sludgey juggernaut, one positively slobbering with drug-gobbling
madness. There’s plenty of that, actually, all across all four of
these lengthy, effects-laden invokations, but things also seem just a
bit more sprawling and abstract, in all sorts of diverse, delirious
directions. The vokills are taken to almost monstrous extremes, this
time ‘round almost black metallish, a rasping exhalation/exaltation of
their godz, while all the hallucinogenic, hypnotic heaviness, seems
borne on opium scented winds from outer space.
The nearly 29 minute finale, “Khem”, is arguably the album’s
tour de force / piece de resistance, passing through many and varied
episodes, from its monkish groaning-droning intro, veering into a
blasting black metallish segment, from surprisingly catchy moments of
lurching riff-rock to a sudden break into This Heat-ish drum-thwap and
Fushitsusha-worthy feedback to shimmering spectral synthesis graced
with some haunting, harrowing guest female vocals, and on to ambient-
noise sequences morphing into glitchy quasi-techno industrial metal.
Yeah, it’s weird. All over the place.
Weird and warped, dense and distorted, sounding like drone-doom
metal descendants of ESP-Disk’s Cromagnon tribe at times… Also this
Nibiriu is still for fans of Gnod, Bong, and fellow space traveling
Italians UFOmammut, these these tracks suggestive of that band
indulging in actual cult worship!!

ASHTRAY NAVIGATIONS “A Shimmering Replica” (VHF) lp+cd 17.98
Anyone who’s attempted to keep up with Phil Todd’s long running
(two decades plus) free-psych, experimental drone-folk project and its
numerous releases and multiple micro-editions, well, you’re a braver
(and busier) soul than any of us. That said, we do our best to track
down what we can, and have found very little cause for disappointment.
Rooted in the same scene that fostered such aQ faves as
Sunroof! and Vibracathedral Orchestra, and for folks unfamiliar with
Ashtray Navigations, if you dig either of those bands, you’ll likely
dig AN as well. Todd and partner Melanie O’Dubshlaine fuse far out
guitar freakouts with a heady kitchen sink swirl and gorgeously
garbled kosmische mesmer, sounding a bit like Our Love Will Destroy
The World jamming with Six Organs Of Admittance, or like some fucked
up freaked out lost krautrock artifact, doused in Hawkwind-y space-
psych and delivered via a battery of blown amps and hand soldered
stomp boxes.
Dense, and distorted, twisted and tripped out, the lengthy
tracks here seem to lock into a riff, or a blurred bit of propulsive
groove, and then let it roll, all the while wrapping whatever
fractured groove they conjure up in sheets of howling guitar shred,
dubbed out drums and shimmering FX. And while there’s plenty of blown
out noise-psych, and wasted, zoner warble, there are also blasts of
brilliant, blistering noise, and maybe most surprisingly, some sweetly
moody sprawls of hushed, minimal dronescapery, alongside hushed
rumbles, and murky thrum. To top it all off, there also a far out
cover of Les Baxter’s “Quiet Village”, which transforms the classic
exotica of the original into a woozy slab of exotic psych-stomp.
A hundred minutes of music, spread out over a ‘double’ album of
sorts, one lp AND one cd.

ATARAXIA “The Unexplained” (Fifth Dimension) cd/lp 17.98/25.00
“Electronic Musical Impressions of the Occult” reads the
subtitle to this album authored by the eccentric Mort Garson. For
decades, Garson worked behind the scenes arranging, composing, and
scoring hit songs for crooners like Mel Torme, Bobby Darin, and Doris
Day; but he also applied his talents in the studio to a handful of
outsider electronic gems, many of which dealt with the themes of the
dark arts. There was his Black Mass album recorded under the moniker
Lucifer, and there was an astrological album based on the signs of the
zodiac, and there’s this tripped-out recording of The Unexplained.
Recorded under the moniker Ataraxia, this 1975 album took full
advantage of the resurgent pop culture interest in the paranormal,
basing all of its Moog-laden eccentricities on various components of
the practice of magic and the paranormal through rather groovy numbers
like “Tarot”, “Astral Projection”, “I Ching”, and the eponymous single
from the album as well. That’s right, there was a single that RCA
funded as well for this album during its original run way back when!
All the swirliness, frothy percolations, and bachelor pad swing
that could be found in a Perrey & Kingsley or Dick Hyman Moog pop
classic is found here on The Unexplained; though like Bruce Haack,
Garson does whip his electronics into a tantalizingly evil psychedelia
of bad-acid trips and scantily clad covens. When he cracks the snares
(both live and metallically synthetic) into proto-italo grooves, these
must have been at the root of what John Carpenter would use in his
seminal horror-synth scores.
Yes, there have been a couple of reissues of this work before,
but this is the first time it’s been reissued in its entirety and as
Garson originally intended with all of the original artwork, etc.

BEACH HOUSE “Depression Cherry” (Sub Pop) cd/lp 14.98/19.98
On “Levitation”, the opening track of Beach House’s stellar new
album Depression Cherry, it’s difficult to not feel like you’re doing
just what the song title says: rising off the ground and peacefully
floating into space. With every release, Beach House have reaffirmed
themselves as one of our favorites, and with their fifth full-length,
they most certainly have not broken this pattern. This beautiful
shoegazey dream pop seems to pulse at the exactly the same rhythm of
your heart as you drift off to sleep. The twinkling, subtly moving
arrangement paired with Legrand’s soft, sweet vocals recalls Yo La
Tengo at their most tender, circa And Then Nothing Turned Itself
Inside Out.
Standout track “PPP” finds Legrand crooning in such a way that
you could imagine the song echoing from a transistor radio, while Alex
Scally’s guitar lends it a sparkling quality which can only be
described as intergalactic. Another favorite, “Days of Candy”, begins
with a stunning choral arrangement countered by Legrand’s whispery
falsetto, and delicately builds in volume and intensity before
drifting away and leaving us speechless. The rich warmth of this album
is as lush as its delightfully soft red velvet packaging – a sensation
we imagine will be incredibly familiar after the many, many repeat
listens it will surely warrant. Depression Cherry, as with all of
Beach House’s music, is a place of shelter for your deepest, most
personal moments; let this music bring you home.

City) lp/cassette 19.98/9.98
Yet another offering from Cave offshoot the Bitchin’ Bajas,
those Midwestern kosmik krautronic explorers, that shows up on the day
upon us from on high). Well we expect you’ll be interested so we’ll
quickly review it… This album finds the Bitchin’ ones in
collaboration with Natural Information Society, aka Joshua Abrams, an
improvising bassist from Chicago who has played with everybody from
Hamid Drake to Town And Country, Joan Of Arc to the Cairo Gang, Alan
Licht & Loren Connors to Rob Mazurek. Busy guy. But Abrams isn’t
playing bass here, apparently as of late he’s been jamming on the
guimbri, a three-stringed lute from West Africa. The guimbri’s
potential for making rhythmic, hypnotic music is aptly demonstrated
here, beautifully blending with the usual drones and tones conjured by
the BB’s. You’ll enjoy spacious, morning-rise, glory-of-the-day
dronescapes, alongside relaxed (or otherwise) rhythmic patterning,
while the lovely pluckings of the guimbri deftly meander in and out
Vinyl (with silkscreened covers) or cassette only.

BOOGEY MAN “OST” (Keep Tapes Alive) cassette 9.98
A classic slasher from the eighties, The Boogeyman is crazy
even by the standards of other classic B-movie horror flicks. The plot
is confusing to say the least, childhood trauma, a young girl and her
brother, a murdered mother, killed while having sex, a mute child
grown up to be a knife hoarding mute, living with the seemingly well
adjusted sister, terrifying reflections in mirrors, eventually painted
black, a priest impaled by multiple blades, possession, levitation.
It’s actually a pretty fun movie, but it is NUTS.
The soundtrack is a doozy though, the classic sort of Carpenter
style creep fest of the time, actually quite reminiscent of what might
be THEE greatest horror score EVER (and one that has inexplicably not
been reissued yet), Phantasm!
Composer Tim Krog offers up ominous sprawls of squiggly synths,
dense swaths of kosmische creepiness, twisted sound effects, some
Halloween like melodic themes, moody organs, dark drones and moody
ambience, for a batshit movie, the score is actually pretty fantastic,
lovely and terrifying in equal measure, swirling atmospherics laced
with cool backwards psychedelia, stately minimal melancholia, some far
out WTF electronics, and a main melodic refrain that after a couple
listens could definitely join the horror score pantheon of classics
like Friday The 13th, Halloween and again, Phantasm.

BULL TONGUE REVIEW “No. 3″ (self-released) magazine 8.98
You can’t lick Bull Tongue when it comes to reviews (sorry).
But it’s true, this zine, excuse us, “Quarterly Journal of Post-Rock
Cultural Pluralism” is nothin’ but reviews, of all sort of interesting
things – records, shows, film, restaurants, buildings, bike lanes…!
And they’re written by some extremely hip personages indeed, this
issue featuring contributions from Alan Bishop, Sharon Cheslow, editor
Byron Coley, Eddie Flowers, Michael Hurley, Mats Gustafsson, Ira
Kaplan (the Yo La Tengo guitarist is the one who reviews the bike
lane), Tom Lax, Samara Lubelski, Hisham Mayet, Gary Panter, Richard
Meltzer (!!), Dylan Nyoukis, Savage Pencil, Naomi Yang, Brian Turner,
Chris Stigliano, Thurston Moore, David Greenberger, and literally
dozens more.
54 b&w pages, lots to delve into, both informative and amusing;
grab one and you’ll definitely get turned on to SOMETHING new and
weird and interesting. What more would you want from a zine?

CHALK, ANDREW “Vega” (Faraway Ppress) cd 21.00
BACK IN STOCK!!! Sometime back in 2005, Andrew Chalk
manufactured a tiny edition of what had been rumored to be the
soundtrack to a self-produced film entitled Vega. When several
journalists published their findings about the magnificent drones
housed within that instantly out-of-print cd-r on and
in The Wire, many of Chalk’s die-hard fans were left disappointed at
the existence of what might have been one of their favorite Andrew
Chalk recordings had they ever had the opportunity to actually hear it.
While Mr. Chalk maintains a very quiet demeanor and hardly
ventures into the public eye these days, he’s been hard at work
ensuring that his recently formed Faraway Press actually keeps up with
the orders for the records that he’s been recording. Vega is one such
record that he so dearly wanted to re-release sooner, had it not been
for the inevitability of delays. It’s clear to see why delays would
have been incurred on the packaging for Vega, as the original cd-r was
housed in a filigree of black lace surrounding a paper sleeve, which
amounted to a delicate and frustratingly time-consuming process in
terms of putting together each cd-r.
As for the music within, Vega is simply stunning. Far more
vaporous and free-floating than the previous solo outing The River
That Flows Into The Sand and certainly more so than any of the Mirror
recordings, Vega acts as an aural narcotic, sedating the listener
through a constantly shifting, slow motion churn of chiming guitar
drones, almost resembling the kosmische-tinged melancholia heard in
the Aeolian String Ensemble’s dronescaping. As bleary and amorphous as
Chalk’s drone-clusters are, he’s always had the knack for keeping them
just dissonant enough so that they do not fall into the ambient trap
of background music. Sublime as ever. Recommended just like all of his
other work.

CIRCLE “Pharaoh Overlord” (Ektro) lp 19.98
NOW HERE ON VINYL, as promised, at last. We reviewed this (and
its twin by the band this album is named after) a couple months back,
when they first showed up on cd, making ’em our Records Of The Week
then, here’s what we said…
Oh lord, what will the mischievous mind of Circle mainman Jussi
Lehtisalo come up with next? Not long ago, there was the conceptually
confusional arrangement under which our Finnish space rock faves
Circle changed their name to Falcon (Ex-Circle), and then recruited a
completely different group of musicians to record an album under their
former name of Circle (which was great!), after which the original
Circle guys switched back to being called Circle (Ex-Falcon). Whew.
And now they’re just Circle, again. BUT, how’s this for another
confusing idea: Circle, and their not-all-that-different-really side-
project band Pharaoh Overlord have now simultaneously released albums
with the titles “Circle” and “Pharaoh Overlord”, no, not self-titled
albums, the Circle one is called Pharaoh Overlord and the Pharaoh
Overlord one is called Circle. And they have very similar art/
graphics. Yep. That’s what they do for laffs up in Finland, although
knowing Jussi, he probably has some very serious, meaningful reason
behind this scheme, but the explanation would be impossible to
understand. It makes a circle or something. Regardless, what we’ve got
here are TWO NEW Circle and/or Pharaoh Overlord albums, however you
slice it, and that’s a good thing! Of course, they just showed up
yesterday, the day before our list, but we already have spun these a
bunch of times and know we will spin them lots more, so sure let’s
make ’em both Records Of The Week!
The Circle album is quite, well, it’s pretty much redundant and
superfluous to say in a review of a Circle album that the music is
“mesmeric” but goshdarnit, this is indeed mesmerizing. They don’t try
to sound especially like Pharaoh Overlord, by the way, whatever that
would entail, not of course that they don’t, either. Instead, the
quick takeaway here would be that this is “the Circle album with
horns”. (Oh, wait, there’s a PO album called Horn, maybe that’s the
weird connection, hmmm??) Anyway, the horns are the big X-factor here,
tooting along syncopatedly and cyclically Circle-like. A little jazzy,
certainly proggy, those horns, along with the wordless vocal choirs,
make us think of Magma and other ‘70s large-ensemble prog symphonics.
We’re also put in mind of some suspenseful ’60s/‘70s film soundtracks,
like David Shire’s The Taking Of Pelham One Two Three just a bit. It
gets intense, with stabs of distorted guitar chords to further
intensify the mood. Meanwhile, the vocals, which include some
impressive caveman freakout screams, are also crucial, and hark back
to the early days of Circle, when they did the monk-chanting thing in
their own made up language (a la Magma as well) on albums like Zopalki.
Ultimately, it’s really gorgeous and, again, super mesmeric,
these tracks all of course built around endless repetitive grooves,
simple (deceptively so, we’re sure) and effective in the usual Circle
style. And the only reason one track ever ends, it seems, is that
another one needs to begin. And we wouldn’t have it any other way.
This Circle consists of circles within circles to spin the mind
around. Wow, nice. Recommended, as is the other one by the other band.

COSMIC PSYCHOS “Cum The Raw Prawn” (Desperate) cd/lp 14.98/25.00
You’ve got to be a pretty good band to live up to a name like
Cosmic Psychos, and as you may know already, these Aussies certainly
DO, even though they’re not the surrealistic hippy space rock freaks
that one might initially think from the name. No, this is fuzzed out,
beer swilling PUNK rock, heavy and catchy, beholden most of all
probably to bands like The Stooges and Black Flag, made by self-
described farmers whose main interests in life appear to be beer, sex,
shotguns, and loud rock n’ roll, not necessarily in that order. Which
of course means they’re awesome. The Cosmic Psychos have been around
for forever – just a couple years ago their earliest albums from the
late ‘80s were reissued on Goner and you can check elsewhere on our
site for our enthusiastic reviews of those longtime faves. In fact,
they’ve been around long enough for there to have been a documentary
film made about them!
Cum The Raw Prawn (no, we don’t know what that means exactly,
and probably don’t want to know) is their latest album, first in six
years actually, and rest assured they’re still as Psycho as ever. Bad
(yet fun!) attitude, foul language and lots of volume, that’s their
formula, and therefore this album delivers an abundance of gruff aggro
vocals and big bouncy riffage. In addition to the title track, this
record features such ditties as “Fuckwit City”, “Bum For Grubs”, and
“Pint Girl”.
Basically, if you’re ever loved the Cosmic Psychos, you’ll love
this. If you’ve ever loved kick your head in, cranked to ten, hammered
on Foster’s rock n’ roll, you’ll love this too. So there you go, have
at it.
FYI if you get the vinyl, it includes a download code; if you
get the cd, you probably don’t need a download code.

DEEP WHERE ALL DROWN “Movement / The Marianas” (self-released) 2cd
We first listed this double cd set a couple years ago, now
we’ve got a whole bunch back in, direct from the band, and at a new,
special, bargain price!! So if you missed it before, give it a shot
now, it’s great. Here’s what we wrote about it originally…
Anybody remember the excellent Australian indie punk band Venom
P. Stinger, circa the late ’80s / early ’90s? That Melbourne based
outfit was guitarist Mick Turner’s band before the Dirty Three. Well,
turns out that two of Turner’s former Venom P. Stinger bandmates, Nick
Palmer and Alan Secher-Jensen, are still doing the underground Aussie
noise rock thing, in a criminally under-publicized power trio that
goes by the ominous name of Deep Where All Drown. They’ve recorded two
albums worth of their powerful music thus far, 2004’s The Marianas and
2008’s Movement, and you’ll find ’em both together here in this
gatefold digipack double cd set, released in 2009 (of which we only
just managed to track down some copies, as it’s barely available at
all outside of Australia). Being Venom P. Stinger fans from way back,
we were curious, and when we finally heard these Deep Where All Drown
discs, we were extremely pleased! Mostly instrumental (there’s singing/
shouting on only about half the songs on disc one, that’s it), both
discs add up to 22 tracks total of some seriously intense, ultimately
hypnotic post-punk math-rock music chock full of chiming, noisy guitar
wrangling, muscular bass, and insistent drumming. DWAD are tight and
complex, and conjure atmospheres both grim and beautiful. Great stuff
from Down Under! (And by Down Under we mean both Australia and also
metaphorically, in keeping with one of DWAD’s main themes, the
lightless depths of the bottom of the ocean, viz. the Pacific’s
Marianas trench.)

DESCLOUX, LIZZY MERCIER “Press Color” (Light in the Attic) cd/2lp
Somewhere amidst the rabble-rousing of the ’70s New York punk
scene, there was Lizzy Mercier Descloux – a Parisian transplant whose
charms helped her navigate the Lower East Side when her barely
passable English failed. She stood in contrast to so much of sneering
and snarling, taking the punk flag and giddily skipping through the
tropes of disco, high-life, and reggae with a wholly DIY attitude.
Press Color was her first album, produced for the seminal No Wave
imprint Ze Records in 1979 working with the mutant-disco templates Ze
had so heavily promoted. Descloux’s voice and chicken-scratch guitar
riffage set itself on a parallel track to the James White and Blacks,
with spacious recordings of the heavy rhythm section set in stark
contrast to jittery guitars and voice. The liner notes suggest that
many in New York at the time had encouraged Descloux to push her work
in a darker direction, but she was too much of a free spirit for that
and headstrong enough to realize that her vision was equally as valid
as what these other people wanted. The original eight tracks of Press
Color are a vivid aesthetic crash-landing in the heart of NYC –
there’s a coked-out disco jam on Arthur Brown’s “Fire” and a mutoid
cover of the Mission Impossible Theme that enjoys a slippery bossanova
vibe, as well as the truly memorable “Wawa”, an instrumental of
tumbling basslines and Descloux’ asynchronous guitar work. The
inclusion of a cover of “Fever” (a song which never needs to reprised
ever again) is only forgivable in the transmutation of the songs’
titular affliction to “Tumor”.
This reissue sports quite a chunk of interesting bonus
material, including her ecstatic yelping as Rosa Yemen which predated
Press Color and a short collaboration with Patti Smith upon which the
two intertwine their lyrics in English and French.

DUCKTAILS “St. Catherine” (Domino) cd 14.98
St. Catherine proves to be a triumphant return for Ducktails,
the ever-changing hypnagogic pop project fronted by Matt Mondanile,
also of the dreamy jangle pop outfit Real Estate. Matt’s fifth
Ducktails full length is filled with his usual gorgeously lilting,
echoey loops. It feels as though they’re floated towards us on
refreshing, sun-dappled ripples of water. This album has found a
wonderful balance between Ducktails’ early woozy, psychedelic
experimentation, as heard in this album’s fuzzy, warm opener “The
Disney Afternoon”, and his more recent shift towards more structured
compositions. The latter shows up in the second track, “Headbanging in
the Mirror”, which has such a smooth groove that we find ourselves
moving and singing, if not headbanging, along.
The richness of this album is no doubt facilitated by producer
Rob Schnapf, who has handled Mondanile’s lovely sad boy vocals as
deftly as he did Elliott Smith’s on XO and Either/Or. The presence of
Julia Holter also adds to the reverent fullness of this venture, her
shimmery vocals delicately winding themselves around Mondanile’s
arrangements, particularly in accompaniment with the strings on the
track “Heaven’s Room”, which builds to a point of serene grandeur so
far above the clouds that for a moment we’re left without air. “Krumme
Lanke” rounds out this album with a shortened version of Ducktails’
favored instrumental experimentation, sounding like a sugary, drugged-
out version of the soundtrack from your favorite ’80s movie set in the
’60s. This hypnotic collection of jangly reflection is so very fitting
as we begin to experience the slow transition of this summer’s
persistent warmth into autumn’s cool brisk nights. Highly recommended!

FLATLINER “Black Medicine” (Holodeck) 12″ 17.98
Holodeck strikes again! The Austin-based electronic label has
brought us all kinds of neat stuff, most recently releases by Marie
Davidson and Boan, and this one’s another cool catch. The two synth
maniacs in Flatliner play, as the label puts it, what sounds like
horror soundtrack music, produced like club anthems. Best of both
worlds, right? Rave the night away, and indulge in the suspenseful
atmospherics too. Eerie & ominous yet get-down groovy!
Mostly instrumental, but for some gloomy vocodered vocals on
the coldwave-ish “City Lights Receding”, this four track ep is a
driving, detailed celebration of the duo’s synth gear collecting
obsession and finely-tuned production skills. They utilize a ton of
equipment, both analog and digital, from the latest tech to some rare
vintage gizmos. Heck they list some of it, for those of you who wanna
know: Roland TR-808, SC Pro-One, Juno-6, Crumar Orchestrator, Ensoniq
SQ-80, Oberheim Matrix 6, Emu Emax, Ensoniq ASR 10, Studio Electronics
SE-1X, MFOS Modular, Dave Smith Mono Evolver, Doepfer Dark Energy,
Sherman Filterbank.
In any case, for the gear-heads or not, some quite enjoyable
‘dance’ music. 45rpm, includes download! Limited to 500 copies.

FLYING SAUCER ATTACK “Instrumentals 2015″ (Drag City) cassette 9.98
We had almost given up on ever hearing from Flying Saucer
attack ever again. After all, it’s been 15 years since the last record
(2000’s Mirror), and now nearly twenty since Rachel Brook left the
band to focus on Movietone. They (or now he really, as it’s
essentially been a David Pearce solo project for a while now) still
rank amongst our all time favorite psychedelic shoegaze outfits EVER.
And even on this new one it’s easy to see why.
While not a proper new -album- per se, Instrumentals plays out
more like a collection of sonic sketches, impressionistic textures and
guitarscapes, still covering much of the same found that FSA did back
in the day, be it chiming, pastoral psych-folk, or shimmering ambient
drift, or distorted, washed out soft-noise. The songs are mostly short
here, none breaking the 10 minute mark, and many hovering around 90
seconds or less, and yet somehow, it manages to sound cohesive, these
ideas, sonic suggestions, these hazy movements, all flow and ooze and
bleed into one another, the whole thing gorgeously amorphous and
Fans of the group probably didn’t have to even read this far,
news of a new FSA record is likely all it took, and those folks will
not be disappointed. But somehow, Instrumentals serves as a perfect
difficult music. And there are difficult moments here too, guitars
detune, explode into squalls, settle into hushed whispery thrum, but
even at its most caustic or bombastic, there’s a tranquility, a depth
and weight to these sounds, that unfurl like pieces not songs,
fragmented for sure, but the fragments are allowed to billow and
expand, the layers piling up, and often peeling away, as much about
texture, timbre and tone as mood and melody, if not more so. The songs
are even named generically, as if to not color the listener’s
impression, allowing the sound to reveal what lies beneath, and
within. And like all the FSA records, this is far from a high fidelity
affair, the sound gritty, and grimy, amp buzz, and tape warble, hiss
and hum, all subtle shadings in the sound, and in many cases,
perfectly blended with the music itself, to add heft, or gravitas, or
hell, just some extra noise.
Throughout, it’s hard not to be swept away. Pearce conjures up
a musical world that’s at once magical and mysterious, the sound
transcendent and transformative, minimal on the surface, but hiding a
maximal energy within. And yeah, we’re far from objective. We’ve loved
this band forEVER, and were dying for this record when we first heard
about it, and were definitely inclined to love it no matter what. But
after repeated listens, what at first seemed like a sonic sketchbook
(albeit good one at that), has blossomed into something more
purposeful. There’s a melancholic, meandering, musical path that runs
through these 15 tracks, a path that leads simultaneously inward and
outward, and coheres into a darkly delicate songsuite of somnambulant
lullabies and softly psychedelic threnodies.

GERMAN ARMY “In Transit” (Dub Ditch Picnic) cd 13.98
BACK IN STOCK, new slightly higher (sorry) price! Still totally
worth it though!
We’re kind of obsessed with weirdo LA pop-murk minimalists
German Army. We’ve only reviewed two of their records so far, but they
have tons of releases and we’ve been trying to track more of them
down. Everything we’ve heard has been bafflingly brilliant; twisted
outsider genius, with a distinctive sound that straddles multiple
genres, and fuses them into tangled, fucked up musical hybrids. It’s
likely a sound that will leave more casual music fans’s heads
spinning. But folks who dig their pop music fractured and damaged, who
like when electronica is pulled apart and reassembled into downcast
new wave, or woozy downer pop, or who love to hear music that sounds
utterly alien, or like it must be from an alternate dimension, with
just enough sonic landmarks to make it familiar, but in every other
way, something nearly indescribable, well then German Army might be
In Transit is a collection of rarities, singles and unreleased
tracks, a whopping 27 in all. Many of them short avant pop fragments,
others smoldering landscapes of crumbling ambience and buried rhythms,
and still others noisy, clattery, experimental post punk. Tracks are
laced with bizarre found sounds, random samples, squalls of wild
guitar noise, programmed beats, processed vocals, skittery
electronics, fields of crackle, whirr and thrum, fragmented twang and
bizarre industrial crunch. There’s also mysterious whispering,
haunting music box melodies, stretches of bouncy electro pop, along
side stretches of muddy, muted electronic pulsations, some tracks
sound like a proper band, others sound like some bedroom alchemist, or
some studio recluse, the sound warps and warbles, drags and speeds up,
guitar parts and vocals and rhythms do the same, everything in
constant flux, on the verge of collapse, sometimes blossoming into
something surprisingly lovely, more often splintering into something
distressingly tense and trippy, all of the tracks here strangely
mesmerizing, and as a songsuite, In Transit sounds like some
impossible lost electronic new wave / post punk / gloom pop gem
unearthed from a golden era of music that never existed, and likely
never will.

GNAW THEIR TONGUES “Abyss Of Longing Throats” (Crucial Blast) cd
The return of one of our favorite musical misanthropes, the
singularly named Mories, and his one man, blackened, symphonic,
cinematic doom outfit Gnaw Their Tongues. On Abyss Of Longing Throats,
at least at first blush, the sound seems to have devolved into a more
filthy black dirgery. Opener “Lick The Poison From The Cave Walls”
seems to eschew the dramatic cabaret, and weird almost orchestral
arrangements of other tracks/records, in favor of a pounding, noise
drenched, blacknoise blowout, the vokills a hellish, distorted shriek,
the track a lumbering, loping, sonic death march, that does display
some moody drones and atmospherics, but they are buried a live by a
barrage of metallic slo-mo crush.
But fear not, GTT have not ditched their twisted symphonic
soundworld quite yet, with track two “Through Flesh” offering up some
Bernard Hermann like strings, which run throughout the track, but they
are brutalized by insane blast bits, and oozing black-hole riffage,
the result an industrial blowout that sounds like the score to some
alternate universe Psycho. The best bit is where the riffs seems to
slow down, as if it was melting before our ears, the already sludgy
throb, briefly transformed into a tarpit creep.
And while those moments, the cinematic flourishes, and the
oddball samples, do surface throughout, Abyss is definitely much more
metallic than previous releases, the black metal element in full
effect, albeit usually delivered at 16rpm, and even at its blackest
and buzziest, the sound still remains seriously fucked up, deliriously
noise drenched, and oozing some seriously sick atmosphere.
On a related note, it’s one of the very few records we’ve ever
seen receive a perfect score of 100 percent on the Metal Archives
site, which is even the more remarkable considering how far removed
from proper metal GTT actually is, even here.

HYMAN, DICK “Moon Gas” (Captain High) lp 25.00
This 1963 album of delightful space age jazz was recently
reissued for the first time as part of a 2-on-1 cd that Omni put out,
featuring also Dick Hyman’s 1969 opus MOOG: The Electric Eclectics of
Dick Hyman. That cd has already become kind of scarce (hopefully we’ll
get more, eventually) but now for you vinyl fiends, there’s an lp
reissue of the Moon Gas record alone.
Dick Hyman has had a long and varied career as a classical jazz
pianist, bandleader and composer. Beginning in the fifties to most
recently scoring many Woody Allen films, he has been involved with
hundreds of records both in his own name, and in support of other
artists. But between 1963 and 1969, he was best known for his Space
Age Bachelor pad music made on Enoch Light’s Command label. Moon Gas
was Hyman’s first forays into the space age, featuring the ethereal
vocals of Mary Mayo, a pop-jazz singer in the Julie London style, who
seduces us with her dreamy and sensuous voice. A galactic cocktail
jazz record if there ever was one, Hyman imagines the future using
Lowry organ, vibraphones, theremins and an ondes martenot. The album
also features the underwater guitar sound of Vinnie Bell, one of our
faves, to spacey effect!
A groovy, retro reissue recommended for all lounge lunatics and
jazz eccentrics! Also, Allan’s toddler loved it, btw!!!

JABLADAV “Maj” (self-release) cd-r + dvd-r 11.98
We reviewed the cd-r Fin, from mysterious one man black metal
band Jabladav, on last week’s New Arrivals list, and in that review
mentioned not only that it was the first release we’d gotten in years,
from this previously impossibly prolific artist, but in keeping with
that nascent prolificacy, he sent us FOUR new releases. Fin was the
only strictly black metal release of the bunch, but over the myriad of
previous releases, a bunch eschewed metal entirely in favor of
blackened ambience and minimal atmospheric soundscapery, which is
precisely what we get on the three track Maj.
The opener is a sprawling near half hour slab of smoldering
drift, softly undulating synths, pulse beneath clouds of static and
grit, melancholic melodies blur into impressionistic sonic smears, the
bleary, faded grey ambience at times reminiscent of William Basinski’s
Disintegration Loops (and their most disintegrated), the recording
too, muddy and murky, only adds to the vibe, somber and somnambulant,
laced with some last minute gristly, before winding down into what
sounds like a dying tape machine, fantastically gloomy and dreamy.
The second track is a bit less grim, almost pastoral, a haze of
faded melodies slowly builds to a soft cacophony of blurred, layered
thrum, before again, dissipating into a swirling, skeletal, soft focus
fade out. Finally, the 12+ minute third track reveals itself as the
most ‘noisy’ of the bunch, pairing a hushed dreaminess, with dense
billows of reverbed noise, fields of sculpted static, and bursts of
muted crunch, but even at its noisiest, the sounds are world smooth,
and sound more dense and dynamic than caustic, and beneath these
noisier bits, lurks an almost choral sounding ambience, dreamlike and
prismatic, the sounds seemingly washed out and in a state of beautiful
decay, and as the noise abates, they’re revealed as a warm, barely-
there shimmer, that gradually, and drowsily plays us out.
As with all Jabaladav releases, these are EXTREMELY LIMITED.
Only FIFTY COPIES made! And a we got a good chunk of those. Each one
is hand numbered, and signed by the man himself. Also includes a DVD-R
which seems to contain the WAV files of the songs on the cd-r.

JACKIE HOUSE “Stydive” (Honey Soundsystem) 12″ 13.98
We might not normally be the go-to place for dance 12”s, but
every once in a while a serious slab of dancefloor vinyl will come our
way that’s so damn good and infectious, that we have to gush about it
on the list. Such is the case with this stunner from Jackie House.
Jackie House is project of Jacob Sperber, one of the founding
members of our favorite DJ collectives, Honey Soundsystem, so it
should come as no surprise as to why we’re so freaked out about how
fucking great this track is. Honey Soundsystem has long been the San
Francisco source for authentic, thoughtful, fiery, and deliciously
sweaty dance music, and now as they travel across the globe doing
their thing, it’s been awesome to see each of the individual members
branching out with their own projects.
“Stydive” does what all great dancefloor burners should, it
immediately grabs you, yet is dense and rife with such interesting
sounds, that you can blast it over and over and never get sick of it.
The B-side is a remix by Matrixxman, giving the original a much darker
and more minimal vibe. Jackie House takes the best dance music from
the last thirty years and weaves it into the kind of jam that should
be a hit to unites fans of house, techno, and disco, and definitely
belongs in any DJ or wannabe DJ’s collection.

KHEMMIS “Absolution” (20 Buck Spin) cd 10.98
Absolution is the debut full length from Denver doomlords
Khemmis, and unlike the various strains of dooooooom we find ourselves
usually obsessing over, the sound of Khemmis is not especially sick or
sludgy, dense or droney, or even all that drugged out or psychedelic.
Instead, it’s doom born of TRUE metal, epic and majestic, huge
churning riffs, laced with soaring leads, killer harmonized melodies,
and some seriously classic sounding metal vox. Sure there’s the
occasional howling bellow, but the main vocals are what makes this
band so appealing, the songs groovy as they are heavy, hooky too,
channeling the spirit of legendary practitioners of the doom-ed arts,
like St. Vitus, Cathedral, Count Raven, Blood Famers, Revelation,
Penance, Solstice, and All the rest. Bow down and doom on. Likely the
doom fix you were waiting for, if you’re cool with some growly vocals
in your otherwise classic sounding dooming.

LELAND “A Self-Taught, Decathlon, Hard Rock Musician!” (Stoned
Circle) cd 17.98
We were sold the moment we saw the album cover! Leland (“a
Berkeley Asian-American musician whose background has been primarily
hard rock music” as the liner notes tell us) adorned with satin cape,
fringed tunic, studded choker and glorious Seventies mustache,
wielding his electric guitar like a weapon, looking like Uli Jon
Roth’s alternate reality Japanese doppelganger, under the prominent
the price of admission alone, but luckily the strange heavy rock proto-
metal found therein proved to be even better! Compiled from recordings
produced in the late ’70s (six studio tracks and a live recording from
SF’s legendary Mabuhay Gardens), Leland sounds truly like a man out of
time. Coming up in the Bay Area in the midst of punk & new wave’s
inevitable rise, Leland’s brand of twisted airbrushed-van wizard-rock
must have seemed completely out of step, but that only serves to make
his singular brand of DECATHLON ROCK all the more irresistible.
Musically Leland covers a lot of ground considering his tragically
brief stint in caped rockin’, from glammy boogie woogie to space-age
synth balladry to slithering grooves to swinging off-kilter rhythms to
dirging proto-doom, but all the while accompanied by a perfectly musty
lo-fi production and Leland’s unmistakably manic vocal delivery, all
high pitched, gravelly and warbly – to our ears not at all dissimilar
to Trouble’s Erik Wagner! Such a cool relic that has remained buried
far too long, and highly recommended for proto-metal enthusiasts
lurking in misty realms the world over, especially those of you who
were as enamored as we were with Numero Group’s Warfaring Strangers
Darkscorch compilation, upon which this would have sounded right at

LUCIFER “Dance With The Devil” (Stoned Circle) 2cd 25.00
A few years ago, another label did a reissue of the album Big
Gun by this mysterious & bizarre early ‘70s dark psych band Lucifer,
and we wrote a fairly long, flipped out review. Well now it’s been
given another, definitive, official reissue, as part of a double cd
set featuring not just Big Gun but also Lucifer’s even more chimerical
2nd album, a soundtrack to a “motorcycle shock film” called Exit,
along with the four privately pressed singles Lucifer also put out
between 1971 and ’73 – in other words, it’s Lucifer’s complete known
works, everything, all the rarities, remastered, packaged with care
including archival photos and other ephemera, plus liner notes telling
the story behind the band (which we didn’t really know ’til now).
Here’s our original Big Gun review, we figure it’s enough to
get you to know if you want this whole package or not (hint: you most
likely do)…
We’ve been waiting to hear THIS for YEARS. An extremely rare
and mysterious circa ’72 underground UK psych lp of which we knew
little and had been able to find out less. But it seemingly promised
great things, as we shall explain in just a sec. Now that it’s been
reissued at long last, we’ve -finally- heard the thing, we can say
that while it’s not exactly what we hoped it would be, it turned out
to be something quite, um, remarkable nonetheless. And after all, what
we’d hoped for might have been a (literal) pipe dream anyway…
Lucifer really couldn’t be all it was cracked up to be, could it?? I
mean, the band’s very name, the all-black Smell The Glove style cover,
the hairy/scary band photos, the song titles – “Banshee”, “Prick”,
“Winter”, “What Was That Thing I Saw You With Last Night” – all
portend something impossibly dark and heavy, leaving us hoping that
Lucifer would sound like some sort of unknown, underground, creepy
cousins to Black Sabbath! And the album’s original, rather confusional
liner notes also hint in that direction, spouting wonderful nonsense
about how the band has “this cave in Arizona” where they like to
record their “evil music”! We’re also informed that they did a single
called “Fuck You” that was never released, having been confiscated by
the police!! Sounds pretty darn metal, right? Add to that the fact
that the first time we ever heard of Lucifer, years ago, was in an old
interview with none other than Ozzy Osbourne, wherein he mentioned
this album as being something he and his Black Sabbath mates dug back
in the day! That’s a lot of expectation to build up. And the truth of
course is that Lucifer sound NOTHING like Black Sabbath, or metal in
general. They’re not even particularly heavy in the guitar department
– heck, quite a lot of this is acoustic. Yet they ARE totally weird
and fucked up and cool and a bit ridiculous, and definitely “heavy” in
the “heavy, maaaan” stoner hippy sense of the word. We’d compare ’em
to contemporaries in the British busking free fest hippy druggy psych
scene like the Edgar Broughton Band and (lighter) Hawkwind, or (maybe)
to NYC’s Godz. And at their heaviest, when guitars are plugged in and
all, some of this is murky and dismal enough to sound like something
by AQ obscure Krautrock faves German Oak. Some other primitive, blues-
damaged Krautrock we like also comes to mind, like Kalacakra, Siloah
and Zippo Zetterlink.
The unlucky thirteen tracks of Big Gun consist in the main of
meanderingly simple and repetitive hippy guitar riffing, gruff freaky
vocals, subversively anti-establishment lyrics (“working is just a
bore, smoking’s against the law, I’m just a natural man”), and junky
rhythms, all contributing to a definitely underground, overwhelmingly
wastoid vibe. It makes the Pink Fairies sound almost straight.
Definitely dated, yeah, but a charming artifact of a long-gone, LSD-
So, that’s what we wrote about Big Gun! We just got this new
expanded edition in, so we actually haven’t even really explored Exit
(also from ’72) and the rest of the set yet (including that song,
“Fuck You”), so we won’t (and probably needn’t) comment on them here.
But of course are keen to delve in…

MANIAC “OST” (Keep Tapes Alive) cassette 9.98
Remade in 2012 by unlikely genre film fan Elijah Wood, the
original Maniac was released in 1980, and was a grimy, gritty story
of, well, a maniac: a serial killer who collected mannequins and
scalped his female victims. It’s a hugely infamous film, eliciting
revulsion from reviewers when it first came out (due in no small part
to a super graphic and gruesome head-being-blown-off-by-a-shotgun
scene) but has become a serious cult fave in the ensuing decades.
The soundtrack is a stunner too, with composer Jay Chattaway
(who would go on to compose music for the various Star Trek TV series)
crafting a haunting, minimal score, equal parts hushed ambience, and
sinister synths. Fretless bass warbles beneath tinkling chimes and
fluttering flutes, gradually disappear in clouds of pulsating
electronics, which over the course of the score, drift from tense,
almost Carpenter-esque synthscapes, to moody melancholic
introspection, to tripped out psychedelic electro-rock, to creepy,
haunted house dronemusic.

NAPOLLEON “s/t” (Metal Postcard) cd ep 11.98
So, the current psychedelic garage rock revival scene extends
around the world, as well it should, since so much of the exciting
vintage garage psych being dug up for reissue of late has been been of
international origin, right? Which brings us to this present day band,
Napolleon, and their quite promising debut four-song ep released by
Hong Kong label Metal Postcard. Napolleon aren’t from China, though,
they’re from Bandung, Indonesia. These four young Indonesian guys have
a dronier, spacier, somewhat noisier sound than some of their Nuggets-
worshipping peers. Very stoned sounding stuff, really – nicely poppy
but also mesmerically tripped out. They’d probably fit in on the
Castle Face label pretty well, alongside the likes of Thee Oh Sees,
White Fence, and King Gizzard & The Lizard Wizard, for sure. While
they can get heavy and frenzied, doing the fuzzed out stomp, they
simultaneously have a gentle and very melodic side too – but
everything is always cloaked in plenty of echo and other electronic
FX, swirling and swooshing amidst the crashing guitars and druggy
vocals. Good stuff, and we look forward to hearing more from ‘em.
Besides the Castle Face bands mentioned above, we’d also cite Acid
Baby Jesus, the Black Angels, and some Wooden Shjips as ‘recommended
if you like’ comparisons. Plus a host of bands back in the ’60s, of
course. It’s cd only, limited to 500 copies, and features some weird
artwork by someone in the band, on individual sheets of sticker paper
in lieu of the usual sort of cd booklet.

NURSE WITH WOUND “The Sylvie & Babs High Thigh Companion” (United
Dirter) 2cd 24.00
Ah, Sylvie & Babs. Here, rechristened as the High Thigh
Companion, instead of the Hi-Fi original. This album, like Soliloquy
For Lilith, Salt Marie Celeste, and Chance Meeting On A Dissecting
definitely the silliest amongst Stapleton’s always outlandish
productions. At the time of this album’s original release (that would
be 1985), the trajectories of Coil, Psychic TV, Current 93, Test Dept,
and other proselytes of the new dark age were almost uniformly bleak;
and Steven Stapleton set out to construct an antedote to all of this
malaise. Something to get stoned to and provide an instant laugh track
for the inner-mind, complete with a pair of eponymous buxom broads on
the cover beaming at the audience in glilttering ’50s Vegas apparel,
and a fictional orchestral conductor by the name of Murray Fontana,
whom Andrew McKenzie of the Hafler Trio tried to breath fake life into
few years later. Stapleton’s Sylvie & Babs is a chaotic piece of audio
collage, liberally sampling from Stapleton’s collection of easy /
sleazy listening records and extruding all of these along with wind-up
toy orchestrations, Spike Jones-esque comedic farts, and various
plinkery from his 40-piece strong “orchestra”. It’s equal parts
pisstake and homage to Zappa’s Lumpy Gravy, with a theatrical wink and
nod never far away. After all, it should be noted than on “You Walrus
Hurt The One You Love” (ugh, what a horrible, horrible pun), Stapleton
quotes somebody bellowing “It was just a prank!”.
This 2015 redux is fleshed out with a bunch of compilation
tracks of material composed in similar pandemonium style, much of
which has not seen the light of day since the original cassettes.
There seems to be one unreleased track and two remixes by the modern
day alchemists M.S. Waldron / irr. app. (ext.) and Andrew Liles, both
of whom currently assist Stapleton whenever he tours Nurse With Wound.

OFFING “s/t” (self-released) cassette 4.98
Chris Duncan is a Oakland based artist whose multi-disciplined
approach involves a rigorous accumulation and repetition. The bulk of
his work deals in visual assemblages, often worked into systems imbued
with the implications of transcendence, mysticism, and profundity
while working with everyday materials. Sunlight in particular is a
common tool, as a repeated symbol that albums becomes a sigil to
Duncan and even as a bleaching agent for unarchival materials. He’s
occasionally works with time-based media (i.e. video and sound) to
highlight and punctuate the graduated, coalesced, and accreted forms
of his visual work; and the soundworks have blossomed into what he’s
now recording under the banner of Offing. It seems that the first side
of this tape was all composed through harmonica, though Duncan has
shaped the resultant sounds into bright, grind-organ like sounds that
would be played by an army of circus monkeys that were trained to play
a Terry Riley piece of psychedelic minimalism only to end up sounding
like Angus MacLise’s dilated wanderings of cymballon and percussion.
The chromatics of the harmonica return on the second side, though the
glistenings and shimmerings enjoyed extended passages of holy
minimalism drone offset by the lulling roar of the ocean crashing into
the side of California. A really lovely body of work from one of the
true talents of the Bay Area’s art community.

PEDESTRIAN DEPOSIT “The Architector” (Monorail Trespassing) lp 13.98
It would be a disservice to qualify Pedestrian Deposit as yet
another California noise project. Yet with a sizable portion of the
synthesists of twinking psychedelics, the shorthand of ‘post-noise’ is
far from applicable either. It’s hard to know exactly where to peg
Pedestrian Deposit, outside of themselves as their aesthetic is so
wholly their own. That said, The Architector is a rare document the
duo of Jonathan Borges and Shannon Kennedy, who have been shaping
their work mostly through the scope of the live performance over the
past six or seven years. Originally their duets played out the
dichotomy between Borges’ beginnings as a feral tactician of noise
abuse and Kennedy’s classical training as a cellist; but as the two
investigated elemental sound, electro-acoustic techniques, and the
psychological implications of their work, the division of labor has
dissolved into a severe aesthetic of existential inquisitiveness and
psychic malignancy. In recent performance, Kennedy has eschewed the
cello entirely in favor of a rig more fitting an early Einsturzende
Neubauten performance, with pulleys, chains, metal cables, rebar, and
various Bertoia-esque objects through which she coaxes eerie tones of
industrial spook. Borges will never let you forget that he can flip
the switch at any time, with demolition-zone ruptures of noise
shredding a various point on the album. The smoldering remains and
lingering echo become the sonic pieces that Borges and Kennedy use to
assemble the fundamentals, drones, and derelict textures for this
profound album, doing so in a manner that is reflective of those
breathtaking collages from Nurse With Wound (esp. Homotopy To Marie),
as well as the Aktionist deconstructions from the Schimpfluch Gruppe.
Yes, they do keep on getting better.

PHARAOH OVERLORD “Circle” (Ektro) lp 19.98
On Pharaoh Overlord’s Circle, they indeed do their best Circle
impression – not so hard since the band consists ENTIRELY of members
of Circle after all (the lineups on these two albums are identical
except that vocalist/keyboardist Mika Ratto only appears on the Circle
one, which also has a guest horn player). And while PO were originally
conceived as the heavier, “stoner rock” alter ego of Circle, here they
evince a lighter touch than what Circle do on their parallel Pharaoh
Overlord album, less heavy, less dark, instead being delightfully
upbeat and sunny sounding, but of course with lots of the usual
rhythmic urgency, gently directed. The all-instrumental music is
layered with lots of pretty synth sizzle, almost giving it a ‘new
wave’ vibe, uplifting and sprightly, even. We like the bloop bloop
lava lamp sound going on throughout track two, “Tarkennus”, and the
first track, “Elain Rientaa Kotiin”, features a melodic synth flourish
that sure reminds us a lot of Stereolab… as of course does the
similarly Neu! derived motorik beat. “Villaa”, track 4, really blurs
the lines between the typically krauty pulse of Circle and loop-based
dance music. And so it goes. Providing a blissful rhythmic workout
overall, this is a great Circle/Pharaoh Overlord/
whatevertheywannacallthemselves album that we’ll for sure be returning
to on days when we need a sweet, lively, Circular pick me up.

Comfort” (Fragment Factory) cassette 9.98
It’s always a risk to delve into the world of Dave Phillips.
The Swiss noise-aktionist has been produced and presenting his
confrontational / challenging works as part of the Schimpfluch Gruppe,
whose members also count Rudolf Eb.Er, Sudden Infant, G*Park, and
Raionbashi – all of whom engage in some form of sonic bloodletting.
Phillips’ tends to be the most dogmatic and political, especially when
it comes to the deliberately repulsive imagery of slaughterhouses that
often accompany his performances of full-throated noise, chest cavity
amplifications, and demolition-expert explosions. This release with
the Peruvian Chris Galaretta make for a brief foray into his
existentially provocative and hellish world. Phillips short-sharp-
shock approach to noise spinning out ominous beds of electronic
rumblings and somatic repetitions is very much at play here with wild-
squiggles of feedback erupting at the conclusion of this terrifying
document marked by suffocating / drowning gasps from Phillips on the
first side of the tape. These same elements of nightmarish bass
frequencies and dissonant piles of fm synthesis reprise on the flip in
more skeletal forms. Limited to just 100 copies.

POLGAR, EVA & SANDOR VALY “Die Toteninsel” (Ektro) cd 15.98
Sandor Valy and Eva Polgar need no introduction. Well, to most
people they probably DO, but not to folks who regularly read the aQ-
list, who may know them from the duo’s two previous cds released on
Jussi from Circle’s Ektro label. These two Hungarian expatriates (Valy
lives in Finland, Polgar here in the States) are an interesting team,
making conceptual, minimalist music, their avant-garde compositions
often directly based upon the works of famous painters. Valy in fact
is a visual artist, and Polgar a pianist, and together they’ve
derived / decoded fascinating music from paintings by Bruegel and
Mondrian. Or at least, the paintings were inspirations. Valy &
Polgar’s new disc on Ektro takes the famous symbolist painting Die
Toteninsel (“The Isle Of The Dead”) by Arnold Bocklin (1827-1901) as
its subject, a painting that Ektro reminds us was admired by the likes
of Freud, Lenin, Dali and even Hitler. But the concept here is more
complex than just that, as this is a “fictional reconstruction” of the
lost score to an post-WWI opera called A Holtak Szigete or Die Insel
Der Toten, originally written by Jeno Zador (1894-1977). The opera
premiered at the Hungarian Royal Opera House in 1928. After that first
performance, Zador’s score somehow vanished, and the opera was never
staged again. So Valy and Polgar have now composed a new score, to go
with the opera’s original libretto, penned in 1919 by German poet Karl
Georg Zwerenz (1874-1933), a libretto of course inspired by Bocklin’s
painting. In this “reconstruction” of Zador’s lost music, the Valy/
Polgar duo have attempted to interpret the themes of the painting as
reflected in Zwerenz’ text, as well as to Dadaistically explore “the
misunderstandings, mishearings, accents and language distortions that
are characteristic of our day and age”. What does that mean? Well, for
one thing the text is in German but the singers aren’t German
speakers, and also Valy and Polgar took a highly improvisational and
chaotic approach to creating and recording the music. Valy says: “The
listener hears a musical improvisation in German with the singers
interpreting a lost large scale composition about freedom without any
instruction and without the deep knowledge of the language. I think we
completed our goal.” The results of course are strange and evocative,
unique and mesmeric, and surely in the in the tradition of Glass and
Reich as much as Valy and Polgar’s previous electroacoustic
compositions were.
Includes a 100 page booklet!!! So like we said, complex…

SEWER GODDESS “Painlust” (Malignant) cd 11.98
Into extreme abject industrial blackened sludge??? We are,
especially when it’s this good. So, if you’re like us you too will be
smitten by the mighty Sewer Goddess. Metallic, filthy, noisy, droning
nightmare dirge in the tradition of such sonic terrorists as Godflesh,
Swans, Gnaw Their Tongues, Wolf Eyes, Zeni Geva, early Scorn, and
Neubauten. Naturally, we’ve been fans since we first heard Sewer
Goddess a few years back – you’ll find a worshipful review or two on
our site of some previous releases… Now here’s the latest from Sewer
Goddess, an album entitled Painlust. Not subtle, no. At times bleakly
ambient, at others out-and-out grinding, Painlust, with such cheerful
(not) songs as “Flog”, “My Grave”, and “Black Meat And Bones”, merges
the industrial metal with the more creepily cinematic soundscapery.
It’s a disc of powerful, feedback-filled sound design, replete with
anvil-clank rhythms and distorted atmospheres, death-knell drumming
and depth charge guitars, pummeling heaviness shrouded in murky
electronic FX, and harsh anguished screams from the Sewer Goddess
herself – the band’s frontwoman Kristen Rose, who is also capable of
an wide range of effective vocal approaches, from aching melodic wails
to hissing shrieks to an ice-cold monotone declamation, often
processed and treated and layered, becoming a one-woman chorus, these
whispers and echoes sounding like sick ‘voices in your head’. Let them
in and grovel for the Sewer Goddess. Seriously good stuff for those
into ‘this sort of thing’, as we said. Makes us imagine mechanical
monks performing some sort of assembly line cult ceremony in a hellish

SHOOTING GUNS “WolfCop Original Soundtrack Recording” (Dub Ditch)
cd/lp+7″ 10.98/37.00
We listed this on cd recently (and are doing so again), but now
also have vinyl for ya too – the first pressing disappeared fast but
One Way Static just repressed it in a new version that comes with a
bonus 7″ with an exclusive B-side!! Download code included too.
How can you not love a movie called WolfCop? Especially with a
trailer like this:
The music in that trailer kinda rules huh? That just so happens
to be the work of a Canadian combo of hard rocking, heavy riff
merchants called Shooting Guns, who have sculpted their swaggery,
stonery doom into soundtrack form, by fusing galloping grooves and
metallic bombast to haunting, synthy swirl and ominous drones. At
times Shooting Guns seem to be channeling the Fucking Champs, at
others, John Carpenter, slipping easily from muscly hypnorock to
psychedelic space rock to kosmische synthscapes, with plenty of moody,
atmospheric stops in between.
While soundtrack nerds will dig this, the hard and heavy crowd
will likely dig it too, cuz even though it’s a ‘score’, a big chunk of
the soundtrack is basically a crazy, bombastic, riff heavy psychedelic
stoner rock blowout. “Barn Burner” sounds like Goblin and Pharaoh
Overlord jamming with Red Fang, “Buda” is all low slung groovery, a
bit like ZZ Top jamming out on “Spirit In The Sky”, and “Spy In The
Sky” is some sort of perfect Hawkwind / Carlton Melton hybrid.
Needless to say, if you dig big riffs, wild Bonham-esque
drumming, psychedelic hard rock, creepy cinematic synths, moody,
sinister ambience, tripped out FX and drunk cops that become
werewolves, then hell, this is right up your alley. We had this for
like a second when it was released on vinyl a short while ago by
soundtrack specialists One Way Static, but now it’s here on cd instead!!
Rad before/after werewolf cop cover art too!

SUN RA “Space Is The Place” (Harte) book+ cd + dvd 50.00
For all deep fans of the late great Afro-futuristic jazz
visionary Sun Ra, this is something special, possibly essential. A
40th anniversary celebration of Sun Ra’s one of a kind, mind blowing
low budget sci-fi movie from San Francisco in the ‘70s, Space Is The
Place, consisting of a book, a cd, and dvd. On the dvd, you get two
different cuts of the film, on the cd the film’s classic soundtrack,
and in the book tons more pertaining to the project – including never-
before-seen photos from the set, various essays, and interviews with
cast and crew. One of the highlights is the chat with Ray Johnson, the
only professional actor in the film (he was in Dirty Harry), who
played the “Cosmic Overseer” in Space Is The Place. His stories about
shooting scenes with Sun Ra are great. What’s cool is that to this day
he’s clearly a true believer in the man’s out of this world genius.
And the same goes for others featured in the book, including the young
cinematographer who knew nothing of Sun Ra and his scene before hand,
but ever since has been big avant-jazz fan. For more about the film,
and the soundtrack, you can read our reviews of previous, separate
reissues elsewhere on the AQ site.
So, this is the ultimate Space Is The Place artifact for sure.
Hardcover, 11” x 10”, full color, 124 pages, with dvd in a pocket
inside the front cover, and cd in a pocket inside the back.
Introduction by Wayne Coyne of the Flaming Lips.

SWANOX “Duskrunner” (Not Not Fun) lp 11.98
Duskrunner is the second full-length from San Francisco’s
Swanox. A follow up to the 2010 cassette release Dawnrunner,
Duskrunner is a dreamy, chemically-aided drive through a neon-lit
metropolis. It’s incredibly clear from one listen of Duskrunner,
Anthony has done his homework on the komische and the kraut – one can
hear clear nods to the cosmic atmosphere of Florian Fricke and Popul
Vuh, the drum machine and synth experimentation of Rudiger Lorenz, and
the lysergic dream worlds of Tangerine Dream. That’s not to say this a
lazy ripoff album, however. This album uses those themes in a way that
feels amazingly like a very specific time and place – San Francisco,
“Candle Station” and “No Locals” begin the hazy trip, with
delayed 808s and guitars fusing with distant sounding vocals and
analog synth buzz. “Bank of the Orient” and the title track continue
the theme, with hints and pieces of melody sticking out enough to give
Duskrunner a noticeable pop tinge. “The Whistler” is perhaps the
climax of the record, a driving, motorik number that builds before
ending as quickly as it began. If there was a soundtrack to what it
feels like to be broke and sleepless in San Francisco – to walk
aimlessly around streets that don’t feel like home amid the chaos of a
bustling yuppie playground, this is that soundtrack. Highly recommended.

TODD, BLAINE “Dillingham” (Editions Littlefield) cassette 6.98
Dillingham is the long in the works solo debut from Blaine
Todd, guitarist from local psychedelic pagan drone folk outfit Common
Eider, King Eider. It’s named for a small town in Alaska, where Todd
shares a cabin with his Common Eider bandmate. It’s an especially
isolated part of the world, extremely remote, and not at all easily
accessible. That isolation is evident throughout Dillingham, the songs
strangely distant, not always geographically, as much as emotionally,
or even simply out of time, but at the same time, often painfully
intimate, equal parts ultra-personal sonic narratives, and oblique
transmissions from another era. Todd’s modern reinterpretation of
classic folk and blues is reminiscent of another aQ fave, Eric
Chenaux, whose aching solo records, and mysterious outings in
Reveries, revel in a similarly worn and faded sonic aesthetic.
Beds of creaking warble, introduce the record, almost like the
sound of some primitive playback device, it’s not difficult to imagine
a dusty old gramophone, or even a wax cylinder, spinning lazily in a
rickety old cabin, the sun glinting off dust motes, drifting lazily in
still afternoon air, Todd’s delicate guitar playing is the perfect mix
of aching, old folk strum, and measured minimalist experimentation,
but that experimentation becomes less and less overt as Dillingham
unwinds, with the vibe getting properly old timey, the first we hear
of Todd’s vocals, they’re a nasally, almost hillbilly whine, drifting
atop a lazy tangle of droney buzz and campfire twang. But from that
point on, the record begins to resemble a proper blues record, the
vocals get more wasted and worn, draped over a slippery slide guitar
here, or a rumbling, layered whir there. The modern moments fade into
the background, more little moments here and there, the only thing
that belies the records modern provenance.
The vocals shift again into an wistful falsetto, the guitar
seemingly following suit, only to transform again, becoming a reverb
drenched croon, wound around rugged back porch blues.
The production is as much a part of the sound as the music
itself, another subtle element that keeps Dillingham from sounding
like some lost Folkways 78, lending some tracks a worn patina of faded
haze, and others with a brittle immediacy, in both cases, the music
glows warmly, a weary yet hauntingly hopeful modern blues balladry
grounded in the storied history of the folk and folks that came before.
LIMITED TO FIFTY COPIES!!! Likely the only ones we’ll be able
to get.

V/A “Primitive Paradise: Early Exotica 1920-1947″ (University Of
Vice Records) lp 23.00
Long before the mid-century heyday of tiki bars and the postwar
Technicolor mystique of island magic framed by the sexy orchestrations
of Martin Denny, Les Baxter, and Arthur Lyman, the siren song mythos
of Yma Sumac and the cinematic supernatural heroics of Sinbad the
Sailor, the genre of popular music that came to be known as Exotica
had surprisingly deep but remote roots in various parts of the globe.
Years before Hawaii became our 49th state, Hawaiian music was first
heard by an international audience at the first Universal Exhibitions
held in the United States in 1901. The tribal rhythms, novel
instrumentation of ukuleles and steel guitar and scantily clad female
dancers were more than enough to spark the imagination of American
society, and the performative music quickly evolved from its native
roots to include westernized musical hybrids and risque vaudevillian
tropes. At the same time, Cuban and Puerto Rican music arrived in the
US making way for big band night club leaders like Xavier Cugat, and
Perez Prado, while Europeans were going nuts over rumba, conga and
beguine from Central and South America.
This wonderful compilation traces the roots of Exotica and
features incredible tracks sourced from original 78’s, many of which
see reissue for the very first time. This indeed reminds us of our art-
school days where before the internet, people passed around mix-tapes
of wild and wonderful music sourced from thrift store finds and those
ubiquitous Rhino samplers of retro novelty songs and curiosities from
around the globe.
Includes tracks by Orquesta Serramont, Lecuona Cuban Boys,
Mercedes Marino, Pedro Berrios, All Star Trio, The Honolulu Queens,
South Sea Islanders, Anglo-Persians, Jay Whidden, Elsie Bayron, The
Kidoodlers, Wailana Grass Shack Boys, The Tune Wranglers, and Gino
Bordin. So great!

VIBRACATHEDRAL ORCHESTRA “Rec Blast Motorbike” (VHF) lp 15.98
We’ve long worshipped at the altar of these psychedelic
shamans, dutifully prostrating ourselves before them, and bathing in
the luxurious glow of their din, a din that has constantly evolved
over the years, sometimes pure, cosmic ur-drone, other times, free-
from, avant rock space-psych, and at others, a sort of mutant
electronica. But in each incarnation, the group never failed to
conjure up a sort of transcendental soundstate, the music, whether
caustic and chaotic, or moody and minimal, always evoking a tranced
out sense of mesmer, a true psychedelia that is rare, even amongst
proper ‘psych’ bands.
Rec Blast Motorbike, finds the group’s original line-up
together again (Michael Flower, Bridget Hayden, Neil Campbell, Adam
Davenport, Julian Bradley and John Godbert) and it sounds like it. If
we didn’t know better, this could easily have been some old self
released cd-r, which is fine with us, the sound raw, and free, lo-fi,
yet somehow lush and epic, beautiful blustery blowouts set alongside
fractured folkiness, essentially rhythmless, but the rhythms that are
present are more spluttery and loose, sounding like an errant snare
rolling down an immense flight of stairs one minute, a field recording
of someone bored restlessly tapping a tabletop at others, some tracks
are driven by what could be a junkyard wind chime, and others, by a
veritable hippie percussion ensemble. All the while, the rest of the
crew are unfurling streaking arcs of distorted guitar buzz, rippling
sheets of feedback and grinding FX doused riffage.
It’s hard to define exactly what would qualify as ‘classic’
Vibracathedral’, but to our ears, this is pretty much it. The old gang
together again, making a glorious noise, like they never stopped in
the first place.

WEATHERS, ANDREW ENSEMBLE “Fuck Everybody You Can Do Anything” (Full
Spectrum) lp 16.98
The awesomely (and super positively) titled Fuck Everybody, You
Can Do Anything, is the third record from The Andrew Weathers
Ensemble, a mostly improvised affair, masterminded by Andrew Weathers,
but augmented by a constantly shifting cast of guest improvisers
(including members of local dronefolk combo Common Eider, King Eider).
Weathers and Co. offer up an extremely unlikely sonic hybrid, with a
loose strain of modern minimalism as its core, but somehow
incorporating both a spare, dusky modern Appalachia, as well as some
warped avant R&B. And yeah, we know how ridiculous that sounds, but
once you hear it, it makes all kinds of beautiful (non)sense.
The bulk of Fuck Everybody is laid atop lush fields of
smoldering drones, slow shifting layers of sound, over which Weathers
drapes shimmery steel string buzz, a melancholic twang flecked folk,
occasionally swathed in sweetly swoonsome strings. But it’s the vocals
that really make this unique, a raspy, soulful croon, but one that’s
been processed, and vocodered, and autotuned, and suddenly, it sounds
like some warped slo-mo-soul jam, all wound around hazy streaks of
psychedelic folk.
Woodwinds drift in and out, as does the work of various guests,
each supplying varying degrees of sonic filigree. Again, those
elements are mostly ephemeral, wraithlike affectations that shimmer
ghostlike around the core sound of softly pulsing chordal thrum,
mysterious, muted percussion, those aforementioned subtle R&B-isms,
sped up and slowed down vox, chopped and looped, and then, skeletal
tendrils of steel string buzz and spare fingerpicked folk. That
vintage blues folk feel, fused with the processed vox, not to mention
a sky full of glimmering, crystalline FX, somehow manages to make two
totally disparate sounds, sound like they absolutely belong together.
And when multiple vocals intertwine, be they multiple vocalists or
Weathers multi-tracked, they become a stunning group-style chorale,
and the sound blossoms into what sounds like avant old timey standards
or some alternate universe spirituals, a gorgeous, slow burning
chamber folk, weaving psychedelic modern spaciness into more
traditional folksong structures, and filtered through the cracked lens
of modern minimalism.

WILCO “Star Wars” (Anti) cd 13.98
Holy shit… Not only were we surprised (like everyone else) by
the sudden appearance of a new Wilco Record, but also by just how
goddamned great it is. We haven’t been so taken by a Wilco record in
ages, but Star Wars (is it really ok for them to call it that?) is
like an awakening, finding Jeff Tweedy and the rest of the band at
their most alive and exciting.
Beginning with a blast of noise, it’s easy to imagine the more
conservative, middle of the road, dad-rock fans of the band being a
bit confused and/or annoyed, but it’s glorious and leads us directly
into a whole album filled with some of the most immediate and well
crafted jams Wilco have yet recorded, probably their best collection
of songs since A Ghost Is Born, and belongs right up there with that
album, alongside Summerteeth and Yankee Hotel Foxtrot in the best-of
Wilco pantheon! Not just catchy and rockin’, it also has an
experimental bent with weird-out guitar moves that might perhaps
fill a bit of the void left by the dissolution of Sonic Youth, and
it’s that knack for noisiness, woven into Wilco’s masterful
songsmithery, that makes Star Wars sound so exciting and fresh.
It’s pretty satisfying when when a band you once loved, but
that you kind of lost interest in, conjures up something mysterious
and magical that immediately relights that fire, and hooks you all
over again. We’re beyond hooked on Star Wars and have been blasting it
over and over since we got it.
FYI, the vinyl of this is forthcoming at the end of October…

WIRE, THE “#379 September 2015″ magazine 9.98
Avant-pop musician Julie Holter goes “into the wilderness” for
her cover story in this issue of UK new music must-read magazine The
Wire. Also inside: minimalist composer Arnold Dreyblatt (tested by the
‘Invisible Jukebox’), field recordist Kink Gong, jazz-punks Blurt, oud
player Khyam Allami, a Global Ear on the Peruvian capital of Lima, and
plenty more interesting and varied content – including the usual loads
of reviews!

WOLFE, CHELSEA “Abyss” (Sargent House) cd 15.98
Long have we been smitten by the work of Chelsea Wolfe; and
Abyss continues to hold us rapt. The Californian doomfolk maven’s
first albums featuring stripped down arrangements of acoustic guitar
and her gripping voice were aptly self-described as “spiritual realm
funeral songs.” Since recording the rough hewn gems The Grime And The
Glow and Apokalypsis, Wolfe has sought more cinematic and bombastic
productions that never lose sight of her darkened visions,
lamentations, and night terrors. Abyss finds Wolfe working alongside
longstanding collaborators Ben Chisholm and Ezra Buchla; and she’s
employed the production talents of John Cogleton (perhaps most notable
for his work on the Swans’ rechristening). There are additional
guitars from Mike Sallivan of Russian Circles as well.
At its most conventional on tracks like “Iron Moon”, Wolfe’s
smoldering take on goth-blues explodes and collapses in sequences of
frightened exhaustion. But many of her songs – the languid “Grey Days”
and the tempestuous “Color Of Blood”, for instance – eschew standard
balladeering, preferring the slow-crawl of repetitive phrases, minor-
key dirges, and volcanic chunks of blackened noise all building to
majestic soaring crescendos. The lilting “Simple Death” is a rare
piece of (relative) sweetness and light, swooning with slide guitar
and a simple backbeat for an atmospheric, ethereal number on par with
the best of Mazzy Star. Brutal and beautiful all at once.

WROTH “Force And Wrath ” (Universal Conciousness) cd 11.98
Some serious raw, primitive black metal buzz from this Dutch
horde, released by the same label who brought us the Lord Time on last
week’s list. The group’s two demos from 2014 are compiled on this
sprawling 23 track collection, with most of the tracks clocking in at
just about 90 seconds, each essentially a single riff, a single
pounding drum beat, and some evil croaked vokills. In some ways, Wroth
almost sound like a black metal Brainbombs – that sort of knuckle
dragging noise rock vibe is huge, but cloaked in a skein of black
buzz, and furious thrashing grimnity. There’s also the fact that none
of the songs really end, exactly, not properly – they just sort of
stop, often mid-riff, as if someone just pushed stop on the recorder
(which they most likely did), and almost as if the tracks here aren’t
songs so much as chunks of riffic sound, the band locked into a
lumbering punk metal pound or exploding into a furious, blasting frenzy.
The production is gloriously murky, blown out and in the red,
which also give it the feel of some damaged outsider noise rock band,
which besides being black metal, they essentially are. The earlier
tracks are more like a black metal pigfuck blowout, while the later
tracks, get more brittle and tinny, the guitars insectoid, the
production as cult as it gets, but both sonic sides share a similarly
primitive approach to the black arts.
Total fucking lo-fi, outsider black-noise, punk metal genius.

YONKERS, MICHAEL “Grimwood” (Nero’s Neptune) lp 17.98
AT LAST REISSUED ON VINYL!!! We first heard (and were wowed by)
this album back in 2007 when the De Stijl label dug it up and put it
out on cd only. What we said then, more or less: Is this a lost Bert
Jansch or Fresh Maggots record? Sure sounds like some beautifully
arcane British Acid Folk, or old timey Appalachian balladry, but with
some anachronistically strange lo-fi recording effects and drones and
other weirdness going on. Like a psychedelic John Jacob Niles perhaps.
Sounds like it’s either really old or could be totally recent like
something by the late Jack Rose, Chuck Johnson, or even Ilyas Ahmed.
Oh wait, it’s Michael Yonkers?! The outsider garage guitar visionary
whose Microminiature Love album from 1969 is an absolute all-time
favorite around here. Wow, this is not the sound we usually expect
from him. First of all, instead of amped up electricity, it’s all
about acoustic guitar, and even more surprising, it was recorded in
the same year as Microminiature Love. Geez, this dude never stops
surprising us. Originally released on vinyl in 1974, Grimwood pretty
much sank without a trace. Today it should get more attention, as
Yonkers is definitely having a prolonged renaissance now both brand
new albums (including several killer sets in conjunction with The
Blind Shake) and other reissues. Definitely for fans of Comus, Jan
Dukes De Grey and everyone mentioned above!

ABDUL-RAUF, LEILA “Insomnia” (Malignant Antibody) cd 12.98
ABLE TASMANS “A Cuppa Tea and A Lie Down” (Flying Nun / Captured
Tracks) lp + 12″ 30.00
AFRICA EXPRESS “Presents Terry Riley’s In C” (Transgressive
Records) cd 23.00
ALVARIUS B “Chin Spirits (Durga)” (Unrock) 10″ 26.00
ANGELO, MICHAEL “s/t” (Lion) 2cd 16.98
AQUA NEBULA OSCILLATOR “s/t” (Rewolfed Gloom) lp 25.00
ARNALDS, OLAFUR & NILS FRAHM “Stare” (Erased Tapes) lp 21.00
AUN “Fiat Lux” (Cyclic Law) cd 15.98
BACHS, THE “Out Of The Bachs” (Outsider) lp 28.00
BAD GUYS “Bad Guynaecology” (Riot Season) cd/lp 16.98/27.00
BAKER, CHET “Italian Movie Soundtracks” (WaxTime) lp 22.00
BASHO, ROBBIE “Art of the Acoustic String Guitar 6 & 12″ (Gnome
Life) lp 17.98
BASHO, ROBBIE “Visions of the Country” (Gnome Life) lp 17.98
BASINSKI, WILLIAM “Cascade” (2062) cd 13.98
BASINSKI, WILLIAM “The Deluge” (2062 / Temporary Residence) lp 19.98
BEAK / KEAB “s/t” (Invada) 12″ 25.00
BELL WITCH “Demo 2011″ (Flenser) lp 17.98
BEST COAST “California Nights” (Harvest) cd/lp 13.98/23.00
BEZIER “Mina” (Honey Soundsystem) 12″ 13.98
BLACK TOWER “The Secret Fire” (No Idea) lp 14.98
BLANCK MASS “The Colour Of Your Body’s Tears Re-Score OST” (Death
Waltz) 2lp 38.00
BLIND SHAKE, THE “Live In San Francisco” (Castle Face) lp 15.98
BLOOD KNIGHT “Demo 2015″ (Heavy Chains Records & Tapes) cassette
BONG “We Are, We Were, And We Will Have Been” (Ritual) cd/lp
BOURSIER-MOUGENOT, CELESTE “From Here To Ear” (Cassauna) cassette
BUCKNER, RICHARD “The Hill” (Merge) lp 17.98
BURNING “Silver After Death” (self-released) cassette 8.98
CALE, JOHN “Fear” (Wax Cathedral) lp 32.00
CELIBATE RIFLES, THE “Sideroxylon” (Bang! Records) lp 23.00
COBB, ALEX “Chantepleure” (Students of Decay) lp 21.00
COLD BEAT “Into The Air” (Crime On The Moon) cd/lp 13.98/15.98
COLTRANE, JOHN “Live At Penn State ’63” (Hi Hat) cd 17.98
Everyone” (Seismic Wave) cd/lp 8.98/17.98
COTTRELL, DORTHIA “s/t” (Forcefield) lp 14.98
COVERDALE, KARA-LIS & LXV “Sirens” (Umor-Rex) lp 21.00
CROOKS ON TAPE “In The Realm Of The Ancient Minor” (Pure Or Gone)
CULVER “Gateshead Graves” (Fabrica) lp 23.00
DE LEON, MARIO DIAZ “The Soul Is The Arena” (Denovali) cd 16.98
DEAD MOON “Nervous Sooner Changes” (Mississippi) lp 14.98
DEMARCO, MAC “Another One” (Captured Tracks) lp 17.98
DESTROYER “Forces From Above (DJ [email protected]
Remix)” (Merge) 12″ 11.98
DESTROYER “Poison Season” (Merge) cd/2lp 14.98/24.00
DIRTY GHOSTS “Cataract” (Burger) cassette 5.98
DISTEL “Puur” (Black Horizons) cassette 8.98
DOPE BODY “Kunk” (Drag City) lp/cassette 21.00/9.98
DORJI, TASHI “s/t” (Hermit Hut) lp 15.98
DREAM, THE “Get Dreamy” (Cherry Red/RPM) cd 12.98
DRESDEN “Anthology” (Dying Victims Productions) 2cd 17.98
DRESHER ENSEMBLE, PAUL “Dark Blue Circumstance” (Minmax) cassette
DRESHER, PAUL “Liquid And Stellar Music / This Same Temple” (self-
released) cassette 9.98
DRESHER, PAUL “Night Songs / Channels Passing / Study For
Variations” (self-released) cassette 6.98
DRESHER, PAUL “The Way Of How” (self-released) cassette 9.98
DRESHER, PAUL & NED ROTHENBERG “Opposites Attract” (New World)
EEK “Kahraba” (Nashazphone) lp 25.00
EL HIJO DE LA AURORA “The Enigma Of Evil” (Minotauro) cd 17.98
FAIRHORNS “Fuckup Rush” (Kindarad!) cd 14.98
FAITH NO MORE “Sol Invictus” (Reclamation) cd/lp 13.98/19.98
FALSE “Untitled” (Gilead) 2lp 28.00
FIGHT AMPUTATION “Constantly Off” (Brutal Panda) lp 19.98
FLESH WORLD “The Wild Animals In My Life” (Iron Lung) lp 16.98
FOUR TET “Morning / Evening” (Text Records) cd/lp 13.98/17.98
FRAHM, NILS “Victoria OST” (Erased Tapes) cd/lp 16.98/25.00
FRANK, JACKSON C. “The Complete Recordings Vol. 1″ (Ba Da Bing)
2lp 24.00
FRANK, JACKSON C. “The Complete Recordings Vol. 2″ (Ba Da Bing)
FRANK, JACKSON C. “The Complete Recordings Vol. 3″ (Ba Da Bing)
FRANK, JACKSON C. “The Complete Recordings” (Ba Da Bing) 3cd 17.98
GAM “Eiszeit” (Dirty Knobby Records) lp 28.00
GHOST “Meloria” (Loma Vista / Rise Above) cd/lp 15.98/29.00
GIANT SAND “Giant Sand” (New West) lp 16.98
GOATSNAKE “Black Age Blues” (Southern Lord) cd 13.98
GOBLIN REBIRTH “s/t” (Relapse) cd/lp 14.98/22.00
GRAVE BABIES “Holographic Violence” (Hardly Art) cd/lp 13.98/14.98
GRAVMASKIN “Volym 1″ (Electric Assault) cd/lp 10.98/17.98
GRUBBS, DAVID & SUSAN HOWE “Woodslippercounterclatter” (Blue
Chopsticks) lp 23.00
Jockey) lp 19.98
HARLOW, JAMES “Was Feed Weird Things, Then I Cared Because You
Did…” (self-release) cd-r 11.98
HELEN “The Original Faces” (Kranky) cd 14.98
HOLYDRUG COUPLE, THE “Moonlust” (Sacred Bones) cd 12.98
HOME BLITZ “Foremost & Fair” (Richie) lp 15.98
HOSONO, HARUOMI “Cochin Moon” (NK) lp 24.00
IASOS “Bora Bora 2000″ (Rotifer Cassettes) cassette 5.98
IN LETTER FORM “Wait Now / Reflecting The Rain” (self released) 7″
INVISIBLE THINGS “Time As One Axis” (New Atlantis) lp 21.00
IRON AND WINE & BEN BRIDWELL “Sing Into My Mouth” (Black Cricket)
IRON FORCE “Dungeon Breaker” (Dying Victims Productions) cd ep 9.98
JABLADAV “Gail” (self-release) cd-r 11.98
JAMIE XX “In Colour” (Young Turks) cd 14.98
JEFFERSON, ALAN “Galactic Nightmare” (Trunk) 2lp 38.00
JOHNSON, SYL “Is It Because I’m Black” (Numero Group) lp 15.98
KHOST “Corrosive Shroud” (Cold Spring Records) cd 17.98
KITCHEN CINQ “When The Rainbow Disappears: An Anthology
1965-1968″ (Light In The Attic) cd 16.98
KITCHEN CINQ, THE “When the Rainbow Disappears: An Anthology
1965-68″ (Light in the Attic) 2lp 30.00
LA LUZ “Weirdo Shrine” (Hardly Art) cd/lp 13.98/15.98
LEHTISALO, JUSSI “Maisteri” (Ektro) lp 19.98
LIFE “After A Life” (Musikstudion Masen) cd-r 14.98
LIQUID IDIOT / IDIOT ORCHESTRA “s/t” (Superior Viaduct) lp 15.98
LIQUID LIQUID “Optimo” (Superior Viaduct) 12″ 14.98
LIQUID LIQUID “s/t” (Superior Viaduct) 12″ 14.98
2lp 49.00
MANAS “s/t” (Feeding Tube) lp 17.98
MANTAR “Death By Burning” (Brutal Panda) lp 21.00
MARS “Mars Archives Volume One: China To Mars” (Feeding Tube) lp
MCLUSKY “Mcluskyism” (Too Pure) lp 17.98
MELT-BANANA “Charlie” (A-Zap) lp 15.98
MLEVHU, KEITH “The Bad Will Die 1976-1979″ (Strawberry Rain) lp
MV & EE “Alpine Frequency” (Feeding Tube) 2lp 31.00
NEST EGG “Respectable” (Bathetic) lp 16.98
NEWELL, MARTIN “Teatime Assortment” (Captured Tracks) cd/2lp
NEZNAMO “Aiwyasto” (Zhelezobeton) cd 14.98
ORB, THE “Moonbuilding 2703 AD” (Kompakt) 3LP+CD 38.00
PART, ARVO “Passio” (Ajna) 2lp 31.00
PERRINE, BILL “Children Of The Stars: A Documentary” (Billingsgate
Media) dvd 12.98
PLATANOS, LENA “Galop” (Dark Entries) lp 17.98
PREDATORY LIGHT / VORDE “split” (Psychic Violence / Fallen Empire)
PRINCE FAR I “Psalms For I” (Deeper Knowledge Records) lp 17.98
PRINCE JAMMY VS CRUCIAL BUNNY “Dub Contest” (Auralux) cd 8.98
PULSE EMITTER “Planetary Scale Synth Hypnosis” (Metal Postcard)
2cd 15.98
PUMICE “Poise Etc.” (Planam) lp 27.00
QUIETWORLD “Relaxalot” (Holofonic Recordings) 2×10″ 25.00
RADIOACTIVITY “Silent Kill” (Dirtnap) lp 16.98
RAT COLUMNS “Do You Remember Real Pain?” (Adagio) lp 15.98
RAT COLUMNS “Fooling Around E.P.” (Blackest Ever Black) 12″ 22.00
REATARDS “Grown Up, Fucked Up” (Goner) lp 15.98
ROYAL THUNDER “Crooked Doors” (Relapse) 2lp 32.00
ROYAL TRUX “Hand Of Glory” (Drag City) lp 17.98
RUN THE JEWELS “s/t” (Mass Appeal) lp 21.00
SCIENTISTS “Blood Red River” (Numero Group) lp 15.98
SCIENTISTS “s/t” (Numero Group) lp 15.98
SEAWEED “Actions And Indications” (Merge) lp 17.98
SEEKERSINTERNATIONAL “Her.Imperial.Majesty” (Boomarm Nation) lp
SHEAVY “The Electric Sleep” (Rise Above) 2lp 36.00
SHERWOOD, ADRIAN (V/A) “Sherwood At The Controls Volume 1:
1979-1984″ (On U) cd 16.98
SONS OF HUNS “While Sleeping Stay Awake” (Riding Easy) cd 13.98
SOUMAORO, IDRISSA “Ampsa” (Mississippi) lp 16.98
SPARROW STEEPLE “Rangefinder” (Omphalos) cd-r 7.98
SPARROW STEEPLE “SteEPle Two” (Omphalos) cd-r 7.98
SPEEDBREAKER “Built For Speed” (Dying Victims Productions) cd 13.98
STRAPPING FIELDHANDS “Neptune’s World” (Siltbreeze) 7″ 7.98
STRAPPING FIELDHANDS “The Third Kingdom” (Omphalos) cd 9.98
SUN ARAW “TRIO” XI “Gazebo Effect” (Drag City) 2lp 23.00
SUPERCHUNK “Come Pick Me Up” (Merge) lp 17.98
SUTURES “s/t” (Ascetic House) cassette 5.00
SWEAT LODGE “Talismana” (Ripple) cd 14.98
TAME IMPALA “Currents” (Interscope) 2lp 32.00
TESSEMA, KASSA “Ethiopiques Vol. 29″ (Buda Musique) cd 16.98
THEOLOGIAN “A Means By Which To Break Surface Of The Real” (Nothing
Under The Sun) lp 15.98
THEOLOGIAN “Pain Of The Saints” (Malignant Records) 2cd 13.98
THISQUIETARMY “Anthems For Catharsis” (Consouling Sounds) cd 13.98
TONY TEARS “Follow The Signs of the Times” (Minotauro) cd 13.98
TOURE, AMARA “1973-1980″ (Analog Africa) cd/lp 17.98/30.00
UN FESTIN SAGITAL “Kosmodynamos” (Beta-lactam Ring) cd 15.98
V/A “Ayahuasca: Cumbias Psicodelicas Vol. 1″ (Lion/Repsychled) cd
V/A “Peru Boom: Bass, Bleeps, & Bumps From Peru’s Electronic
Underground” (Tiger’s Milk / Strut) cd 15.98
V/A “Rastafari: The Dreads Enter Babylon 1955-83″ (Soul Jazz) 2lp
V/A “Saved & Sanctified: Songs Of The Jade Label” (Numerophon) lp
V/A “The Sigh Of Silver Strings” (Little Axe) lp 14.98
V/A “Time Wept: Vocal Recordings From The Levant 1906-1925″ (Honest
Jons Records) 2lp 26.00
V/A “Troubled Waters” (Mississippi) lp 15.98
VAN ETTEN, SHARON “I Don’t Want To Let You Down EP” (Jagjaguwar)
VCSR “Tape #4″ (Permanent) lp 19.98
VED BUENS ENDE “Written In Waters” (Back On Black) 2lp 35.00
VELVET TEEN, THE “All Is Illusory” (Topshelf) cd/2lp 12.98/28.00
VISION FORTUNE “Country Music” (ATP) lp 17.98
WAVVES & CLOUD NOTHINGS “No Life For Me” (Ghost Ramp) cd 13.98
WEATHER WARLOCK (QUINTRON) “Sunset Waits For No Man” (Rhinestone)
WEEPING RAT “Tar” (Handmade Birds) cd 10.98
WHIPSTRIKER “Seven Inches Of Hell” (Dying Victims Productions) cd
WINN, LAURA “Rice Paper Scissors” magazine 5.00
ZINOVIEFF, PETER “Electronic Calendar: The EMS Tapes” (Space Age)
ZNR “Barricade 3″ (Superior Viaduct) lp 23.00
ZOLTAN “Sixty Minute Zoom” (Cineploit) lp 28.00


Please place your order via our website.

will be shipped. Please note that occasionally it may take a day or
two for us to reply. We are not a faceless bunch of computers replying
within the same week, we can wait to ship. Or… If it’s going to be
more than a few days to complete your order, we will ship what we have
and then will contact you as the remainders arrive.

business, we are not responsible for listed price changes (due to
supplier price changes) and often cannot update our site fast enough
to reflect these changes, but we will always try to let you know of
any differences.



1 CD (or cassette or DVD or 7″) : $2.95 USPS First Class

1-3 CD (or cassette or DVD, but not 7″s) : $5.80 USPS Priority Mail
via flat rate box

4+ CD, or any package with LPs in it (also books & box sets), any
number of items: $9.95 UPS Ground

Also, please note that UPS will not ship to PO Boxes, so those
packages that would have gone UPS will be sent USPS Priority for $9.95,
or you may select USPS Media Mail instead, see below.

UPS shipments are automatically trackable and include insurance up to
USPS shipments (First Class, Priority, and Media Mail) are all
automatically trackable.

OR, you can choose instead to have your order shipped by MEDIA MAIL:

1-3 items (i.e. w/ LPs) : $5.95 USPS Media Mail

4+ items : $7.95 USPS Media Mail

Special shipping needs (e.g. UPS Next Day) are also doable, just ask
for a quote.
Also, if you are just getting 1 item that would therefore ship USPS
First Class, and for some reason you would rather have it sent
Priority, then you could say so in the comments field. (Note: however,
7″s are too big for the Priority flat rate boxes.)

NOTE: UPS permits their drivers to determine if there is a secure
location at the shipping address to leave the package if no one is
there to receive it (unfortunately some are less cautious than
others!). If you’d prefer that they not do this or if you have
specific instructions for the driver, please include a note in the
comments section of your weborder form.

Aquarius is not responsible for orders delayed or returned due to
incorrect or undeliverable addresses provided by the customer.
Returned packages will be reshipped at the customer’s expense.

Shipping rates are charged per shipment.

AIRMAIL (“First Class International”). Your price is based on the
actual cost of shipping. You can check the US Postal Service
“Package” category and see the price for “First Class International”.
1-3 cds is usually 1 pound. One LP is generally between 1.25 and 1.5
pounds depending on the record)

We highly recommend insurance for your international package, but it
is very expensive (See below)! You can check the US Postal Service
use the “Package” category and see the price for “Priority Mail
International”. Again, 1-3 cds is usually 1 pound. 1 lp is usually
between 1.25 and 1.5 pounds.)

Aquarius is not responsible if your international package gets lost in
the mail. Insurance is your only recourse if your records never show
insurance might provide some additional piece of mind. We strongly
recommend it. But yes, it is very expensive. Even moreso recently with
the recent hike in USPS international shipping rates, but still, it’s
your choice. Again: Aquarius is not responsible for lost mail, so if
you aren’t willing to take a (slight but real) risk, please buy the

International insurance is very expensive! In fact often the insurance
costs more than the value of your package, in which case it obviously
does not make sense to insure it. You can check the US Postal Service
International”, which is the way insured packages are sent. 1-3 cds is
usually 1 pound. 1 lp is usually a between 1.25 and 1.5 pounds.)

For example: for a one-pound package worth $25 going to England,
shipping without insurance is about $16.75. But with insurance, the
shipping / insurance total is over $42! Go up to two pounds and
uninsured first class is about $24, insured priority over $46. But
bigger packages weighing over four pounds automatically get bumped up
to the priority rate, in which case insurance is generally only a few
dollars more and in that case definitely worth it.

It is your reponsibility to check the international rate calculator in
order to determine whether or not you want international insurance. If
you tell us you want international insurance, we will add it to your
order no matter how much it costs!

Visa, MC, Discover, and Amex. We will not charge your credit card
until your order is ready to ship.

Money orders are accepted, but only in $USD. International customers
please note that they must be international postal money orders
purchased at a post office. Additional processing fees may apply.

use the secure order form on the website, and when checking out mark
money order as your payment choice. We will then process your order
and respond with all the crucial payment info.

We also accept payment by Paypal. If you opt for this payment method,
we will send you a paypal total and payment instructions as soon as
you have received human contact from our mailorder department.

Unfortunately, we cannot take personal checks for mailorder, sorry!


Yo La Tengo “Stuff Like That There” cd/lp on Matador

Hills “Frid” cd/lp on Rocket
Helen “The Original Faces” lp version on Kranky
Duane Pitre “Bayou Electric” cd/lp on Important
Eleh/Tara Jane O’Neil “split” lp on Important
v/a “Peru Boom: Bass, Bleeps, & Bumps From Peru’s Electronic
Underground” lp version on Tiger Milk/Strut
Natural Snow Buildings “Terror’s Horns” cd/lp on Ba Da Bing!
Woolen Men “Temporary Monument” lp on Woodsist
Khemmis “Absolution” lp version on 20 Buck Spin
Cruciamentum “Charnel Passages” cd on Profound Lore
Last Exit “Iron Path” lp reissue on ESP-Disk

Low “Ones And Sixes” cd/2lp on Sub Pop
Slayer “Repentless” cd/lp on Nuclear Blast
Beirut “No No No” cd/lp on 4AD
Fresh & Onlys “Early Years Anthology” cd version on Castle Face
Legion Of Andromeda “Iron Scorn” cd on Crucial Blast
Jucifer “District Of Dystopia” lp on Alternative Tentacles
Nightfell “Darkness Evermore” cd on 20 Buck Spin
Wolf Eyes “Slicer” lp on Orion Read
Popol Vuh vinyl reissues on Wah Wah

Golden Void “Berkana” cd/lp on Thrill Jockey
Windhand “Grief’s Infernal Flower” cd/lp on Relapse
Christian Mistress “To Your Death” cd/lp on Relapse
Pole “Wald” cd/2lp on Pole
Magister Templi “Into Duat” cd on Cruz Del Sur
Robert Rocket “s/t” cd/lp reissue on Got Kinda Lost
Edip Akbayram & Dostlar “Singles Overview 1974-1977″ cd/lp on Pharaway
Osiris “s/t” lp reissue on Pharaway Sounds
Current 93 “Swastikas For Noddy/Crooked Crosses For The Nodding God”
2lp reissue on The Spheres
John Fahey “The Great San Bernardino Birthday Party” lp reissue on 4
Men With Beards

Goat “It’s Time For Fun” 7″ on Sub Pop
Dark Buddha Rising “Inversum” cd on Neurot
Black Wing “…Is Doomed” lp on The Flenser
Heat Dust “s/t” lp on The Flenser
The Intelligence “Vintage Future” cd/lp on In The Red
L. Voag “The Way Out” lp+7″ reissue on Superior Viaduct
Milk From Cheltenham “Tryptych Of Poisoners” lp reissue on Superior
Fresh & Onlys “Early Years Anthology” lp version on Castle Face

Fingers Inc. “Another Side” cd/3×12″ reissue on Alleviated

Of Montreal “Snare Lustrous Doomings” 2cd/2lp on Polyvinyl

Christina Vantzou “No. 3″ cd/2lp on Kranky

Fuzz “II” cd/2lp on In The Red
Joanna Newsom “Divers” cd/2lp/cassette on Drag City

Wavves / Cloud Nothings “No Life For Me” lp version on Ghost Ramp
Wilco “Star Wars” cd/lp on Anti-

Rainbow Unit “tba” cd-r on Heavy Rural
Kowloon Walled City “Grievances” on Neurot
Kid 606 “Recollected Ambient Works Vol. 1: Bored of Excitement” lp on
Tigerbeat6 Biosphere/Deathprod “Stator” lp version on Touch
Stars Of The Lid “Tired Sounds Of Stars Of The Lid” 3lp reissue on
Stars Of The Lid “And Their Refinement Of The Decline” 3lp reissue on
Krallice “Ygg Huur” cd on Krallice

Lots of love from your devoted AQ staff

and Jill

Aquarius Records’ New Arrivals


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