SPEED, GLUE & SHINKI s/t (Phoenix) cd 17.98
Another Japanese seventies psych classic reissued! This is an old fave, in part 'cause of the appealing tiger cover painting and in part 'cause of, well, how ridiculously badass and bad-acidly ridiculous it is. Here's some of what we said about this the last time we had a cd reissue of it to list...
Sniffin & Snortin (parts 1 and 2!), Run & Hide, Bad Woman, Don't Say No, Wanna Take You Home...sound good? Those are some of the song titles on this classic women-and-drugs obsessed dumbo-rock Japanese psych album. It stars guitar whiz and massive stoner Shinki Chen (also of Foodbrain and oodles of other obscure Japanese psych outfits), bassist Masayoshi Kabe (from Food Brain too), and singing drummer Joey 'Pepe' Smith - a Vietnam vet whom you might know from the Filipino band Juan De La Cruz, one of the few outfits ever whose outputs maybe tops this for sheer truly stoned rock retardation (a good thing).
Actually, you'll hear at least one tune, "Wanna Take You Home", also recorded by Juan De La Cruz on this, the second SG&S album, originally released as a double LP in 1972. Speed, Glue & Shinki, as you might imagine from their name, were a goddamn weird, messed up, completely wacked heavy psych/blues/prog band. So messed up that this time out, guest musicians wrote (and performed?) most of it! But it doesn't matter. And even when Joey plugs in a Moog synth to do a whole solo LP side devoted to the Sun, Planets, Life, Moon, and Angels (really, he does!), this never ever remotely gets pretentious and proggy (not that we don't like proggy). It just can't. Speed Glue & Shinki are primal, so primal, too primal. At least one track hints at the Stooges, some others Zeppelin, while the rest approximates a brain-damaged James Gang. Record collector types might recall the fancy, expensive Shadoks LP reissue that was available several years ago for about two seconds. We were enthralled with the lovely tiger cover art and the ridiculous rock and have been hoping ever since to bring in a cd version...
Julian Cope's Japrocksampler Top 50 ranking: #15! (He puts their debut, Eve, at #1, tied with Flower Travellin' Band's Satori, but actually we prefer this to Eve... though both Speed Glue & Shinki records are way cool, even if neither we'd put quite in the company of Satori).
MPEG Stream: "Red Doll"
MPEG Stream: "Song For An Angel"
MPEG Stream: "Search For Love"
MPEG Stream: "Life"

EVIL OCEAN s/t (Old Scientist Records) cd-r 9.98
To begin with, there's already something special about bands from New Zealand, whether they're making eccentric indie pop or droned-out experimental noise, we like ourselves a lot of NZ music! So this band Evil Ocean, from Auckland, already has that going for them. But then add in the fact that they're flat-out obsessed with music from another of our favorite locales, Finland, specifically what our friends in Circle like to call NWOFHM, and what do you get? A really, really awesome and unclassifiable album indeed. Krauty confusional garagey distorted DIY doom metal new wave soundtrack music? Maybe we can call it NWONZHM??
Apart from several interludes of eerie, abstract weirdness, the disc mostly consists of some fairly blown-out, rockin' songs, which are ALSO weird as all heck though. These tracks are full of thick fuzz guitar, churning riffage riding the rinky-dink ticky-tock of the manic, machine-sounding percussion. Other ingredients include dramatic female vocals and gnarlier, sneering male vox (rising into a falsetto at times), plenty of effects and sci-fi synth sounds everywhere, tons o' fuzz (we mentioned that already), spooky suspenseful bits, metallic gallop, industrial clank, seasick keyboards, and more... There's ritualistic stuff that sounds like Sylvester Anfang, propulsive parts a la Circle, and heads-down Hawkwindy hypno-rock. The mood can get genuinely intense and disturbing, yet Evil Oceans also obviously display a bizarre, even nerdy sense of humor, heck there's a track here called "Rise Of The Administration Daleks", complete with hysterical Dalek voices... but also Spaghetti Western whistling... what does it all mean?? It's art, or arty (several of the members are apparently successful painters) but most importantly it rocks in a quite entertaining WTF? fashion.
Recommended to anyone into so-called NWOFHM stuff (Circle, Pharaoh Overlord, Steel Mammoth, etc.), also White Hills, Brain Donor, and other gritty post-Stooges space rockers and post-punk derelicts. Released on pro-printed cd-r, packaged in a in a full-color ecopak with photos and artwork celebrating both the epic New Zealand landscape, and Charles Darwin.
MPEG Stream: "Rise Of The Administration Daleks"
MPEG Stream: "I Foresee"
MPEG Stream: "Intro "

COCONUTS s/t (No Quarter) cd 13.98
The quietly menacing, and curiously mesmeric, NYC trio Coconuts (that's plural, not to be confused with SF band Coconut, singular... nor should it be confused with what you probably THINK a band called Coconuts might sound like, either!) offer up what we'll assume to be their debut, on the always interestin' No Quarter label (home to Burning Star Core, Circle, Psychic Paramount, and many other faves). This self-titled disc comprises 5 tracks, mostly all but one of 'em pretty long (but not in the double digits or anything), 34 minutes or so total. When it's on, though, you'll sink pretty deep into their sounds, that it'll seem like it would take much longer to swim back to the surface, helplessly drifting with the wave-action of their heavy plodding rhythms, Coconuts' semi-skronked, but not un-melodic, keening guitars like the plaintive calls of homeless, strung-out whales...
We noticed they thank Blues Control, we can see how they'd fit in with those guys, this has got an abstract, similarly droned-out vibe, darker though, and more spare, maybe like void-travelling Moon Duo, stripped down and spooky, a downer-dosed slo-mo krauty psych groove, spacey and druggy. The vocals are hushed moans, drafty exhalations to go with the droney murk and mope of the music, which slowly throbs and buzzes, the percussion an echoing thud, the electric guitar an avant acid blues wash... The confusional element of all this is perhaps accentuated by the digipak packaging, which is oriented with the spine on the longer side, what's normally the top, or bottom... some of us here (ok, it was Allan) griped that this means when you file it on a standard cd shelf, you won't be able to fit it there with the spine facing out, you'll have to have it facing either up or down, so the name of the cd won't be visible, which is normally one of the functions of the spine, but whatever, not a big deal, at least it fits on a cd shelf at all unlike a lot of other cd packaging options. In any case, it's a cool disc!
MPEG Stream: "Lost Bitches"
MPEG Stream: "Dark World"
MPEG Stream: "Dean's Blues"

WIND Seasons (Long Hair) cd 27.00
We couldn't remember why, exactly, must have read about it sometime long ago in a krautrock reference book, like the Crack In The Cosmic Egg perhaps, but we knew that as fans of early HEAVY '70s stuff - psych, prog, krautrock, proto-metal, what have you - that apparently the German band Wind's 1971 debut Seasons was one to watch out for. Well, it finally just got reissued via the Long Hair label (who have recently brought us several kraut-prog winners from Cannabis India, Mammut, and Et Cetera, amongst others) and so, already curious about it, we ordered a copy of it in...
First impression, before we even put it on, from looking at the photo on the back: damn, for a krautrock band, these guys have some seriously impressive, huge Afros!!! So, a lot of expectation/anticipation/long hair to live up to. And as it turns out, Wind don't blow it (sorry). This album is fine indeed. It hits our "heavy" buttons but also has enough melodic and groove appeal that some of the folks here at AQ who, y'know, don't spend time memorizing stuff out of krautrock reference books or obsessing about 1971 were into it too! So, we ordered some more, and here's our review...
Wind were a five piece: guitar, organ, bass, drums, the singer sometimes busting out flute (yes!) and harmonica. With the organ, they're in the "heavy progressive" mode of a lot of other early krautROCK bands, sounding as much like Deep Purple as they do Can. Both of which are cool by us, and the DO sound like both sometimes. Another once-popular krautrock band they remind us of is Birth Control (who we love, but sadly have never reviewed, relevant reissues seem scarce right now). So that means lots of thumping organ and fuzzy guitar riffs, which do indeed pound forth, especially on opener "What Do We Do Now", and later on the even heavier "Dear Little Friend", but even those songs have their shades of light as well as dark. Wind featured raw sounds and tight playing, on this record definitely conveying an impassioned feeling, in part due to the singer's often gruff, sandpapery voice, that at his toughest makes us think of Nazareth's Dan McCafferty, though at times he can be quite smooth and soulful. His harmonica blowin' on the 16 minute album-closer "Red Morningbird" gives that song an evocative Ennio Morricone / Spaghetti Western vibe, also sounding a lot like one of Can's Soundtracks tracks, and this album might be worth the price of admission alone just for that epic track. Certainly kraut-fans of Birth Control, Murphy Blend, Dies Irae, Gift, early Out Of Focus, will need to hear Wind's Seasons, and like we said it has also been catching the ears of even those here who aren't the biggest prog and proto-metal fiends.
Liner notes in German and English tell us that prior to the release of this album, the members of Wind were involved in recording an exploito-psych LP by "Corporal Gander's Fire Dog Brigade", and did an ill-fated, six-month tour of Vietnam (where there was a war going on, you may recall). But they survived all that to release this debut and another (much softer, we're told) album in '72, calling it a day not long after, having bad luck selling records despite good reviews and success on stage, having played clubs and festivals with the likes of Can, Family, East Of Eden, Pink Floyd and others.
MPEG Stream: "What Do We Do Now"
MPEG Stream: "Red Morningbird"

CHARRED WALLS OF THE DAMNED s/t (Metal Blade) cd 14.98
Whenever we hear some pounding death metal, or blasting thrash metal, sometimes even some grim black metal, the one thing that occasionally wears on us is the non-singing vocals, whether they be gurgling cookie monster vocals, or hysterical hellish shrieks, or demonic grunts, we sometimes can't help but wonder how much cooler the band would sound with an ACTUAL singer.
So the other night we heard this blasting thrashing heaviness, which sounded pretty damn good, somewhere right between classic Maiden styled power metal, and something much more thrashy and aggressive and extreme, and then the vocals came in and we were knocked out, totally soaring classic clean metal vocals, actual singing, like Maiden or Judas Priest, which is a particularly apt comparison as the vocalist in question turned out to be none other than Tim 'Ripper' Owens, who did once front Priest, but is now fronting the awesomely titled Charred Walls Of The Damned, definitely his best gig in ages.
But there's more weirdness to the story of CWOTD... Drummer Richard Christy, who has played in a million bands, including Iced Earth, Incantation, Death, Control Denied, and the pitbull fronted death metal band Caninus(!), had pretty much given up music for comedy, and eventually ended up on the Howard Stern show, where he's become infamous for some seriously fucked up and funny prank calls. Not sure why he decided to start playing again, but he gathered a pretty stellar lineup, with Ripper Owens, bassist Steve Di Giorgio (Sadus, Death, Iced Earth, Testament, Autopsy) and guitarist Jason Suecof (Capharnaum, Evince, and umm, Crotch Duster), and the record these guys have come up with rules. That is if you're into classic metal, Dio, Maiden, Priest, imagine that sort of band, but supercharged, a little heavier, a little faster, with more insane technical shredding, but still super catchy, with epic riffing, blasting drums, that classic eighties metal sound, but updated, although only a little. We're particularly reminded of more modern power metallers like Blind Guardian, or especially Lost Horizon.
Charred Walls Of The Damned is quickly turning into a new favorite, we've never really lost our love for this stuff, and hopefully you haven't either, check out the sound samples, should only take a few seconds for you to figure out if this is for you. Majestic, dramatic, hooky, and super heavy. And thus, absolutely recommended.
Includes a bonus dvd featuring a documentary about the making of the record (which we haven't had a chance to watch yet)...
MPEG Stream: "Ghost Town"
MPEG Stream: "From The Abyss"
MPEG Stream: "Creating Our Machine"

V/A Pomegranates (B-Music / Finders Keepers) cd 15.98
Those folks at Finders Keepers / B-Music never stop wowing us with the killer stuff they dig up. This list, we've made their reissue of the Aussie psychedelic biker flick soundtrack Stone one of our Records Of The Week, and we're constantly having to order more copies of recent discs like The BYG Deal (documenting rarities released by the radical French underground label BYG) and The Sound Of Wonder (an indeed wondrous collection of music from Pakistan's "Lollywood" cinema).
Now, here's Pomegranates, an amazing compilation of "Persian pop, funk, and psych of the 60s and 70s" compiled by a pair of Iranian-American music lovers delving into the pop culture past of their parents' generation, prior to the fall of the Shah, an era of rapid Westernization, economic stratification, and eventual sociopolitical upheaval. Looking back with bittersweet nostalgia, enthusiasm, and curiosity, they've put together a dazzling array of music that's usually quite groovy, also often melancholic, and sometimes subversive. Several tracks are considered classics, some are total obscurities (same to us!), all are irresistible. It's a colorful hybrid of East and West, of Persian musical traditions (already a melting pot of international influences) and electric youth energy. You'll hear strains of Western psych-pop, James Brown funk, Indian raga, Gypsy flamenco, Turkish folk, another other 'exotic' Middle Eastern motifs...
So many great tracks on here, the compilers almost making it impossible to select faves 'cause it's all so good, but if we had to pick just one highlight maybe it would be popular singer Googoosh's "Talagh", which sets her sweet voice soaring over one of the most insidiously slinky grooves EVER, pulsating with sinister fuzz-funk energy under flourishes of cinematic strings. She's got a couple more tracks on here, as befits her status as one of Iran's top pop stars of the day, a true sensation. If you like Turkey's Selda, you'll like what you'll hear here from Googoosh and this disc's other female vocalists. We also should note the zinging sitar funk of Abbass Mehrpouya's "Soul Raga", definitely another standout (it also appears on the full-length Mehrpouya reissue we raved about recently). But we haven't scratched the surface, the tracks by the other artists here, including Parva, Zia, Soli, Sima Bina, Ramesh, Noosh Afarin, Kourosh Yaghmaie, and others, are all awesome too, varying from groovy dancefloor workouts to aching love songs, sometimes both in one. Lots to enjoy, dive in!!
Oh, and of course like all Finders Keepers releases, this is nicely appointed, in a slipcover, with a thick, illustrated cd booklet featuring extensive, informative liner notes from co-compiler Mahssa Taghinia.
FYI we'll be getting a few copies of the import vinyl edition soon, they're not here yet though...
MPEG Stream: GOOGOOSH "Talagh"
MPEG Stream: ZIA "Kofraim"
MPEG Stream: RAMESH "Sharm-e Boos-e"
MPEG Stream: NOOSH AFARIN "Gol-e Aftab Gardoon"

DWARR Animals (Brand X Recordings) cd 12.98
Eccentric outsider doom metal from the '80s, from waaaaaay down underground. Now hold up, if the words "doom" or "metal" make you think, not for me, think again (maybe). This isn't like any metal you've ever heard, really. More like spaced out '60s heavy psychedelic guitar rock (one song's called "Heavy Vibrations", man), overloaded also with shrill synth symphonics and trippy effects... That's where the "outsider" tag comes in, Dwarr being a one-man band, all the work of South Carolina multi-instrumentalist (but especially guitar!) Duane Warr (hence the name Dwarr), whom we get the impression is quite a character. It's so DIY that the cds have his phone number on 'em, in case you want to get in touch. His privately pressed music comes off like a cough-syrup dosed mixture of Black Sabbath and Todd Tamanend Clark (whom you should know from the double cd anthology we raved about a few years ago). Or, The Happy Dragon Band playing Pink Floyd, from beyond the grave. Maybe a lo-fi Captain Beyond, on even more drugs than Captain Beyond were ever on. Or imagine if Bobb Trimble was an '80s metaller, perhaps (and worked out in the gym a lot more?). Sorry to use so many almost equally obscure references, but it's hard to compare this confusional beast to anything else.
Look at that insane cover painting, a surreal post-apocalyptic landscape (that's a malevolent-looking Statue of Liberty sunken in polluted looking water next to a cave populated by long-haired, skull-faced cannibalistic mutants, with an avatar of Dwarr himself, we're guessing, striking a heroic he-man pose in the upper right hand corner). The music itself is as surreal and apocalyptic and ridiculous as that image, matching up to it much more than most other "metal" albums ever match up to their cover art, both in subject matter and, ah, execution.
Just from the cover painting, let alone the music, this Dwarr album is SO perfectly Aquarius, you'd almost think we made it up. But no, Dwarr's for real, something we'd vaguely heard tell of and been curious about for years, and finally went to the trouble of tracking down (not so hard, thanks to the Internet, now that everybody and their grandmother's bands are on MySpace). And lo and behold, it turned out Dwarr had issued ALL four of his albums (two from the '80s, two from the '00s, believe it or not!) on compact disc. So we had to get a bunch of this one, his second, from 1986, probably his best and "heaviest". A Record Of The Week, easy.
There's 13 tracks, each one incredible (or incredibly strange). There's nothing that's NOT freaked out about this. Even the poppiest songs (like the title track "Animals") are full of sluggish grooves, druggy lyrics, buzzing electronics, melodic stoned vocals, acid rock guitar (and acid WTF synth). Elsewhere it gets away from rock/metal song structure entirely, with interludes of eerie atmospherics, spacey soundscapes overlaid with ominous whispered declamations, and weirdass instrumentals, like the squirrelly, proggy bombast of "Chocolate Mescalyne", a track that if you sped it up a lot would almost fit in on a Orthrelm album.
And then there's the DOOM. Oh yeah, while it's not "normal" doom it IS doom. Sludgy, Sabbath-riffed doom indeed, despite the trebly production. "Ghost Lover", for instance, gives us the feel of both the Sabs' "Iron Man" and "Electric Funeral", and Duane's vocals are particularly Ozzy-ish on the uber-heavy "Evil Lures" too... Great stuff if you really really appreciate the stranger, more psychedelic aspects of true doom artistry, the spirit is HERE.
Three cheers for avant garde new wave downer rock hippie heavy metal weirdness! That gives special thanks "to the Columbia High School Band for the use of their percussion instruments". We are so pleased to play a role in sharing this culter than cult classic with you, which by the way comes in fairly no-frills packaging, the cd in a thin cardboard sleeve with full-color album art front and back but no lyrics, liner notes, nothin' like that. It's pretty cheap though. Not that you should need any further incentive to pick this up, after reading our ravings above...
MPEG Stream: "Animals"
MPEG Stream: "Cannabinol: The Function"
MPEG Stream: "Ghost Lovers"
MPEG Stream: "Evil Lures"
MPEG Stream: "Heavy Vibrations"

GREEN, BILLY Stone (OST) (B-Music / Finders Keepers) cd 15.98
We've never seen this movie but if it's anything like the soundtrack, boy do we want to see it. It must be INSANE. And very, very groovy. 'Cause this is one trippy record, guitarist/composer Billy Green's psychedelic soundtrack to the 1974 biker flick Stone, today a cult classic (we hear it's out now on dvd, gotta find it!). It's from Australia, one of the early precursors to Mad Max in the so-called "Ozpolitation" genre (about which there's been a recent documentary that we also have to see!), doubtless full of violence, stunts, bikes, and girls.
We don't know much about the plot except that it involves the badass Gravediggers motorcycle gang (who, while as shaggy and dirty as any Hell's Angels, ride fancy new Japanese pocket rockets instead of the Harleys you might expect), characters with names like Dr. Death, Stone, Toad, Undertaker, Captain Midnight, most of whom get their own distinctive cues on the soundtrack. Beyond that, the liner notes mention acid trips and something about a political assassination, and well if you know what happens don't tell us 'cause we don't want to spoil anything for when/if we do see the film, we'll just enjoy the music for now!
Track one, the six minute, 35 second long "Eco Blue/Toadstrip" really dumps listeners in at the deep end, being a dark and unsettling musique concrete composition consisting of noisy electronic Moog synth bbrrzapp, and didgeridoo drone (ordinarily we detest the didge, but this IS an Australian movie), like a drug fuelled jam between aliens and aborigines. If you survive that (rather than report to the tent for those who ate the bad acid), the next track shifts mood considerably, being a funky freaky instrumental called "Race", full of wah-wah guitar and more electronic embellishments. Yep, just two tracks in and it's already totally awesome! As the disc continues, you'll get to hear all sorts of other strange and groovy sounds, including short interludes of sound effects and chanting ("Pigs"), lush, melancholic orchestration ("Cosmic Funeral"), bluegrass pickin' ("Septic"), classical strings and splashing cymbals ("Amanda"), Hendrix-y fuzzed fusion ("Stone"), mellow hippie blues-bliss ("Smoke"), heavy prog plus free jazz freakout ("Gravediggers"), and loads more that's either super groovy or super wacked, or both. Sometimes it sounds like a 'proper' film soundtrack, with the usual sort of suspenseful or sentimental cinematic stylings, but mostly it's all about sleazy, krautrocky chaos!
It's mostly instrumental, except for the bonus tracks, one which consists of dialogue from the film ("Hip's Rap"), one being a kinda cheesy soul-fuzz number ("Cosmic Flash"), and also two portentous versions of "Do Not Go Gentle (Rage)", a song based on the Dylan Thomas poem, set to music by Billy Green - we prefer the second one, sung by Jeannie Lewis, which was probably very important to the emotional impact of some crucial scene in the movie but here just seems awesomely over the top and incongruous.
The final bonus track is the audio from the original theatrical trailer for the movie, which starts off with someone screaming "SATAN!!!!!" followed by a dead pan voiceover intoning "Stone is a trip", and reciting further selling points, backed by a collage of sound effects and funky hard rock vamping, all snippets from the soundtrack. Again, it makes us want to see it... except, in a way, maybe we're realizing it's better to have the film exist (for us) only in our imaginations, 'cause the soundtrack is so far out it seems likely that the actual film couldn't possibly live up to it, could it? In any event, the soundtrack certainly stands by itself as a sizzlingly lysergic slice of '70s rock/electronic weirdness, part Bobby Beausoleil, part Amon Duul, a little bit Sly Stone, a little bit Sir Lord Baltimore... and altogether Stone(d).
Now, if you search on such keywords as "motorcycle gang", "fuzz", and "soundtrack" on our website, besides this you'll find our rave review of another Satanic motorcycle gang movie soundtrack that we ALSO made a Record Of The Week once upon a time, that'd be the music by John Cameron and session band Frog from the 1972 zombie biker flick Psychomania, reissued by Trunk some years back, and now sadly out of print again. Billy Green's Stone soundtrack is obviously the only thing that comes close. You could definitely file 'em together, Stone being a worthy successor (with a song called "Toad" instead of one called "The Frog"). It'd be a great double feature.
Also, remember that unusual series of Aussie psychedelic sixties/seventies surf movie soundtracks from the Japanese label EM, we listed a while back? The ones by Farm, Peter Martin & Finch, Tamam Shud, etc.? Though this is inspired by wheels rather than waves, and ain't so sunshiney, still fits in with the best of those.
As usual with B-Music / Finders Keepers productions, this is a labor of love, and the cd booklet reflects that, its many pages stuffed full of full-color film stills and poster artwork, along with a lengthy and knowledgeable essay by DJ Andy Votel. Before delving into the story of Stone, Votel talks a bit about the history of '60s / '70s B-movie biker cinema, citing the aforementioned Psychomania as an important forerunner to this film and its soundtrack.
Like we said, we've never seen Stone, though we want to. However, we've been fans of this soundtrack for some time. There was a previous, Australia-only compact disc reissue of this back in 1999, on the occasion of the film's 25th anniversary (which was celebrated with a 35,000 strong biker rally!). We were never really able to get any to stock though, so it's awesome to have this now, and it's been further expanded with additional bonus tracks, as well as nicely packaged, including a slipcover. When we heard it was coming out again, we immediately thought, Record Of The Week. Finally folks everywhere will get a chance to hear this, and ride with Stone and the Gravediggers!
MPEG Stream: "Eco Blue / Toadstrip"
MPEG Stream: "Race"
MPEG Stream: "Amanda"
MPEG Stream: "Gravediggers"
MPEG Stream: "Stone Is A Trip (Trailer)"

EIH, A.L.K. AND BROTHER CLARK, DAMIN Never Mind (Nero's Neptune) cd 14.98
This one pretty much floored us when we first put it on. Track one, "Tourniquet", begins quietly, with a droning sound swelling up slowly, so we didn't expect the shocking outburst of sick fuzz that then erupts, the rest of the song alternating between distorted, disjointed riffs and gentler melodic parts. Its unhinged freakiness immediately made us think of Michael Yonkers' similarly crazed Microminiature Love album, a total genius AQ fave. So what the heck is this? The mysterious trio of Damin Eih, A.L.K. and Brother Clark (from Minneapolis, just like Yonkers) made this wonderfully twisted psychedelic rock record in 1973, privately releasing it into almost total obscurity and eventual psych-rock collector dreams. But thank the reissue gods, it's been deservedly rescued from oblivion and boy howdy is it ever something that we're happy to hear and we think you'll be happy about it too.
The eleven tracks feature fragile vocal melodies, delicate 12-string strum, weird trippy lyrics (telling you to "take off your eyes, lie down in your head" or chanting "world is ridiculous" over and over), and a few further doses of that aforementioned totally sick fuzz guitar (which doesn't really return in full force until the final track). Most of the album is fairly spaced out, the many mellower songs all delightfully druggy, dreamy, drifty... there's really some quite lovely stuff on here, in keeping with the trio's obvious interest in Eastern mysticism and inner mind trips. Furthermore, for an apparently underground DIY production, it's actually rather ambitious and accomplished, with effective vocal harmonies, electronic embellishments, ethnic instruments, and other interesting orchestration. Stuff like the Beatles' "Lucy In The Sky With Diamonds" sounds like an influence... as does that song's obvious inspiration too.
Along with Yonkers, another AQ fave we could compare this to would be the Alice Cooper Band's psychedelic debut Pretties For You... but more surreal and subversive. Alice, even in his later shock-rock showman guise, would have shied away from lyrics like "rape and kill your parents or the blacks, and if you're one of those you can rape and kill the others back", a line found here in the deviant blues rocker "Return Naked" that ends this album with tour-de-force of really warped hippie-punk attitude and ultra-distorted, rubbery megafuzz riffage (the idea behind the song, we think, being about how the war is over in Vietnam, so now what?).
Never Mind is an album that's also possessed of the same lost and lysgeric vibe we got from another early '70s private press rarity reissued a while back, Stone Harbour's Emerges. And '80s psych savant Bobb Trimble could be another good comparison in parts ("Thundermice" in particular). Oh, and if you're gonna get the Dwarr reissue we made record of the week, this would make a good companion purchase, though despite some heavy moments it's not in any way metal, it still seems to share some of the same outsider DNA, this is possibly what Dwarr would have sounded like in '73 instead of '86...
Sadly, this digipack contains no liner notes to speak of, just recording credits, too bad 'cause we're sure there's quite a story behind and beyond this album, from what we've been able to glean from other sources about main member Damin Eih vanishing to India not long after this was originally released.
MPEG Stream: "Tourniquet"
MPEG Stream: "Thundermice"
MPEG Stream: "Marching Together"

FAR EAST FAMILY BAND Parallel World (Phoenix) cd 17.98
Our '70s Japanese psychedelia section just keeps getting bigger and better, in part thanks to the UK reissue label Phoenix, who brought us Brast Burn last list, also recently Karuna Khyal, Far Out, and another Far East Family Band album, Nipponjin. That one was their second, from 1975, and if you liked it you'll like this, Parallel World being its 1976 follow up, boasting one of the most perfect cover paintings ever, showing the band sitting in a wooden boat, in space, flying through the colorful cosmos. (The guy with the headphones and shades is so cool!)
Once again produced by kosmiche electronics master Klaus Schulze (with Gunter Schickert as recording assistant), this proved to be the band's final album, but it's a fantastic one, that deserves honorary krautrock classic status even though the band are Japanese. It's certainly a space rock classic at any rate, beginning with "Metempsychosis", a trippy intro full of spooky synth squiggle and snip-snip-snip drumming that accelerates into a blissed out shimmer, a combo that they take to extended extremes on the next track, the 16 minutes of "Entering/Times", full of buzz and gurgle, propulsive rhythmic scatter-clatter, and grandiose prog moves... it sounds somewhere betwixt Acid Mothers Temple and Zombi, really!
Vocals make an appearance on "Kokoro", a mostly gentle, lovely sort of dreamy ballad, but one that also features some searing, soaring electric guitar action to bow down and worship. And THEN there's the title track, a suite, 30 minutes long! It's a doozy, encompassing funky wah guitars, thick synth fuzz, electronic tinkering tingling tinkling, even some dubbiness... At times it's urgently rhythmic, but that can give way to calm, spaced out drone, it's got parts that remind us of Can, parts that could be Funkadelic circa their most lysergic effort Free Your Mind... And Your Ass Will Follow, and parts that sound like Augustus Pablo. If every druggy hippy jam sounded like this, we'd be living in a Parallel World indeed!
Obligatory Japrocksampler chart position citation: Julian Cope put this at number FOUR in his top 50. We don't always agree with his rankings, but it's definitely worthy of being up there. And it's in Phoenix's usual "wallet" (whatever) packaging, limited to 1000 numbered copies.
MPEG Stream: "Kokoro"
MPEG Stream: "Parallel World"

PAINTING PETALS ON PLANET GHOST Haru No Omoi (PSF) cd 16.98
It'd be easy to mistake this beautiful, beautiful album for being Japanese... the title is in Japanese, the singing is in Japanese, and it's on the great Japanese psych label PSF after all, with an obi and everything! But actually, it's the work of Italian experimental chanteuse Ramona Ponzini, who is an associate of the My Cat Is An Alien collective (members of whom also being part of this project), and is obviously fluent in Japanese. Totally belongs on PSF though, worthy of being of the rare albums of Western origin appearing on that label, and we think it's one of the loveliest, regardless of where it's from. And it also lives up to its evocative name Painting Petals On The Planet Ghost, whatever that phrase might mean...
On the seven hushed tracks here, Ponzini's gentle vocals hover amidst even gentler hum and hiss, accompanied by sun-dappled, slow motion acoustic guitar melodies, minimalistic and melancholic, and droning synth. These songs are sometimes visited by chiming bells, or restrained, ceremonial-sounding percussion. There's an intimate, yet mysterious vibe to it all, one that's dreamy and drifting, Ponzini's singing at the center of these songs, the focus of the listener's attention, but at the same time, the soft-focus nature of these tracks as a whole also being the attraction, the delicate interplay of vocals, melody, and drone almost becoming a haunting, holistic oneness. Pleasantly haunting that is, a hypnotic late night listen, somnolent folkish lullabies given gorgeous drone treatment.
Doused in mild echo effects, with overdubs her sweet singing is vaguely layered and looped, or at least some ghostly suggestion is made in that direction, where she starts one vocal line, then it fades into a wordless hmmmmmm, as another one of her vocals is layered over what has become part of the warm background hum...
For fans of Fursaxa, Grouper, Valet, and other female-fronted loner psych-folk-drone stuff, as well as of course certain Japanese artists, like AQ faves Nagisa Ti Te for sure, or Ai Aso with her cooing waifish vocals. Or, remember female Japanese duo Eddie Marcon's Shining On Graveposts disc (soon to be available again, at long last, by the way!)? This reminds us a lot of that wonderful album, but 'tis even more gauzy and droned-out... Packaged in a miniature LP-style gatefold sleeve, and highly recommended!
MPEG Stream: "Honoho No Ko"
MPEG Stream: "Yume No Hanashi"
MPEG Stream: "Akatsuki No Hoshi"

HIDEOUS GNOSIS: BLACK METAL THEORY SYMPOSIUM 1 book 20.00
This one almost doesn't require a review, pretty much every truely obsessive black metal fan is gonna want this, whether they actually read it or not. And having only dabbled, it's hard to say how many folks, metalheads in particular, are actually gonna want to delve into this, a collection (often in expanded and revised form) of essays and documents that were presented late last year at "Hideous Gnosis", a symposium on black metal theory (yes, a symposium on black metal theory), which took place in Brooklyn in December of 2009. That said, we also can't imagine a metalhead who wouldn't feel like they had to have copy of this on their bookshelf, if they have any intellectual pretensions whatsoever (which this sure does), or sense of humor (which perhaps this does as well).
The real question regarding Hideous Gnosis is whether black metal does indeed have some sort of lofty academic underpinnings, or is this academic study of the genre simply another example of hipsters trying to legitimize something that appears to be, at its core, raw and underground and visceral and personal and pretty much diametrically opposed to any idea of scholarly study or academic examination? Which thankfully is discussed quite a bit in this book, in the form of several essays, but via the inclusion of comments from the symposium's website, both positive and negative, plenty of them mean, some of them funny, and a few measured and thought out. But it's good to know that the very fact that there exists an academic black metal symposium is in itself worthy of debate, keeps Hideous Gnosis somewhat grounded.
There are definitely some interesting essays here, one in particular that focuses on black metal's reliance on climate, as in grim and frosty and cold, etc. The most interesting to us, are also the ones that are easiest to read, the ones NOT mired down in academic grad school doublespeak, there are plenty of examples of essays that seem interesting, but require digging though a malfunctioning thesaurus to get to the root of what's really being said. There is an excerpt of Brandon Stosuy's in progress oral history of American black metal (featuring our very own Andee) which was also printed in a different form in a past issue of The Believer, which is definitely cool, there's Hunter Hunt Hendrix of Liturgy's confusional analysis and dissection of "Transcendental Black Metal", and so it goes, the collection slipping back and forth, striking a pretty good balance, between people who love black metal who just want to dig deeper, and explore a music they love and discuss it with other like minded metalheads, and the flipside, dry, academic treatises on various elements and aspects of black metal, a bit too removed from the actual sound, and the fucked up ferocious intensity that is what makes the music truly appealing for us. But again, that doesn't mean those pieces aren't a blast to read, some might win you over, others actually do offer up some keen insights, and some seem to exist simply as fodder for merciless mockery. But really, in some weird way that does essentially reflect the genre as a whole, there are dabblers, there are folks who take it WAY too seriously, people who love it and live it, others who are merely fascinated or curious or even repulsed. It ultimately doesn't matter, like the spate of recent black metal docs, online blogs, if you're into black metal, for whatever reason, you're probably gonna want to read this, even if it pisses you off. ESPECIALLY if it pisses you off. An essential, and maybe controversial to your metal music library.
Here's a list of the included essays, which should be enough to pique your curiosity, and to convince you (if you weren't already convinced), that there's much to discuss, debate and argue about here:
Steven Shakespeare, "The Light that Illuminates Itself, the Dark that Soils Itself: Blackened Notes from Schelling's Underground."
Erik Butler, "The Counter-Reformation in Stone and Metal: Spiritual Substances."
Scott Wilson, "BAsileus philosoPHOrum METaloricum."
Hunter Hunt-Hendrix, "Transcendental Black Metal."
Nicola Masciandaro, "Anti-Cosmosis: Black Mahapralaya."
Joseph Russo, "Perpetue Putesco ­ Perpetually I Putrefy."
Benjamin Noys, "'Remain True to the Earth!': Remarks on the Politics of Black Metal."
Evan Calder Williams, "The Headless Horsemen of the Apocalypse."
Brandon Stosuy, "Meaningful Leaning Mess."
Aspasia Stephanou, "Playing Wolves and Red Riding Hoods in Black Metal."
Anthony Sciscione, "'Goatsteps Behind My Steps . . .': Black Metal and Ritual Renewal."
Eugene Thacker, "Three Questions on Demonology."
Niall Scott, "Black Confessions and Absu-lution."

SAINT VITUS Die Healing (Buried By Time And Dust) lp 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Doom. Vinyl. Die Healing. Need we go on?? Doom metal fans, probably all you need to know is that this album by LA godfathers of doom Saint Vitus, never before on vinyl, and long out of print on cd, is now here. However, we will go on...
Nobody could have guessed it back in 1995, when this album was first released, but 2010 is shaping up to be a pretty good year for ol' Saint Vitus. Not just one reunion show, but an extensive, well-attended tour! Vinyl reissues of their SST era records (we've got some in stock, getting more soon)! And this, a lovingly crafted vinyl version (first time on wax!!) for what was their 7th and final full-length studio album before calling it quits! We also hear rumors of a NEW album being made. However, as much as we'll be excited to hear it, there's no way they can top THIS.
While it might have been their final record, a last hurrah, hardly noticed by an uncaring world, it was also one of their best ever. For one thing, it marked the brief return of their original and best vocalist, the amazing Scott Reagers. Apologies to Wino, who's fronting the band for their current reunion... Some will differ, Wino certainly has his fans, we like him a lot too, Born Too Late and Mournful Cries are great albums, but let's just say there's no other singer quite like Scotty Reagers. Vitus was lucky to have had him in the first place, and lucky to have had him back for this. His dramatic and dynamic delivery, gloomy and ghoulish, yet classic castle-metal through and through, keeps us spellbound. Guitarist Dave Chandler steps up with some great sludgy slo-mo Sabbathy riffs (of course) and wah wah'd out, psychedelic punk soloing (of course). The atmosphere is sooooo despairing. Opener "Dark World", later covered by Reverend Bizarre, is a classic, what a riff! But that's just the beginning... "One Mind", "Let The End Begin", "The Sloth", "Return Of The Zombie", heck all the tracks are awesome, any Vitus fan should agree. The entire album harks back to the feeling of their first few records in the mid '80s, really as if Reagers had never left the band. And again his singing is crucial here, over the top wailing with a wretched, grotesque edge to it. Emotive and eccentric. Perfect for the plodding, fuzz-filled creepy-crawls that fill this pestilent platter. He might be singing about sloths and zombies (he IS singing about sloths and zombies) but damn does it sound sincere and MEANINGFUL - ignore him at your peril. Drop the needle on this and learn what it is to be doomed!!
While we should also list the abovementioned SST reissues, many of them must-haves too, this seemed even more exciting 'cause so few folks ever got the chance to get it, the cds were imports and it was one of the last releases on the label (Hellhound) before it folded. And like we said, there never ever was vinyl. Now there is, and fairly deluxe vinyl at that, complete with embossing on the cover for the Vitus logo. And yeah, of course it's limited... even if it wasn't, though, you gotta get it, we'd just be telling you to buy two of 'em!!
MPEG Stream: "Dark World"
MPEG Stream: "Return Of The Zombie"

WOLFBANE s/t (Shadow Kingdom Records) cd 14.98
As we're always pleased to observe, apparently there's an absolutely inexhaustible supply of worthwhile old music awaiting rediscovery, every week it seems we're lucky enough to see another amazing batch of obscure rarities reissued, vintage psych, prog, folk, funk, jazz... We've long thought that the next fertile field for reissue frenzy would be the New Wave Of British Heavy Metal (NWOBHM), and lo, it's happening, there's been a bunch of cool reissues and archival releases hitting the racks in recent weeks, like the Dark Star reviewed last list, Jameson Raid and Bleak House (both of which will be on our next list), and this one - WOLFBANE. Nope, never heard of 'em before either, but man are they great.
The six tracks on this 33 minute cd come from the two demo tapes that this band recorded during their 1980-1983 "career"; raw, rough and riffy rock recorded by a trio consisting of a guitarist named Dee, a bassist named Lee, and two different drummers variously named Syd (demo #1) and Sid (demo #2). Actually, they weren't always a trio, Wolfbane apparently went through several frontmen, but none ever managed to make it into the studio, leaving guitarist Gramie Dee to do the singing on all their recorded demos. Which is awesome, 'cause his voice is actually really cool, and we can't imagine why they'd even have wanted any other singers. He's got a tough, sometimes slightly Ozzyish voice, with a ragged hint of a rasp, that's perfect for Wolfbane's style, which falls on the heavier, doomier side of the NWOBHM scene, having a palpable Sabbath vibe, definitely for those who hold the likes of Witchfinder General and Angel Witch near and dear! The spoken intros are a hoot, the riffs are killer, and they just freakin' rock, doin' songs about werewolves ("Wolfbane" and "The Howling"), love or the lack thereof ("Leave Me"), serial killers (the epic "See You In Hell"), swords & sorcery ("Elric Of Melnibone"), and prostitutes ("Midnight Lady"). What more do you want? Drugs? Vampires? More werewolves? Doubtless had they made it to a demo #3 they'd have done a song about at least one of those subjects (chances are, more werewolves).
The primal DIY-ness of this is totally a plus, Wolfbane exuding underground charisma and true heavy metal spirit to the max. We're so glad these songs have been reissued, we'd have never heard 'em otherwise, and the cd booklet comes complete with a cheeky band history and notes on each track.
MPEG Stream: "Wolfbane"
MPEG Stream: "See You In Hell"
MPEG Stream: "Elric Of Melnibone"

DEMONTAGE The Principal Extinction (Shadow Kingdom) cd 14.98
Though we haven't polled everyone, the general consensus around here seems to be that Demontage is a cool name for a heavy metal band. But is Demontage also in fact a cool heavy metal band? Yeah, they are, or we wouldn't have ordered a bunch to highlight! They're a fairly eccentric outfit from up in Toronto, Canada, a peculiar but exceedingly powerful power trio comprised of Abominable Reverend (drums), Perverted Priest (bass), and Spatilomantis (guitars/vocals), playing an off-the-rails mix of old school and more modern extreme metal styles with frenzied abandon and plenty of idiosyncratically Satanic spirit, more metal than thou, no doubt. The Principal Extinction is their 2nd full length (but first real cd, as their previous album Sacrilege 'n Miscreancy was but a cd-r release), consisting of six tracks that we can barely describe 'cause these guys are insane. The songs aren't short (in the 6-10 minute range) and boy do they cram a lot into 'em, from NWOBHM gallop to black metallic fuzz to proggy synth sizzle to majestic epicness to utterly doomy crush, always with aggressive riffs, ripping leads, thrashy drums, and (obviously) a LOT of twists and turns. Somehow it all flows beautifully, like blood from a demon's maw. Heck, Demontage is an appropriate name for them on account of how they mash together so much in their crazy compositions, which sound like, we dunno, Saviours on a lot of drugs? Danava doing an advanced version of Venom? Brocas Helm in a hellish hot tub with Celtic Frost? The vocals don't help us to pin 'em down either, as they're mostly gruff, but spiced with occasional high pitched screams, and there's melodic & manly cleanly sung parts too.
Certainly Demontage remind us a bit of the sort of anything-goes metal played by the diverse likes of Root, Dragonauta, and Sigh. But with much more of a denim and leather '80s beer drinking vibe, if you can imagine. Headbanging catchiness is a priority, in other words, but that doesn't get in the way of 'em being weird as well (& as hell). We wish more bands were willing to be both this darn metal AND this out-there original. Cool stuff, quite recommended.
MPEG Stream: "Accursed Saboteur"
MPEG Stream: "The Principal Extinction"
MPEG Stream: "Satan Of Self (The Warrior)... & Seer Of Truths (The Conjurer)"

JAUMET, ETIENNE Night Music (Domino) lp 23.00
We love it when something unexpected, unknown, and essentially totally off our radar shows up and then completely blows us away! Which is exactly what happened with this chunk of epic cosmic psychedelic space-out by French artist Etienne Jaumet. By the looks of his photo on the cover we first thought this was going to be some sort of smarty pants singer songwriter, Jarvis Cocker sort of thing, but talk about about how you shouldn't judge a book by its cover! Instead, Night Music is one of the most satisfying and fully realized analog synth driven discs we've heard in ages. Imagine Goblin and Kraftwerk gliding through cosmic space, as the record's opening 20+ minute track really does evoke some sort of interstellar autobahn, the listener whirling through the stars and sky, Night Music a deep rich and nuanced soundtrack for that late night cosmic excursion. We also think about some of our fave modern psych-space rockers, like try to imagine Expo 70 remixed by Jonas Reinhardt, or Arp channeling Franco Battiato or Subway stretched way out into a sonic stratosphere pioneered by Conrad Schnitzler and Klaus Schulze. Folks who dug the Altres record we listed last time should definitely dig this too. We'd also bet the Black Devil Disco folks and both Zombi and Zomby lovers will find loads to love on Night Music. Oddly enough when we starting doing some digging to find out more about Jaumet we discovered he was in a group called Zombie Zombie (not however, related to the above Zomby/i's).
You can tell that Jaumet also has a deep love of cosmic free-jazz as he introduces subtle saxophone on parts of the record with perfectly understated results, bringing to mind Herbie Hancock's Sextant album for sure, and also Sun Ra as reimagined by Four Tet, particularly on that epic opener "For Falling Asleep" - the very next track sure says "wake up", though, bringing in more of a techno thump to the proceedings, but still staying wonderfully spaced out. Pretty much every time we play this in the store either a customer or one of us who works here asks if this is a reissue of some long lost kosmiche gem, maybe from Germany in the 1970s. In fact we found out that Jaumet based the sequencing of the record on many of those same amazing cosmic psych records from the '70s, where first side of the vinyl is one long track and the other side is filled with shorter tracks. Jaumet also has such an obvious understanding of composition, especially how to stretch tracks out without letting them overstay their welcome, and thus Night Music is just long enough to totally transport us to another dimension, yet focused enough to stay listenable and sonically complex the entire time.
Something which only makes us love this record even more was the discovery that long time AQ favorite, '70s French folk-psychstress Emmanuelle Parrenin adds her voice as texture on a couple tracks (sounding very Yoko Ono, at times) as well as playing harp and hurdy gurdy. Furthermore, the mix was "directed and imagined" by none other than Carl Craig and you can totally tell, as the whole record flows with such a lush layered sound and driving pulse that is both immediately satisfying and utterly hypnotic!
MPEG Stream: "For Falling Asleep"
MPEG Stream: "At The Crack Of Dawn"
MPEG Stream: "Mental Vortex"

AMANAZ Africa (Q.D.K. / Normal) cd 16.98
The lo-fi, garagey, psychedelic "Zam Rock" scene that flourished in the southern African nation of Zambia during the mid '70s is now getting some long overdue exposure and appreciation over here, thanks to a bunch of recent reissues: Chrissy Zebby Tembo, Ngozi Family, Witch (highlighted last list) and now, also the lesser known but no less amazing Amanaz! Like Witch its reissue was facilitated by Egon of Stones Throw, who also wrote the liner notes, which make us realize how lucky we are to have these reissues, 'cause the original Zambian LPs are super rare and, Egon says, usually in about the same poor condition as an experienced frisbee. He also helps explain the genesis of the Zam Rock movement, suggesting that Zambia's Socialist government required a preponderance of "Zambian" content on the radio. Apparently the gov't also mandated a high fuzz content as well!
The Amanaz album, from 1975, certainly fulfills that quota, though at first listen we thought that maybe this one was mellower than some of the others like Witch, and parts if it are, in a stoned sorta way, and it's also somewhat more "African" sounding as befits its title, in its rhythms and vocal stylings, with some of the singing doing in the Bembe tongue, though most songs are in English. But still there's quite a supply of heavy fuzz here, with the likes of "History Of Man" being plenty brutal in that dep't. for sure!
And man is it beautiful, full of lovely, lovely grooves in a warm bath of lo-fi hiss and hum, maybe not as gritty as Witch and Ngozi but still gritty enough, and maybe even more memorably groov'd. There's fully a dozen songs here and it's hard to pick highlights, we dig 'em all, somehow so fuzzy yet so gentle, well, not always gentle, like how the otherwise laidback "Nsunka Lwendo" includes a phenomenally LOUD and PIERCING guitar solo, that wanders back and forth from left channel to the right channel, looking for a way to crack into your skull. Meanwhile the sizzling, syncopated "Green Apple" throbs with what almost sounds like a buried Geezer Butler bass line, and the exuberant "Making The Scene" features a part that we swear appears on a Witchcraft album, or close to anyway! Wow. More proof Zam Rock RULES. Recommended!
MPEG Stream: "Amanaz"
MPEG Stream: "History Of Man"
MPEG Stream: "Africa"

WITCH Lazy Bones!! (Q.D.K. / Normal) cd 16.98
All right, more '70s "ZamRock"! Last list, in our highlight review of 45,000 Volts by the awesome Ngozi Family, we mentioned that there was another crucial reissue from Zambia on the way that we were looking forward to - that's this, Witch! (Not to be confused with the present-day Witch that's got J. Mascis on drums, they're cool too, but couldn't ever be as cool as this.) The Witch's 1975 album Lazy Bones!! (the two exclamation marks are part of the title) is BADASS. It's got tons of rhythmic umph, and makin'-more-with-less third world charm. Again it's the western garage psych template with African extras.
Some tracks are heavy duty crunchers, such as the curiously named "Tooth Factory" (which sounds like Japan's Speed, Glue, and Shinki, we think), some more spaced and mellow, like "Strange Dream", and still others are loose limbed groovy jams, like the title track. And, you'd better believe there's plenty of fuzz throughout, you'll get your daily dose and then some. Wah wah guitars roam wild, The Witch managing to be wonderfully melodic, funky, and downright distorted across these ten tracks, providing everything we desire from the electric ZamRock phenomenon (similar too, to bands from Nigeria like Blo and Ofege). With English being the official language of Zambia, that's what the vocals are in, sorta nasal and accented and lovely in a gritty way. Kinda hard to know what else to say except, recommended!
There was a Shadoks vinyl reissue of this a while back, but it was prohibitively expensive (close to fifty bucks retail!) so we're really glad they got around to doing this much more affordable compact disc version, licensed from the sole surviving band member and featuring a booklet full of interesting liner notes (by Egon from Now-Again / Stones Throw) and vintage photos.
MPEG Stream: "Motherless Child"
MPEG Stream: "Tooth Factory"
MPEG Stream: "Look Out"

JAUMET, ETIENNE Night Music (Domino) cd 14.98
We love it when something unexpected, unknown, and essentially totally off our radar shows up and then completely blows us away! Which is exactly what happened with this chunk of epic cosmic psychedelic space-out by French artist Etienne Jaumet. By the looks of his photo on the cover we first thought this was going to be some sort of smarty pants singer songwriter, Jarvis Cocker sort of thing, but talk about about how you shouldn't judge a book by its cover! Instead, Night Music is one of the most satisfying and fully realized analog synth driven discs we've heard in ages. Imagine Goblin and Kraftwerk gliding through cosmic space, as the record's opening 20+ minute track really does evoke some sort of interstellar autobahn, the listener whirling through the stars and sky, Night Music a deep rich and nuanced soundtrack for that late night cosmic excursion. We also think about some of our fave modern psych-space rockers, like try to imagine Expo 70 remixed by Jonas Reinhardt, or Arp channeling Franco Battiato or Subway stretched way out into a sonic stratosphere pioneered by Conrad Schnitzler and Klaus Schulze. Folks who dug the Altres record we listed last time should definitely dig this too. We'd also bet the Black Devil Disco folks and both Zombi and Zomby lovers will find loads to love on Night Music. Oddly enough when we starting doing some digging to find out more about Jaumet we discovered he was in a group called Zombie Zombie (not however, related to the above Zomby/i's).
You can tell that Jaumet also has a deep love of cosmic free-jazz as he introduces subtle saxophone on parts of the record with perfectly understated results, bringing to mind Herbie Hancock's Sextant album for sure, and also Sun Ra as reimagined by Four Tet, particularly on that epic opener "For Falling Asleep" - the very next track sure says "wake up", though, bringing in more of a techno thump to the proceedings, but still staying wonderfully spaced out. Pretty much every time we play this in the store either a customer or one of us who works here asks if this is a reissue of some long lost kosmiche gem, maybe from Germany in the 1970s. In fact we found out that Jaumet based the sequencing of the record on many of those same amazing cosmic psych records from the '70s, where first side of the vinyl is one long track and the other side is filled with shorter tracks. Jaumet also has such an obvious understanding of composition, especially how to stretch tracks out without letting them overstay their welcome, and thus Night Music is just long enough to totally transport us to another dimension, yet focused enough to stay listenable and sonically complex the entire time.
Something which only makes us love this record even more was the discovery that long time AQ favorite, '70s French folk-psychstress Emmanuelle Parrenin adds her voice as texture on a couple tracks (sounding very Yoko Ono, at times) as well as playing harp and hurdy gurdy. Furthermore, the mix was "directed and imagined" by none other than Carl Craig and you can totally tell, as the whole record flows with such a lush layered sound and driving pulse that is both immediately satisfying and utterly hypnotic!
MPEG Stream: "For Falling Asleep"
MPEG Stream: "At The Crack Of Dawn"
MPEG Stream: "Mental Vortex"

UNITS History Of The Units - The Early Years: 1977-1983 (Community Library) lp 14.98
This past Record Of The Week NOW AVAILABLE ON VINYL!!! There's fewer tracks than on the cd version, but at least the lp includes a download code to get mp3s of ALL of the tracks from the cd reissue. No booklet unfortunately (although it seems some of the booklet is reprinted on the cover), but there is an insert, with some liner notes, as well as an explanation for the song choice on both the cd and lp, the lack of the Units' major label material and the reasoning behind less songs on the lp. Regardless, totally essential, especially now that it's on vinyl. Here's what we said about it before:
Moog-enabled synth punk subversion straight outta San Francisco in the late '70s/early '80s, entertaining n' agitating electronic New Wave action excavated and reissued! And it's totally timely considering how many bands in today's scene would so love to sound like this.
We won't pretend we were familiar with The Units before this fantastic anthology album showed up. Perhaps we'd heard the name before (or maybe we were confusing 'em with ol' Jandek's 1978 debut album, also under the name The Units), but we knew nothing about this band 'til we heard this disc a few weeks ago. And as soon as we did, it went into heavy rotation here at the store. These Units were definitely a important piece of San Francisco punk/new wave history, but just a bit before our time. Well, not Aquarius's time, just us folks who work here now! Actually, a close reading of the thanks list in the cd booklet will find a shout out to Aquarius, 'cause (if you didn't know) Aquarius was THEE punk/new wave record store in San Francisco in the '70s... (Which reminds us, we've got to get more of our history up on the AQ website.) And, in fact, The Units' debut lp Digital Stimulation was the very first release on seminal SF indie 415 Records (who had their biggest hit with Romeo Void), a label run in part by Aquarius' owners at the time. So this most certainly isn't the first time that The Units music has been blasting regularly in the Aquarius shop, it's just been a few years, is all.
Putting things in proper place/time/scene perspective, this archival disc starts off with an audio snippet of the late SF punk "godfather" Dirk Dirksen on stage at Mabuhay Gardens, good-naturedly mocking both The Units (accidentally referring to them by the name of another band, the Zeros) and their cheering fans (with the sardonic comment "obviously, people with as little taste as yourself would become ecstatic over such average talent"). Then, making us ecstatic, twenty tracks of prime Units music follows, The History Of The Units containing most all of the tracks from their 1980 415 Records album Digital Stimulation as well as a handful of stuff taken from early 7"s and demo tapes, as well as more experimental pieces recorded for film soundtracks and art happenings and other ephemera.
Not unlike Devo, The Units had a concept thing going, all about a critique of alienated modern industrial society, dehumanizing conformity, and corporate culture, with songs like "Cannibals" and "Work". Perhaps perversely choosing to use machines to make their point, The Units tried to take the human element out of the rock band equation, preferring for instance to project their own propaganda films rather than allow the audience to focus on a frontperson. And yes, they do also sound quite bit like Devo at times, which is way okay by us!
Their synth-obsession was also in part an anti-guitar thing, a reaction to the mainstream. In fact, they took their anti-guitar philosophy to the extreme of not only having a "stamp out guitars" logo, but also making fake guitars out of plywood to smash on stage, while letting their synths play on "cruise control". So definitely The Units were highly conceptual, art schoolish, but not academic - the liner notes are clear that the idea was to be an all-synth band that "kicks ass" (the full quote being: ""I wanted an all synthesizer band... and not some fucking polite, socially acceptable electronic experiment in academia. I didn't want a doctorate in electronic doodling. No, I'm talking about a synth band that kicks ass!") and according to what we're hearing here, they succeeded. And they were not without contemporaries. There were The Screamers, Nervous Gender, and of course Devo; all of whom wanted to take the synthesizer into punk. For many of the Units tracks, it would very easy to replace the lead synth lines with guitars and have an equally kick ass rock song, but the fact is that these are Moog-powered cuts which do oscillate between a quirky sensibility with angular chops and a full-throttle punk car-crash. If you would think the former finds the Units sounding like Devo and the latter like the Screamers, you'd be right!
Yes indeed, the songs on this disc range from urgent Devo-esque pop punk and Screamers-y rants to moody proto-'80s dance tracks to more abstract, instrumental, rhythmic/textural electronic pieces like "Tight Fit" and "East West". There's loads of electric energy, some goofy humor, and certainly serious intent. So many gems here, incorporating buzzing droning distorted synths, propulsively skittering drum beats, and monotone vocals (both male and female).
Their incredible singles "Cannibals" (a tempestuous, driving song that was pure '70s punk), "High Pressure Days", and "Warm Moving Bodies," are prominently featured here, all of which were impressively catchy. Their ability to write these hooks earned them a deal with Epic, who released two seminal 12" singles (which couldn't be licensed for this compilation) and has been sitting on another collection of recordings since 1983. But beyond the hook, the Units were plenty weird, as seen in their peculiar lullaby melodies on "Red" which almost comes across like a Rodd Keith song-poem with a very sparse arrangement. Despite the band's curses toward academic music, a few choice intertwining moments of the Units minimalist grooves come awfully close to sounding like a punked out Terry Riley! Hardly polite music!
Other selections here include the cold wave weird science of "Digital Stimulation", the gloriously grinding downer melody of "Contemporary Emotion" (apparently a cover, a song by some contemporaneous hard rock band we've never heard of called Trakstod Station), and there's even an ode to our very neighborhood, "The Mission Is Bitchin", with lyrics about burritos and marijuana!
Of course it's all a bit dated, of its era, and that's part of the charm... but like we said, a lot of this also sounds like it could be put out by a band today, since everything old is new again and the '80s New Wave / synth thing is a current retro craze. Definitely this is a good time for The Units to be reissued!
MPEG Stream: "Cannibals"
MPEG Stream: "Warm Moving Bodies"
MPEG Stream: "i Night"
MPEG Stream: "East West"

VETCHE s/t (Nihilward) cd 15.98
This defunct Ukrainian black metal band was a collaborative effort between members of Lucifugum and Nokturnal Mortum, which sounds amazing, we were of course envisioning epic, folk flecked, nature obsessed buzzing blackness, but we DIDN'T at all expect something this fucked up and far out.
The first track is not too far off the mark, a plodding, midtempo black metal almost-dirge, tribal drumming, thick downtuned riffs, dramatic synths, tons of atmosphere, the vocals an incredible demonic croak, the whole thing droney and trancelike and mesmerizing.
The second track is where it gets really strange, whooshing swaths of synth, skittery drum machine, mournful minor key guitars, acoustic guitars, and then, out of nowhere, a truly out of place techno sounding electronic pulse, making it sound almost like a black metal Goblin or something, as the track progresses, it just gets darker and denser, the vocals wrapped in twisted effects, a dizzying chunk of whatthefuck electronic blackness for sure.
"Nearby Strange Forest For Everyone Wise Forest" is another dirgey, electronic flecked bit of doom-ed blackness, with whispering vox, the sound of rainfall, deep rumbling synths and folky melodies, before finally we get to the nearly 11 minute closer, "Pure Air Of Distant Horizons", with its click bleep electronic rhythm, big slow burning distorted guitars, cheesy almost new age sounding synths, slipping from drone-y electronic black folk, to almost Renaissance Faire flutter, to swirling space-y krautrock-y drift. Wow.
Even with the pedigree, this might be a bit too far out for the troo grim hordes, but we're digging Vetche's twisted nad unique swirling new age black gypsy doom folk weirdness.
MPEG Stream: "Always"
MPEG Stream: "Pain Without Regret"

WOUNDED KINGS, THE The Shadow Over Atlantis (I Hate Records) cd 15.98
We described this British doom duo's debut in 2008 as being Sabbathy doom metal with a particularly druggy, spaced-out vibe... well they've returned and are even more druggy and spaced-out than before! This isn't doom that crushes you (though they can get quite heavy) but rather doom that envelops you, doom you sink into... like the warm embrace of sleep - or like Atlantis sinking into the ocean, the mythic cataclysm about which it appears this is a concept album (that's doom!). Thus, 'tis dark, majestic, mournful. With that mood in mind, the cover art and font used really capture the look of '60s paperback pulp sci-fi / fantasy novels, and we do know The Wounded Kings take much inspiration from both literature and the occult. They also cite several of our '70s proto-metal and prog rock faves: Night Sun, Museo Rosenbach, Hairy Chapter, Gracious, May Blitz, Alphataurus, Earth and Fire, and Van Der Graaf Generator, among others. Though what we hear could possibly best be described by suggesting one imagine UFOmammut, Witch, or Electric Wizard, ultra qualuuded and heavy lidded, at their most '70s proggish and beauteous. Also, this being on I Hate Records, it occurs to us that Jex Thoth fans (and would-be fans, those turned off by the singing in that band) ought to dig the music here.
The first track is called "The Swirling Mist" and is aptly named, describing the Wounded Kings' sound altogether. Their doomy gloomy guitar riffs are sluggishy smeared across this whole disc, almost becoming one continuous psychedelic downer drone stretching from song to song; songs which trudge forth in gorgeous glorious misery, driven by plodding drums, embellished with eerie Goblinesque chiming of keys, ofttimes gothically graced with vocal lamentations delivered a spooky shivery deep voice, reverb effected, all contributing to this album's very much haunted and melancholic feel. As does the trance inducing slo-mo psych guitar soloing and comforting organ buzz throughout. Also, some of our favorite moments are the most mellowed out ones: the gentle piano/drone interlude "Into The Ocean's Abyss" is both sad and beautiful, one of two brief instrumentals here (the other, "Deathless Echo"), among the much more epic, heavier tracks. We'd certainly recommend this Wounded Kings album to not only our true doom and doom-drone regulars but also folks into current indie psych and even cold wave acts, you might find something to grab you... and envelop you... and dreamily doom you, here!
MPEG Stream: "Baptism Of Atlantis"
MPEG Stream: "The Sons Of Belial"
MPEG Stream: "Deathless Echo"

ABSU s/t (Candlelight) cd+dvd 13.98
NOW AVAILABLE IN LTD. DELUXE EDITION! In slipcase with alternate artwork (from the vinyl version), packaged with a bonus dvd disc documenting a recent live concert in Texas, probably very similar to the awesome one they played at our 2009 SXSW showcase (haven't watched it yet)! Here's what we said about this killer black metal comeback album when we first listed it last year, prior to that SXSW gig:
Getting a new album from Absu is like being handed a bunch of scrolls from ancient Sumer bearing esoteric magickal wisdom - at a raging kegger hosted by some Slayer-blasting heshers! And since this is the thrashing Texas "mythological occult metal" band's first album in about eight years, AND they're one of the acts we arranged to play the Aquarius/WMFU showcase gig at the South By Southwest music fest in Austin this year (their first show in seven years!!!), you KNOW we're really excited about this self-titled album's nearly concurrent manifestation. Of course, we were equally (and foolishly, it turns out) worried that this long-overdue new Absu would somehow be a disappointment, seeing as how Shaftiel and Equitant have left the band, leaving remaining founding member drummer/vocalist Sir Proscriptor McGovern (also of Melechesh, Equimanthorn, and his solo project Proscriptor) to assemble a completely new lineup, finding fresh blood to dust off the band's old spellbooks for this new conjuration. Of course it's a bit different than before - a tad slower maybe (though still freakin' frenzied!), adorned with more atmospheric keyboards (synths and prog fave Mellotron!). But compared to anything else, it's still ABSU. Insane and arcane. The two new members are up to their awesome responsibilities, ripping fiercely through these complex but headbanging songs, leaving shredding solos in their wake. And of course, Proscriptor is still one of extreme metal's most incredible, exacting, accomplished drummers. Not to mention black metal/magickal conceptualists. So there's still weird occultic song titles to make Bal-Sagoth weep. Gotta love "In the Name of Auebothiabathabaithobeuee"!!! The eccentrick, eldritch spirit (part Celtic, part Mesopotamian) of Absu lives. Paying tribute, a bunch of guests make cameo contributions, including members of Melechesh and Mayhem, as well as former Absu bassist Equitant (giving this his stamp of approval). So call it a comeback.
2001's Tara may still be our favorite Absu album, but this sure is a worthy follow up. Hail Absu!
MPEG Stream: "The Absu Of Eridu & Erech"
MPEG Stream: "Magic(k) Square Cipher"
MPEG Stream: "In the Name of Auebothiabathabaithobeuee"

REICHEL, ACHIM & MACHINES Die Grune Reise - The Green Journey (Tangram) cd+dvd 25.00
An old fave, in fact a former Record Of The Week, at last reissued and available again, previously it was part of a 2-on-1 cd with another A.R. album, Echolung, but here it's by itself (with bonus dvd, more on that later). Nice packaging, great sound, so glad to have this back in the store! Here's more or less what we said before:
How is it that these long overdue A.R. & Machines reissues just keep making us fall in love with Ol' Achim Reichel over and over again? 'Cause it's some of the best krautrock EVER that's how. Die Grune Reise is a re-release of the first official A.R. & Machines LP from 1970 and, while slightly less epic and grand than the blissful Echo (one we raved about a few months ago), it's no less mesmerizing, exploratory and exciting. Reichel's trademark meandering, repetitive guitar and percussion are in full effect - spacey and grooving, but instead of totally transporting the listener into the realm of ether, there's something more rockin' and also sometimes ridiculous that keeps it in the realm of the studio. Well it had to be since EVERYTHING on here was performed and recorded by Achim Reichel himself, a total one-man-jam! Sounds like a whole hairy freak-troupe though. Die Grune Reise is like watching a preview of the even more awesome journey that Reichel eventually takes you on with Echo. It's entirely possible that all the weird, sometimes goofy-hippy vocals on this album maybe make us a little self-conscious... Yes, there's a lot of the madhouse 'digga-digga-aahh-waaahhh!??" type vocals on here that at turns challenge and delight us, but they're tempered with a more than generous helping of signature chug-jams to keep us totally boogeying (dig the ZZ Top guitar riffery on track 2!) and lilting interludes to help us come down gently. When absorbing this album, it's hard to shake the very specific image of a naked, twirling free-spirited German longhair in the desert at night alone with his arms wide open holding a hand rolled cigarette/joint in one hand and doing graceful hand maneuvers with the other...and that's fine by us. A total krautrock essentials. Fans of both Can and Circle need to hear it.
This new, artist approved "Achim Reichel Edition" of Die Grune Reise is digitally remastered, and comes packaged with an extra, dvd disc (PAL, region 0, so it'll work in your computer but maybe not your dvd player) that contains an album length 42 minute video interpretation of the whole record ("Grune Reise - Der Film") that looks to be made fairly recently, with lots of trippy computer graphics going on, it's maybe better than the watching the "visualizer" on your iTunes but not much. Chances are, the pictures A.R.'s music will make in your mind are better than this, so use your imagination instead. The dvd also includes a 10 minute "Making Of" feature, but we don't know if that's a making of the album or a making of the video, 'cause the dvd menu/interface is just about the most confusing thing ever and we weren't able to figure out how to access that segment. So, the dvd is a bit of a bust, though again we didn't actually watch everything... and maybe the surround sound feature is a cool. Regardless, the album itself is highly, highly recommended!
MPEG Stream: "Globus"
MPEG Stream: "In The Same Boat"

V/A Electric Asylum: Volume 4 (Past & Present) cd 17.98
The folks at P&P know they've got a good thing going with this Electric Asylum series; appropriately monikered compiler The Psychomaniac keeps coming up with winners. In the grand tradition, here's Volume 4, and it's a relatively hard 'n heavy one, subtitled "Rock Hard British Freakrock", as if they knew that Vol. 3, fun as it was, didn't entirely deliver the dunt rock we crave. Well Vol. 4, as befits that unintentional Sabbath reference, is a lot more tough, less bubblegummy... and that even includes the band on here called Bubbles! (Whose badass glammy proto-punk strut "Zap n' Cat" reminds us of Ronno or maybe even Hard Stuff). Oh yeah, this Electric Asylum is again populated with some goofy names, most of whom we'd never heard of before. Here's the full line up: Hector, Slowload, Rog and Pip, Wolfrilla, Incredible Hog, Smoke, Spunky Spider, Ning, Quiet World, Henry Turtle, Bear Brothers, Hard Horse, Mustard, Tuesday, Godson, Bubbles, Sunshine Kid, Clutch, Jackal, and Sundance. 20 tracks in all, mostly taken from one-off, 45 rpm single only releases from flash in the pan bands we're lucky to get to hear at all, most never made an album and did just one or two 7"s... Actually, the only bands we really knew was Incredible Hog (whose entire album is great), and Wolfrilla (a fave from Vol. 2).
Coming from circa 1970-75, a lot of this can be summed up as a bit Sabbath, a bit Slade, platform boots in each camp. Though, each individual band often seems to emulate other, specific, better known acts. Like, Godson sound kinda the Rolling Stones, Hard Horse are a lot like Nazareth, and Incredible Hog come closest to Led Zep... while Ning's "Machine" is somehow part Steppenwolf, part Gary Glitter. And then there's Smoke's "That's What I Want", which is almost like The Kinks' "All Day And All Of The Night" re-written with a "Sweet Leaf" fixation.
While we're not all that surprised that nobody here really ever "made it", that doesn't mean their attempts to do so are without merit! Not if you like lotsa fuzz 'n distortion, acid guitar soloing, and grunting wailing vox! Get yer fix of obscure '70s proto-metal groovy rockin' pop here.
The booklet contains the usual detailed-as-they-can-be trainspotting liner notes on each and every track (from which we learn useful minutiae such as that Sundance featured original Judas Priest drummer Alan Moore, ferinstance) plus full color sleeve/label graphics and vintage b&w photos... too bad about the crap cover art though.
If they can keep digging up records like these, we'll keep digging these comps! After this, we halfway expect P&P to jump ahead a few years to the late '70s / early '80s and bring us the killer NWOBHM rarities comp we know ol' Psychomaniac has got in him too...
MPEG Stream: HECTOR "Lady"
MPEG Stream: ROG AND PIP "Warlord"
MPEG Stream: SMOKE "That's What I Want"
MPEG Stream: SUNDANCE "Eagles"

WORMDOOM Last Days Boogie (Twisted Village) cd 14.98
Here's something we've been meaning to list for a long time... since, oh, about 1995! 'Cause while we've reviewed a LOT of things on our site, somehow we haven't reviewed everything. So more than once in a while, we like to write up an old fave that we haven't actually ever listed before - often something that kinda predated our doing of "the List". Like this, which came out in '95. Turns out the distributor we got it from originally still had some copies in stock, and we figured that lots of you might not have come across this before. Plus, c'mon, how could we pass up finally having a band called WORMDOOM in our catalog?
However, it's not the usual doom metal fare like you might be expecting. Instead Wormdoom are, uh, fake Christian '70s heavy psych! Well, fake's not quite the right word (though these guys and gal probably aren't actually all that Christian). But they're not really trying to fool anyone about actually being from the '70s, either, we mean. That's just their inspiration, the Wormdoom concept, totally going for an apocalyptic Jesus freak "holy fuzz" vibe. The artwork is right on, the cover reminding us of some private press krautrock rarities (not necessarily Christian but apocalyptic anyway, like Necronomicon and Gravestone's Doomsday). Not only does it have the look, they've got the sound down too, as well they should since Wormdoom was comprised of folks with great record collections, members of a bunch of other great, totally freaky bands that were all part of the the whole genius drugged out Twisted Village scene of the early '90s. On guitars, Wayne Rogers and Kate Biggar from Crystallized Movements, Magic Hour, Vermonster, B.O.R.B. aka Bongloads Of Righteous Boo! On bass, Tom Leonard of Luxurious Bags (and also Vermonster, B.O.R.B.). On drums, Joe Malinowski (Vermonster). And of course, Wayne, Kate & Tom are all currently still slinging axes and kicking out the jams in Major Stars.
So, no surprise Wormdoom are willing and able to deal out the full on distortodelic acid guitar splurt like it was gifted to them from on high! Their garagey protometalgrindboogie is actually waaaay more extreme than anything really from the '70s, nothing back then sounded quite this crazed (did it?). With trashcan drumming, tons o' distortion n' noise, and glossolalia-like vocal babble on a couple tracks ("The Gift Of The Tongues" parts 1 and 2, natch - everythin' else is all instrumental), they woulda however fit in sonically pretty darn well on one of them classic PSF Tokyo Flashback comps, were they Japanese. Heck, some of this would fit in on a Butthole Surfers album. Of all the Twisted Village bands, Wormdoom is by far the heaviest.
And, underneath it all, they manage some damn catchy hooks, the wham-bam 2:21 title track ferinstance definitely boogie-ing its way into your brain until the Rapture, at least. They also sprawl out with some extended jams too, as you might expect from this bunch, proving that you don't need drugs, just Jesus to get you high. We'll put "Jesus" in quotes, though.
This, by the way, was Wormdoom's only album, besides this they managed a live 7" and a comp track and that's about it, which is as it should be, since if they really WERE an early '70s Jesus rock band, they wouldn't have left behind much more than that for collectors to discover years later, would they? Praise the Lord, they let it all hang out here.
15 years after this came out (and, like, 40 years after it -looks- like it came out), it still seems like we're approaching the Last Days don't it? So, if you missed this before, repent ye sinners, Wormdoom saves! Amen.
MPEG Stream: "Last Days Boogie"
MPEG Stream: "Blessed Assurance"

NGOZI FAMILY 45,000 Volts (No Smoke) cd 25.00
Man, have we been waiting for this! Why? Well, does Chrissy Zebby Tembo mean anything to you? The group that backed him up on his wonderful My Ancestors album from 1974 have a rare record of their own that's just been reissued, the electrifying indeed 45,000 Volts, and it's another killer document of Zambian heavy fuzz rock ("Zamrock"!) from the '70s! Founded by Paul Dobson Nyirongo, otherwise known as Paul Ngozi, a Hendrix-styled guitarist (he even did the trick of playing with his teeth), the Ngozi Family band released this winning album in 1977, and now that we've heard it, it goes right to the top of the selection of awesome garage fuzz rock from Africa in our collections, a small but ever growing category thanks to ruling reissues like this (we're also looking forward to Shadoks' impending cd edition of The Witch album, also from Zambia, next month, you should be too). And it's not so lo-fi as that Tembo disc, much better sound, though the production still sounds very "live", we think it's perfect, capturing both the thud and grace of the Ngozi Family's music.
There's ten tracks (including one bonus from a 7"), containing so much raw FUZZ! Burbling, sizzling, wah wah action. Along with wicked beats, soulful sincere vocals (some songs in English, others in a Zambian language, Nyanja perhaps), and groove that just won't quit. Most of the tracks are in a Western psych-rock style with distinct African influences, though a couple tracks near the end of the disc are much more like traditional Afrobeat, with hand percussion and mass chanting vocals. As far as the rock stuff goes, even when they kick back on the mellower, more sunshiney numbers there's still lotsa fuzz and snappy beats. And Ngozi actually translates to Danger in English, so you know that they don't neglect the harder and heavier fare on this album. Particularly proto-metal-ish is "Night Of Fear", with immensely fat riffing and echoed lyrics about graveyards and nightmares! Here and elsewhere we're reminded of Los Dug Dugs. Heck even a little Blue Cheer. And of course Ofege and Chrissy Zebby Tembo and others from Africa.
Timeless stuff, highly recommended. Tembo's My Ancestors, reissued on the same label, is already out of print on cd, and this reish is equally limited too, 500 copies only, so get it while you can. FYI there's also a vinyl version but our supplier is already out of those, at the moment anyway, if we're able to get more we'll list it then.
MPEG Stream: "Everything Is Over"
MPEG Stream: "Nizaka Panga Ngozi"
MPEG Stream: "Night Of Fear"

WATERLOO First Battle (Guerssen) cd 17.98
Ye olde '70s prog rock treat time here, folks, particularly for those (like us) who like lots of flute in their prog! Coming to us via the excellent Guerssen label, who last list brought us William Nowik's Pan Symphony In E, this reissue of Belgian proggers Waterloo's one and only album First Battle from 1970 reveals another one-off gem from the dusty prog past that we had never heard of before but now are digging big time. This group's music is infused with the paisley psych poppiness of the likes of The Beatles and The Kinks, but also provides lots of pounding organ and flute rippage, making for a bombastic prog bounty indeed, a catchy one as well. Presumably influenced by certain of the British progressive rock outfits of the day, such as the The Nice, Jethro Tull, and Mk1 Deep Purple, this gets heavier too, sounding at times not unlike Uriah Heep, but with flute! It's got it all, really: sunny pop balladry, groovy brass rock arrangements (a la Blood Sweat & Tears), jazzy moves too (including some scat singing in the midst of 11 minute epic album closer "Diary Of An Old Man"). And plenty of flat out flashy instrumental action, guitars organ drums and FLUTE all in full force, charging forth on the battlefield of rock like triumphant prog troopers.
Fits in well with some other prog obscurities we've recommended previously... Blast Furnace comes to mind, also Supersister, Tetragon, Bachdenkel, Culpeper's Orchard, etc. Once again, we're wowed by the wonders of the reissue realm. How many more bands like this can there be??
To be sure, 'cause of how poppy this is, it might not be for those ONLY looking for the super dark or weird - though some of the lyrics ARE rather strange, like ferinstance the line "Can't you tell me where black children come from, daddy?" from the song "Black Born Children". What's that about? Also, don't expect any conceptual side-long song suites here, no this ain't Yes, in fact by prog standards only one song (the aforementioned "Diary Of An Old Man") is a double digit epic, the rest stay within the normal temporal parameters of pop single radio play, 2-3 minutes or so. But if you like the lighter (though no less tighter) side of prog, then check this out. It can only be regretted that Waterloo's First Battle was their last. Although, this reissue buffs up the original record's ten tracks with six extra bonus cuts from post-album singles and such. And, the cd booklet provides an in-depth history of the band in the liner notes, including mention of 'em jamming with members of Magma at one point!
MPEG Stream: "Meet Again"
MPEG Stream: "Why May I Not Know"
MPEG Stream: "Why Don't You Follow Me"

ACID EATER Black Fuzz On Wheels (Time Bomb) cd 22.00
When we think about it, we really should have made Acid Eater's debut, the awesomely titled Virulent Fuzz Punk A.C.I.D., a Record Of The Week, the most overdriven slab of in-the-red noise drenched hyperdistorted drug fueled punked out garage rock EVER. That is, until now.
So we can right that wrong, by bestowing the honor on record number two, the equally bad assedly (and aptly) titled Black Fuzz On Wheels, another amp destroying psychedelic garage punk blowout, fronted by none other than Yamazaki Maso, aka MASONNA, on vocals and sound effects, and ably backed up by a classic garage rock lineup, fuzz guitar, organ, bass keyboard, drums and chorus, okay, well, maybe not totally classic, but then this is not your classic garage rock. Imagine fuzzed out sixties garage rock, but with a fucked up freaked out Merzbow production, the guitars so distorted the riffs seem to be on the verge of totally falling to pieces, the drums, a blown out pound, the vocals, a sneering yowl, also doused in effects, all held in place by thick whirring Farfisa, everything rollicking and rocking, loose and wild, heavy and psychedelic, and all wrapped up in a bristly, incendiary sheen of white hot buzz and skree.
Thankfully these guys (and gal) have the fuzzed out garage pop songs to back up this sort of speaker shredding sonic onslaught, not to mention a little clutch of kick ass covers, songs by Crime, The Miracle Workers, and a band we'd never heard of before called The Tidal Wave, but whose composition here actually sounds like a sped up "TV Eye" by The Stooges! Weirdest of all, there's a cover of one of the tracks from those Schulmadchen Report soundtracks, y'know, music from saucy '60s German 'documentaries' about school girls making it with older men! Crazy, but it suits them, that cover is a cool surfy instrumental jam, with a bad ass main riff, and a cool breakdown with just drums and distorted hiss. The Miracle Workers cover is awesome too, maybe the noisiest of the bunch, and such a great song ("Love Has No Time"), the vocals especially effected, so snarly and snotty, as well as a tripped out psychedelic ambient effects drenched outro, all motorik pulses and swirling space age bleeps and bloops.
But if you didn't know, you'd probably just figure those covers were originals too, every song on here sounds like some classic sixties garage jam, dipped in a vat of liquid LSD, set afire and sent careening from your speakers. We can only imagine how mind blowing Acid Eater must be live.
Total psychnoise surfpunk distorto garage pop bliss. With super sexy naked lady motorcycle cover art to boot!!
MPEG Stream: "Yes, Motion"
MPEG Stream: "Oh Baby's No"
MPEG Stream: "Follow Me"
MPEG Stream: "Searching For Love"

CIRCLE Tulikoira (2009 Edition) (Ektro) cd 14.98
This 2005 Circle album, out of print for a bit, is now newly reissued on cd, this time its jewel case wrapped in a spiffy slipcase, featuring some cool new artwork (and a "no posers" symbol)!
NWOFHM. That's what it says on the inside of the cd booklet, in big bold letters. NWOFHM? WTF? If you don't get the joke, explaining it won't help, but here goes: New Wave Of Finnish Heavy Metal. Our Finnish friends Circle are apparently referencing the famed NWOBHM (New Wave Of British Heavy Metal) that took the rock world by storm circa 1979, giving us Saxon, Angel Witch, Def Leppard, Iron Maiden, Venom, Samson, and many many many more. What's that got to do with the Can and Neu! pulsed space/prog/post-rock normally practiced by Circle?? Well Circle fans know that these guys have indeed established their very own trademark "circular" sound (repetitive, rhythmic, looping, hypnotic rock) that, whirlpool-like, pulls in all sorts of influences, from the aforementioned Krautrock forefathers to jazz and dub and lo-fi drone improv and, yes, metal. When you get a new Circle album, you kinda both know what to expect *and* never know what to expect. Well we'll tell you about Circle's latest studio effort, Tulikoria. In part, it's Circle donning the leather and spikes (metaphorically, perhaps, though they threatened to do so for real live on stage at their show in San Francisco that was happening the night we originally posted this review). Circle's love of metal, specifically the true, traditional heavy metal of the '80s, has borne fruit before, on several of the songs from their amazing Sunrise album released in 2002. So, the heavy metal component present on Tulikoira is precedented in the Circle discog. But, like Sunrise, this isn't just Circle "doing metal". It's a lot of other things besides! Nobody will confuse it for an "actual" metal album. But heavy metal is definitely, proudly an element here, amongst others. And graphically, too, it's an inspiration, as you'll see from Circle's new fangled, tough-looking symmetrical logo, which even incorporates a lightning bolt!
There's four tracks here, starting with "Rautakaarme", an atmospheric seven-minute cut featuring monkish chant, eerie drone, and energetic bursts of rock action. Second track "Tulilintu" is *entirely* active and energetic, really bringing in the headbanging, fist-pumping metal, complete with guitar leads and soaring screams in the manner of Rob Halford. Seriously. The lyrics are in Finnish (presumably) so we don't know how tongue-in-cheek-or-not they are. Track three, "Berserk", is kinda weird, another atmospheric exercise with some lines in English like "I'm a scorpion" and "I'm a crocodile" spoken over rather spooky, bass-heavy grooves. A lot of tension in this one. Could almost be a noirish film soundtrack from the '70s, but with additional "circular" electric guitar riffing. Then the final track "Puutiikeri" arrives, pretty much taking over the album since it's an epic 24 minute affair, beginning and ending with authentic heavy metal riffing, but journeying far and wide in-between. Creaky improv splatter, lush keyboards, gently whispering vocals, spacey electronic effects, chugging, pulsating rhythms (of course!), and even some quasi-techno beats (!) are stirred into this weird mix. Ranging in mood from calm tranquility to flat out rockin', this is a real trip, as is all of Tulikoira. If you've been following Circle's output in recent years, and rolling with all their eccentricities, from Sunrise to Guillotine to Forest to Empire, you'll be happy to add Tulikoria to your collection too!
MPEG Stream: "Rautakaarme"
MPEG Stream: "Tulilintu"
MPEG Stream: "Berserk"

DENGUE FEVER (V/A) Presents Electric Cambodia: 14 Rare Gems From Cambodia's Past (Minky) cd 16.98
Fans of the amazing Cambodian Rocks compilations we've reviewed in the past are definitely gonna want this one too, a collection compiled by the members of the modern LA-based Cambodian pop band Dengue Fever (longtime AQ faves) of their favorite classic Cambodian rock and roll jams from the sixties and seventies, a golden renaissance age for art and music in Cambodia, directly preceding the reign of the Khmer Rouge, who took over the country in 1975 and attempted to wipe out any and all traces of modern society, and as the liner notes point out, much of the music survived, but most of the musicians did not.
As with the Cambodian Rocks comps, the songs here are groovy and funky and fun, with shuffling rhythms, wild psychedelic guitar solos, warm wheezing organs, fuzzy surf guitars, and of course incredible vocals, the perfect mix of Western style rock and pop and Eastern style traditional folk music. Even though on the surface, the songs all seem sunshiney and playful, but there's definitely an element of pathos and drama, many of the songs are subtly maudlin and melancholy, there's even a song called "I Will Starve Myself To Death", but listening to it, with its jangle guitar and shuffly rhythm, you would never guess the grim title and perhaps lyrical content. There's also a killer cover of Sonny Bono's "Bang Bang", popularized by Cher, Nancy Sinatra and Terry Reid, and here it's gorgeously haunting, a waltzy bit of melodrama, with that immediately recognizable chorus, even in a different language. So good. We just can't get enough of this stuff, anyone who dug those Cambodian Rocks comps, or who loves the Sublime Frequencies collections, will no doubt go crazy for this too. There is definitely some overlap with this collection and the partially out of print Cambodian Rocks series, but there are definitely some tracks here we've never heard before (like "Bang Bang", or as it's titled here, "Snaeha"), and besides, the proceeds from the sale of this record will be donated to Cambodian Living Arts: www.cambodianlivingarts.org! So what are you waiting for??
MPEG Stream: PAN RON "Snaeha"
MPEG Stream: DARA CHOM CHAN "Give Me One Kiss"
MPEG Stream: PAN RON "Don't Speak"
MPEG Stream: PAN RON "Jombang"
MPEG Stream: ROS SEREYSOTHEA "Flowers In The Sand"

GARGAUD, GUILLAUME Here (Kvist Records) cd 12.98
At this point, the idea of "improvised guitar and electronics" (what it says here) elicits a bit of a ho-hum reaction from us. Heard it before, we think. Do we need more of that noise? But, in the case of French guitarist Guillaume Gargaud, it's still pretty worthwhile of an idea. We hadn't heard him previously (despite his having a recent recording on AQ fave label Utech, somehow we missed that one!). But we're glad we checked out his new disc, released on the same label that previously brought us the cosmic New Age electronics of J.D. Emmanuel (via archival release Solid Dawn: Electronic Works 1979-1982).
Portions of this are certainly dreamily deep space sounding enough to fit in with that. The nine tracks here in fact range from truly intense, dramatic drone, like the ominous opening cut "Seve Brute" (which reminds us of Darsombra or an "isolationist" Expo 70) to purely acoustic, post-Takoma wanderings more akin to James Blackshaw or Steffen Basho-Junghans ("Aedeiinae"). Though there's heavy moments, many of the tracks are ultimately gentle, vaguely glitchy, sometimes soothingly rhythmic, mostly drifting... all quite nice. Turns out there's still lots of good & not TOO abstract results possible with ye olde improvised guitar and electronics, why did we doubt it?
MPEG Stream: "Seve Brute"
MPEG Stream: "Traces Du Temps"
MPEG Stream: "Tache De Suie"

NET SHAKER Church On Time (self-released) cd-r 9.98
Another mysterious disc that just showed up in the mail one day, and totally knocked our socks off. So we ordered a bunch cuz we wanted to share them with all of you, but then we realized we had to describe it, and damn if this isn't a tough one to figure out.
Dark and somber, rhythmic and minimal, a muddy, murky, sort of krautdrone drift. The rhythms are pulses, that drift in and out, the guitars moan and keen, electronics warble and rumble, lots of twisted bits of low end, changing speed and tone, super abstract and drifty and otherworldly, the band occasionally coalesce into a sort-of-groove, but even then, it's a sort of convoluted lumber, vocals, wrapped in reverb and echo, draped over the stuttering anti-funk, the melody carried by deep slow shifting swells, all around fragments of sounds tangle and untangle, their overtones creating strange minimal melodies.
When the vocals do come in, it almost sounds like some sort of avant coldwave, imagine a cold wave Starfuckers maybe, a little bit cold and clinical and machinelike, but Net Shaker are less concerned with song, and groove, and being new wave or cold wave or whatever. They definitely exist in their own fucked up and fractured world.
The sound may be hard to pin down, but it's definitely mesmerizing, hypnotic, cyclical, a woozy, warped, murky assemblage of cold Teutonic pop, layered drones, motorik krautrock, spaced out post industrial ambience, not to mention some fractured druggy sonic collage. Noise rock, post punk, avant pop, dirge wave, cold core, krautwave, not sure what to call it, or if it even needs a name, what we do know is this is one of the most original sounding records we've heard in ages, and we find ourselves listening to this cd-r all the time. Which pretty much says it all...
MPEG Stream: "Descenda"
MPEG Stream: "Silhouetta"
MPEG Stream: "Church On"
MPEG Stream: "Iss"
MPEG Stream: "Ticlake"

URTHONA AND THE ASTERISM Murmurations (Further) cd 13.98
Chuffed to get another gorgeous transmission from the pagan UK dronester known as Urthona! Previously we've enjoyed the heavy organic sounds of his J. Cope approved "shoegazing freeform rural-psych-noise-guitar-drone" via Urthona's I Refute It Thus cd on Head Heritage and Amid Devonia's Alps cd-r on Further. Now he's back, teamed up with a likeminded mysterious entity known as The Asterism, for a cd (not cd-r) on Further called Murmurations. There's two tracks here, "River Severn Bore" clocking in at 24 minutes 20 seconds and the title track, a mere 19 minutes 50 seconds... about what we'd expect, epics! Both pieces are titled after natural phenomena that even though admitting of scientific explanation, still may appear mystically significant even to modern day observers.
"River Severn Bore" refers to an unusually high wave that in ancient days inspired legends, "Murmurations" are what vast swirling swooping flocks of starlings are called, as they dance in the air, seemingly synchronized in their movements. Both titles make for excellent inspirations for the sonics here, Urthona and The Asterism's amped up guitars building buzzing drones massive enough to match such awesome spectacles, with their own field recordings captured on hikes in the English countryside mixed in perfectly, the electronic fuzz eventually morphing into a wash of rain/water sounds at the end of "River Severn Bore" ferinstance. That's the denser/darker of the two pieces, throbbing thickly, grinding drones licked with feedback, SUNNO))) and Boris fans should bow down... "Murmurations" is heavy too, but as befits its subject, displays more agile, active movement, sounding somehow exotic and raga-like, with delicate high-end shimmer from guitars and amps echoing the cries of birds from the field recordings that are also present in the mix, as is, we think, some gentle percussion... it falls somewhere between James Blackshaw and Bong, perhaps. Quite lovely -and- fuzzy.
Packaging is again a trifold "eco-wallet" affair, recycled cardstock, vegetable based inks, these fellows nature worship taken pretty seriously, in more than just the music...
MPEG Stream: "River Severn Bore"
MPEG Stream: "Murmurations"

WORM OUROBOROS s/t (Profound Lore) cd 13.98
On Profound Lore, which has developed quite the reputation as an interesting metal label across several genres ('tis always worth listening to what they deem worthy of release, we'd say) comes the debut from Worm Ouroboros, a Bay Area based trio that notably includes singer/bassist Lorraine Rath formerly of blackened gothic doomsters The Gault (also ex-Amber Asylum). The trio is completed by guitarist/vocalist Jessica Way and drummer Justin Green, who both play in a crusty death-doom metal act called World Eater.
Although Worm Ouroboros has its doomy aspects, it's pretty far from crusty, or even often metal, really! The music on this disc is really mostly quite gentle, with hushed lovely vocals and somnolent instrumental atmospheres. It's all vaguely medieval (in a folky, not metal way) and meditative, dark and dreamy, though these songs do have post-rock style loud-soft dynamics, allowing for some heavy distorted doom riffage to kick in occasionally, and always majestically. Much of the time, though, Worm Ouroboros is all about the interweaving of delicate drifting guitar, clean female vocals (the two ladies in the band sometimes sing harmonies), poetic lyrics, and restrained drumming.
When we first put this on, it started off in that near ambient ethereal mode, and we were thinking, hmm, hope this doesn't turn out to be boring, or too "Lilith Fair", but pretty soon we were thoroughly entranced, it's total ear candy that compels repeat spins. It flows beautifully, whether mellow or more "metal", and even when the waters are churned by heavier guitar/drums passages the mood still remains calm, soothing somehow. Never headbanging, maybe head-cradling though, face in hands, weeping, perhaps from sadness, perhaps from joy...
Slow and sinuous, this sometimes reminds us of forgotten Finnish art-metal act Decoryah from the '90s (which is strange, since they were so unique we're rarely reminded of 'em, in fact, haven't even thought of them for ages, heck now we're gonna go put a Decoryah cd on!). To mention some perhaps better known bands that this also evokes, in ways, at times: Katatonia, Isis, Amber Asylum, Sigur Ros, Hammers Of Misfortune, and of course The Gault... So, can we call it gothic downer doom rock folk prog? Yes indeed. There's even a bit of flute (helping to make the heaviness of the epic 11 minute "Riverbed" be even more progged out), and magically tinkling glockenspiel! Most definitely, another unusual winner (as far as we're concerned) from Profound Lore.
MPEG Stream: "A Birth A Death"
MPEG Stream: "Goldeneye"
MPEG Stream: "Riverbed"

NOWIK, WILLIAM Pan Symphony In E Minor (Guerssen) cd 17.98
We hate to say it, or maybe we don't really hate to say it, but it seems like, well, you could pass a (rather draconian) law that no new music is allowed to be recorded or released, EVER, and even then, just by virtue of folks digging up and reissuing old obscure recordings from the '60s, '70s, etc., there'd still be enough awesome releases for Aquarius at least to still have a kick ass New Arrivals list of reviews every two weeks, right?? The cool reissues that keep on coming seem like proof of this. Here's the latest great example.
Long forgotten, private press, early '70s American psych-prog, rather pastoral (it's dedicated to the pagan Greek god Pan after all), masterminded by some earnest, bearded prog nerd doing his musicianly best to emulate his English/European heroes of the day, shades of Pink Floyd and King Crimson. That sorta sums up this all-instrumental album, recorded by composer William Nowik with a little help from his friends somewhere in upstate New York back in 1974. Except, that doesn't quite convey quite how fantastic and unusual Pan Symphony In E Minor really is! Possibly Nowik was into krautrock too, and we do know that the Master Musicians Of Joujouka had some influence on his musical vision of Pan.
Nowik's meticulously crafted, moody song-suites flow gorgeously, making precise sudden shifts as well. There'll be mellow rustic folkiness one moment, then -wham- it starts rockin' out with some fairly heavy guitar riffing, but then things wend and wind along further, and it's back to all-acoustic folk or jazzy bliss, but wyrd y'know, and then wyrder, with parts that are downright experimental, such as the passage towards the end of the disc which sounds like people climbing stairs while a church organ plays, followed by the sounds of a ticking clock, then plinking thumb piano...
There's just something ELSE to Nowik's music, an X-factor (the -actual- influence of Pan, perhaps?) that's hard to define but makes it more than just another obscure '70s prog effort. He takes things further, the music goes places other than where you'd expect, and dwells there longer, before heading off in another surprising direction (acoustic folky groove morphing into disjointed funk, ferinstance, at one point). But in all cases it really pulls you naturally there along with it. And it's beautiful, beautiful, beautiful. Much will appeal to fans of Six Organs of Admittance, among other acts (Citay too?), we think.
The cd booklet is filled with enthused liner notes & lots of vintage b&w photos, giving a glimpse into the album's creation and the subsequent career of its creator. Since only a mere handful of copies were originally pressed in '74, and it was barely distributed to boot, thank Pan that it's been reissued and more folks can enjoy this today.
We will note one oddity of the cd reissue: though there's 14 tracks listed, the actual disc is only indexed into 3 tracks (one very short, two quite long). Doesn't really matter though, as you should listen to the whole thing all the way through every time anyway...
MPEG Stream: "excerpt 1"
MPEG Stream: "excerpt 2"
MPEG Stream: "excerpt 3"

WHOURKR Concrete (Crucial Blast) cd 13.98
We first discovered French electro-grind-metal-psych-whatthefuck duo Whourkr a year or two back when we got their debut record, Naat, which totally blew us away, it sounded like a malfunctioning metal record and a freaked out techno record, all scrambled up together, tangled up and spit out, a skittering, skipping, looped, grinding chunk of electronic metal weirdness. The vocals would howl, but then get processed and looped and would become something else altogether, the drums and guitars were so gnarled and stretched and twisted up, that the band could explode into flurries of rapidfire mathematical grind, way faster and more complex and convoluted than any human could possible play. It was a total headfuck. Like the fastest freakiest grind, made even faster and freakier, but with a little techno thrown in for good measure. Remember the Drum>MachineGun compilation, of insane drum machine driven grind? Whourkr makes that stuff sound so so tame in comparison.
We tried and tried to track down copies for the store, but never had any luck, and then we heard that Crucial Blast would be releasing the NEW Whourkr, so we waited and waited, and now it's finally here, and it's totally different than the first one (or at least how we remember the first one), way poppier and more melodic, like the band are now actually composing songs instead of throwing all the sounds in a blender to see what comes out (not that we don't dig that too!), it's way poppier, catchier, but still totally and utterly freaked out and glitchy and fucked up beyond belief.
Chugging guitars and shrieked vox are chopped and spliced into a hyperspeed deathmetal Melt Banana, all the sounds constantly shifting, the tempo changing, the rhythms colliding and hiccuping, occasionally coalescing into full on grooves, other times splintering into bursts of electronic freakouts, and there are serious hooks happening too, it doesn't seem possible that music like this could be listenable, let alone catchy, but it is. Big time. We'll be the first to admit, that the other Whourkr record was difficult listening, brutal and to many ears annoying, and yeah, the same might be said for Concrete as well, but the band are so much better now, in terms of composition and songwriting, that once you're immersed in their fucked up and freaked out soundworld, it becomes surprisingly easy to acclimate to the rapidly and constantly shifting sounds and rhythms, in order to enjoy the songs themselves. Plus the vocals seem to play a much larger role, not just howls and shrieks, there are plenty of clean vox, soaring almost operatic, low AND high, wrapped around frenzied riffing, wound up into spiralling psychedelic freakouts, or like the instruments, chopped into crazed stutterscapes.
Take the track "Santo", with its deep crooned vox and acoustic guitars, sounding almost like Circle, the electronic effects very subtle at first, before the track lurches into full on doom, the voices and guitars just slightly glitched, eventually giving way to gorgeous delicate piano, only to be obliterated by the next track "Skovsnails", a little burst of drums, and a crazy clipped main riff, it almost sounds like some insane DJ remixing Orthrelm, the song stutters and lurches and hiccups, totally frenetic and relentless. The record dips its toes into all sorts of weird sounds, loping moody electronic downtempo, albeit a little fractured, head spinning hyper grind, shot through with unlikely pop hooks, glitched out death metal, soaring slow building post rocky drama, and more Melt Banana-esque grind pop, but nothing here sounds thrown together, or hodge podge, this is a baffling collection of sounds, but one that is meticulously composed, performed and recorded, and for those in the market for something truly demented, insane, extreme and heavy, not to mention out-there, and pretty much entirely unlike anything you've ever heard before, be next to impossibly to top Whourkr. Definite contender for metal record of the year, even though calling it a metal record is selling it WAY short. Regardless, absolutely recommended.
MPEG Stream: "Mindgerb"
MPEG Stream: "Antzcrowzing"
MPEG Stream: "Bore Injektion"
MPEG Stream: "Santo"
MPEG Stream: "Fatrubber"

VILLAGE OF DEAD ROADS Desolation Will Destroy You (Meteor City) cd 11.98
Brutal. Beautiful. Brut-iful? it's album number two from Erie, PA's heaviest hitters Village Of Dead Roads (who are one of the "Neur-Isis" crowd's best kept secrets). We dug their debut from a few years back quite a bit, and now on this sophomore release they've unleashed another advanced lesson in sludgecore sonics. Although actually this album is a bit less "experimental" than their first one, dropping the ambient sampling stuff and maybe getting a bit MORE metal, including some rather melodic metallic guitar soloing. There's lots of cool parts, every song with something interesting/artistic to offer musically. Every song also utterly destroying you with its heaviness and aggression, via punishing drums, churning riffs, and throat-shreddingly screamed vokills. Yet, they also manage to incorporate moments of melancholic moodiness inbetwixt the crushing parts, without wimping out or being too post-rock predictable. What we're trying to say, is it doesn't get boring, the way some albums in this genre do (though it may not always fit your mood, for instance if you're, like, happy, and want to remain so).
Heartily recommended to fans of other bands from that Neur-Isis axis! And anything from Eyehategod to Samothrace, Cavity to Cult Of Luna, Black Cobra to Snowblood... Not sure why they haven't become better known, they're as good or better than most, though this might be their final release anyway, not sure, apparently the Village's population is down to just the guitarist/vocalist and the drummer now, both of whom are also in a new (two-piece) band called Cotton Candy, a name which you won't be surprised to learn does NOT describe their sound at all...
MPEG Stream: "Our Cold War"
MPEG Stream: "Chemical Restraint"
MPEG Stream: "Halo Becomes A Noose"

LA IRA DE DIOS Apus Revolution Rock (World In Sound) cd 23.00
All right, this is a relief. Reviewing a freakin' kick ass real ROCK N' ROLL record. Nice to know they still can make 'em. Not that we didn't expect a healthy helping of rockin' from Lima's La Ira De Dios, whose previous album more than lived up to its title, Cosmos Kaos Destruccion (no translation needed, right?). We compared 'em to stonery stuff like Monster Magnet and Hawkwind last time 'round, but on Apus Revolution Rock they've gone even more raw and retro, punking it up '60s garage fuzzmonster style, with nods to surf music and other retro sounds, to the extent of including screaming girls (La Ira De Dios mania!?) in the mix on the blown out opening cut "Revolucion", which has a '50s meets the Stooges vibe that sounds a lot like '70s Japanese jams-kicker-outers Gedo. Good grief! What's not to like about that? And if you like to rock that is. THEY sure do, second track "No Hay Control" not letting up, in fact, cranking it up, it and ALL the dozen tracks on this album delivering nothin' but 110 percent high energy distortodelic rock action.
Need we say more? 'Cause La Ira De Dios really say it all with the slogan on the cd booklet: "Peru Psicodelia Punk". Another one they're fond of: "MAXIMUMVOLUMEROCKANDROLL!!!" If you're looking for catchy amped up anarchistic rawk with tons o' frantic fuzz, and cowbell too, for fans of The Heads, The Hives, Crushed Butler, Mudhoney, Larry Wallis era Pink Fairies, Motorhead, Boris circa Pink, fellow Peruvians / labelmates El Cuy, and other rad rockin' coolness of that ilk then La Ira De Dios have a rekkid for you!! Or if you can, imagine Los Natas on a search and destroy mission to do a Louie Louie and you're close to what La Ira De Dios is dishing out here.
So yeah, reviewing this was a blast, just turned it up and let the rock dictate these words... now the problem is turning it off and trying to put on something else we gotta review, which almost by definition will be less rockin' and thus less worthwhile. Plus somehow, in the process of reviewing this, we had a couple beers...maybe we'll just play this record one more time.
By the way, the vinyl version of this comes with a bonus 7", featuring of all things, a cover of "Shadowplay" by Joy Division (!), whereas the compact disc includes an exclusive bonus video for the track "5000 Anos".
MPEG Stream: "Todo Arde En Llamas"
MPEG Stream: "5000 Anos"
MPEG Stream: "Atravezare"

PEOPLE Ceremony - Buddha Meet Rock (Phoenix) lp 24.00
Yay! Back in print! New label, new packaging, and also now on vinyl!
1971 strikes again! Here's a new cd reish of this beautifully freaky album by a Japanese "Buddhist-psych" band called People, featuring guitarist Kimio Mizutani (who played with Love Live Life + 1, Hiro Yanagida, and others, and did a solo album called A Path Through Haze). There's monk-like chanting and resounding gongs, field recordings of birds and street sounds, and even, strangely enough, samples from soulful psych-funk producer David Axelrod's classic 1968 album Song Of Innocence. And of course heavy wah wah guitar action. The album is a real 'trip', much of it indeed very ceremonial-sounding, venturing from blissful grooves with tick-tock rhythms ("Shomyo Part 2") and placid, lovely droniness ("Prayer Part 1") to sheer pounding electric fuzz riffage laced with screams of orgasmic ecstasy ("Prayer Part 2"). The puzzling use of those lush, orchestral Axelrod samples on the first and last tracks just helps to make this somehow both very much of its time and also way ahead of it (since Axelrod is heavily sampled by folks today as well!). Quite recommended.
This was previously reissued by Teichiku, but that one's been gone for a while. This new reissue on Phoenix is the same price, with the cd packaged in one of their usual "wallet" style cardboard sleeves - and they also did vinyl.
MPEG Stream: "Flower Strewing "
MPEG Stream: "Prayer Part 2"

REVEREND BIZARRE Death Is Glory... Now (Spikefarm) 2cd 16.98
Along with the post-Reverend Bizarre project we just got in and made our Record Of The Week (Sami "Sir Albert Witchfinder" Hynninen's ultra-doomy The Puritan, you already read about it above, right?), we also were finally able to get some copies of this, a MUST HAVE for all fans of these now defunct Finnish true doom metal legends. In fact, it's so good we would not hesitate to recommend it to any curious persons who have yet to hear ANY Reverend Bizarre. It's not an official "best of", actually this posthumous collection consists of uber rarities from various vinyl split ep's and other obscure sources, but it does still have some of their best stuff on it. And, since Rev. B. had fashioned themselves into one of the best "traditional" doom metal bands around (in part by not being TOO traditional) that means this is one of the best double discs of doom we've heard since, well, the LAST Reverend Bizarre album, the 2cd swansong that was III: So Long Suckers.
There's 15 tracks here, leading off with "Demons Annoying Me" from a long vanished split 12" with Orodruin, which happens to be a NON-boring nearly 18 minute epic, a true masterwork of heedless heaviness, built from raging riffs, distorted noise, and cathartic screams, one of the tracks that transcends this band's obvious influences and definitely deserves pride of place as the first track on this altogether awesome double disc. Other standouts abound, from the anthemic "Blood On Satan's Claw" (boasting some King Diamond-y falsetto in the vocal dep't.), to the brief and bludgeoning "Odinn's Men", to the seemingly Current 93 influenced "Apocalyptic Riders", to the also pretty darn epic eleven and a half minute "From The Void II", complete with slo-mo drum solo...
Then there's all the killer cover songs included here, including two from a long out of print 7" we once stocked: Judas Priest's "Deceiver" and Saint Vitus' "Dark World". As the liner notes put it, it's as if Saint Vitus wrote that song for RB to cover. And while Albert's vocals are quite impressive throughout this entire collection, it's really amazing how well his wildly over the top "impersonation" of Rob Halford comes off on "Deciever", and with Vitus such a huge influence on RB to begin with, it's no surprise that Albert channels Scott Reagers perfectly on "Dark World" (heck he channels Reagers perfectly all the time, check out the track "The Tree Of Suffering" for another very good example). Wow.
RB's music can get pretty trancey, doing a dirgey drone at a creepy crawl, with the likes of the gloomy "Bend" (an unlikely "cover" of a track by Finnish electro artist Mr. Velcro Fastener, by the way, from a split they did!) and a bunch of others bringing in hints of black metal grimnity. But also some tracks are fairly uptempo and succinct, like the '70s Sabbatheque rockin' of "Broken Vows", which any Witchcraft fan is gonna love (it's a Pentagram cover). And if you get at all bothered the Devil in your music (why are you reading this then?), beware the backwards shit going down on "The Gate Of Nanna" (a Beherit cover!) at the end of disc 2, that's Satan worship if we've ever heard it. So cool.
The cd booklet deserves mention as well, they didn't neglect the liner notes that's for sure. There's many pages of text in tiny tiny type discussing the what/when/where/why of each track in great depth.
R.I.P. Reverend Bizarre... and doom on brothers, Doom On!!
MPEG Stream: "Demons Annoying Me"
MPEG Stream: "Dark World"
MPEG Stream: "Broken Vows"

PURITAN, THE Lithium Gates (Spinefarm) cd 16.98
The demise of legendary doomlords Reverend Bizarre had two strange but positive after effects, first, there seemed to be a flood of posthumous RB releases, more we think than when they were actually a band, a from-beyond-the-grave release schedule to rival Biggie or Tupac, as is further demonstrated by yet another new Reverend Bizarre release reviewed elsewhere on this week's list! The second outcome was the more inevitable one, a whole slew of new projects from RB mainman S.A.Hynninen (aka Albert Witchfinder), whose voracious need to rock would obviously need a new outlet, and thus we have The Puritan and Opium Warlords. Both born of Hynninen's newfound obsession with ultra doom, with sludge, especially of the Japanese variety, Boris, Corrupted, Solar Anus, Hynninen set forth on a mission to create some serious Japanese style ultra doom sludge. We'll have the Opium Warlords disc for next list, but for now, we shall celebrate The Puritan, and Lithium Gates, which compiles two previously released, now out of print vinyl lps, one of which we never had, the other which we had in extremely limited numbers.
We've become convinced, that Hynninen must be somehow related to Circle's Jussi Lehtisalo. They're both Finnish, they both front or fronted kick ass heavy rock bands, and both have totally twisted senses of humor, which finds its way, however subtly (or not) into their music. So while the Puritan was originally inspired by Japanese doom and sludge, by the time it worked its way through Hynninen's cracked Finnish filter, it had been transformed into something else entirely. Something heavy and brutal, but warped and far out and brilliant.
This is no ordinary doom. And is far removed from the doom of Reverend Bizarre. Although on first listen, maybe not so far removed after all, beginning with the first Puritan lp, The Untitled, the sound is ultra heavy, downtuned, spaced out, melodic, with a distinctly classic strain of classic doom running through it, the opening intro could indeed be the opening salvo from some doom classic, and the follow up too does not sound that far our, awesomely epic and troo vocals over a lumbering slow motion dirge, but then the record shifts gears, and "The Sulphur - Coloured Clouds Are Hurrying Through the Lithium Gates" explodes like some nineties noise rock juggernaut, loping bass, crumbling guitars, jagged riffing, only to gradually slow to a nearly complete halt, before slipping back into slow motion ultra doom dirgery. "The Sepulchral God Holding a Speech for the Moribund" sounds almost like some extra heavy slowcore, with some dramatically crooned Slough Feg like vox, before a strangely haunting outro, with clean guitars, whirling ambience, mysterious sampled voices, including a classic Charles Manson rant, all hovering beneath thick washed out guitars and lilting sweetly sorrowful melodies. Then it begins to get even weirder.
The second half of Lithium Gates contains the entirety of The Black Law, the second Puritan lp, which begins with some old timey organ, wheezy and lo-fi, some lost in time parlor music, lilting and melancholy, until everything is flattened by a massive wall of downtuned guitars, exploding into a plodding doomic dirge, which is not really funereal, or even all that slow, a plodding lurching doom that reminds us of Midwestern pigfuckers Killdozer more than anything, which as far as we're concerned is good news for sure. The chuggy midtempo crunch pounds and churns while the vocals howl and bellow, there's a distinctly AmRep / Touch And Go vibe to the doom on display, the main riff locked into a loop that seems to go on and on and on, giving the proceedings a sort of Gore vibe as well. The riff eventually gives up the ghost leaving a tranquil, almost ambient fade out, all soft streaks of feedback, delicate melodies, distant slabs of slow moving sludge, all smeared into a weirdly dreamy drift.
From there on out, the record continues to devolve gloriously with some bizarre gnarled super distorted guitar weirdness, completely panned so it careens from speaker to speaker, ear to ear, until the riff finally kicks in, a big ol' filthy doomy dirgey riff, the drums and guitar locked tight, while in the background, the WHOLE time, the moans and groans of a lady seemingly in the throes of violent passion(!), the whole track endlessly looped and cyclical, the only variation being the woman's voice, here the Gore vibe is undeniable, a killer riff, just pounding away, over and over, very hypnotic and strangely minimal, but that's only the first track. The second revolves around a muted chug, spread out over a layer of seemingly constant buzz, with more deep crooned dramatic vocals, the production reverby and very new wave sounding, a little like Joy Division or the Cure but way heavier and dripping with doooooom, the wind-down at the end laced with bursts of super epic and melodic drama, turning the outro into some sort of doomic Godspeed.
Needless to say, fucking awesome! And essential listening for any one into sounds slow and low, doomy and heavy, fucked up and far out.
MPEG Stream: "Opposite the Fireplace - The Wall of Shotguns"
MPEG Stream: "The Stars Above Us Are all Evil"
MPEG Stream: "The Sulphur - Coloured Clouds Are Hurrying Through the Lithium Gates"
MPEG Stream: "The Blue and Purple Lesson in Love"

FAR OUT Nihonjin (Phoenix) cd 17.98
Japanese '70s psych alert! Grab yer Japrocksampler and look this one up, you want it!! (It's number eleven on Julian Cope's list of his top 50 Japanese psych faves.)
Having reissued the Far East Family Band's Nipponjin, we were hoping that Phoenix would turn their attentions to that band's original incarnation. They made one album as Far Out, and rarely has a band name been better chosen. Their 1973 lp is a stone classic, from that iconic white glove hanging on a clothes line in front of a blue background album cover to the two side long tracks of tripped out, heavy psychedelic music within. Well, Phoenix have granted our wish, which is awesome 'cause we've always wanted to list/review this album but previous cd reissues have been expensive and hard to come by.
Track one/side one, "Too Many People", eases the listener into things gently, with an echoing heartbeat pulse, some ambient Moog drone, and sad and mellow vocals, accompanied by delicately grooving guitar/bass... by the halfway point (8 minutes or so in) the track has gotten a lot more menacing, with plodding, heavier beats, thicker bass, adorned with "Eastern" sounding guitar licks and distorted acidic soloing. Yeah! 'Tis something that Flower Travellin' Band fans will find to their liking for sure! Towards the end of the song, when the vocals come back in, it's built up into a rather majestically progtastic piece of work that, when it all too suddenly ends, will leave you, the listener, wondering where your epic Nipponese longhaired fantasyland went, what's with all this boring, non-cosmic, not-so-grandiose reality you've so rudely been reacquainted with?
To fix that, at least temporarily, put the headphones back on, and cue up track two/side two, "Nihonjin", another similarly massive trip that can only be described as "far out"... this cut was later reworked a couple years later for the Far East Family Band's Nipponjin opus, though the original here is rawer, less Klaus Schulzified and symphonic.
Like we said, Cope had this up at #11, but for us it might nudge right into the top 10...
MPEG Stream: "Too Many People"
MPEG Stream: "Nihonjin"

SOUND PROJECTOR 18th Issue magazine 11.98
One of the first things we turn to in any music magazine is the reviews section. Yup, when we're not writing record reviews, we just love to read 'em. Go figure. So of course, that makes Ed Pinsent's Sound Projector one of our favorite mags around, seeing as how it mostly consists of reviews - well-written, expert ones, hundred and hundreds of them, covering all sorts of underground sounds we like, from field recordings to free improv to acoustic folk to electronic drone to black metal, and more!
With its trademark black/red/white cover color scheme intact, and expected massive bulk as well, the Sound Projector's 18th issue is here, straight from England, and we've really only just skimmed its 180 pages 'cause we're too busy right now with our own reviews (but we can't wait to dig into it this weekend!). The reviews are as usual grouped into several sections (International Surveys, Evil Noise and Rock, Art Music, Vinyl and Books, Melodic), those divided into even more precise (?) smaller groupings with designations like "Atoms Of Pure Noise", "Japan", "Touch Sevens", "The Droning Ones", "Stoner And Doom", "Tape Maschines Maken Klang"... Some labels get their own sections, some reviewers do too. There's an index in the back, in tiny tiny type, so you can find individual reviews alphabetically by artist if you like, but browsing through seems best.
Of course, more than a few of these records we've reviewed already (but it's nice to get a second opinion... and the SP crew don't always agree with what we said), and there's plenty more here we've been meaning to get to, or definitely will once we track 'em down on the basis of the Sound Projector's say. One thing we've always liked about the Sound Projector (and that we try to do too) is that they don't limit themselves to reviewing the -newest- of releases, so even if something's 2 or 3 or 5 years old, it might get written up here anyway, just 'cause someone's been listening to it and gotten enthused, regardless of when the record in question was released.
Like we said, it's mostly reviews (yay) but there IS some other content here too, including in-depth interviews with Industrial percussionist/composer Z'ev, English avant-folk guitarist C. Joynes, and '70 San Francisco synthpunks The Units!! Also, this issue comes with a download code for a free special Sound Projector mp3 compilation, English Wildlife, highlighting some unknown to us UK underground acts.
Basically, next to our own website, this is pretty much essential reading for all devoted AQ customer-types in our opinion!

V/A Texas Metal Archives Vol. 1 (Brainticket / Metal Rising) cd 14.98
Wow, is this ever cool! We kinda took a chance on ordering one in, 'cause what do we know about '80s underground metal from down in Texas? Well now we know it RULES. At least, the stuff they picked to put on this cool comp sure does. So, we ordered a bunch more copies to share with y'all. 15 tracks here from 13 bands, recorded circa 1983-1987. When metal was at its zenith, really, 'cause this stuff is so killer yet so obscure - by underground, we mean, really underground. All this stuff is from self-released demo tapes, none of these bands ever got past the demo stage to get signed or make a "real" album. So, unless you're an '80s metalhead from Texas (with a good memory), or perhaps someone who was fanatically into the tape trading scene back then, you've never heard of these bands, ever.
Thus, there's no Pantera on here - though some of these tracks were recorded at the Pantera dudes' dad's studio, and one of the bands features a guy who sang for Pantera before Phil Anselmo joined 'em. Here's the lineup: Battalion, Sentinel, Valkyrie, Death Tripper, Necrovore, Baron Steele, Warlock, Heavens Force, Wicked Angel, Forced Entry, Scythian Oath, Morbid Termination, and Rotting Corpse.
You're really not metal if that list of names doesn't sound cool to you, just the names themselves, so totally typically metal aren't they??
While each band is in fact different, you can pretty much say it's all galloping old school heavy metal action, with tons of raging youthful energy, displaying then-current influences from England, Germany, and the Bay Area, some bands more melodic than others (Baron Steele and Wicked Angel ferinstance), most of 'em in the edgier thrash and speed metal style of the day, often pushing the envelope of speed and technique, and taste! Some tracks get even more extreme, witness the protogrindpunk of Death Tripper, and the early black/death belchings of Necrovore. Vocally, while there's some punkish hardcore growls here and there (courtesy of the latter two bands mentioned, mainly), most of these acts go for clean, high pitched screaming vocals, some of 'em really over the top. Countering that, the frontman of Forced Entry (the one who had the Pantera gig, briefly) has a sneering Dave Mustaine-like voice. And by the way, if you're an Absu fan, it's interesting to guess if any of these bands were an immediate (local) influence on 'em growing up, we'd imagine some might have been, we can kind of hear it.
Sound-wise, this is all pretty decent for 20+ year old demos, really. This is metal, nothin' wrong with a little distortion! The typically lo-fi production of a track like Scythian Oath's "Shadow Of The Torturer" is actually kinda cool, the way it's kind of fucked up, it almost gets weirdly psychedelic, the mixing strangely schizophrenically "active", elements fading in and out, up and down. (If you've heard that Wicked Witch record on EM, imagine them playing metal instead of funk!). Other tracks aren't necessarily so bizarre. Raw, yes, but that's nothing to complain about.
The thick, full color cd booklet contains super detailed liner notes, plenty of graphics, photos, old fliers, logos, etc. Our favorite pic has got to be the one of Morbid Termination, their singer posing in his stage regalia, modified football shoulder pads with spikes sticking out, very homemade looking gear indeed! And there's a lot of super detailed liner notes, written by compiler John Perez (Brainticket label owner and Solitude Aeturnus guitarist), who knows his '80s Texas metal for sure, having been a part of the scene back then himself. Very obviously this whole thing is a labor of love, and the packaging reflects that. Similar, really, to that excellent Swedish Death Metal collection we highlighted recently.
Heck we're not counting on selling a ton of these, but it would be cool if we did, just 'cause it you really do dig metal, we absolutely know you'll get a kick out of this! Looking forward to volume 2!! (And wondering if Texas was so special, or were there bands this rad in the places we grew up, too?)
MPEG Stream: MORBID TERMINATION "Metal Child"
MPEG Stream: FORCED ENTRY "Stacked Deck"
MPEG Stream: DEATH TRIPPER "Canis Major"

TONY TEARS Voci Dal Passato (Manium Evocandorum Doctrina) cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We first got a couple of these in a few weeks back ('cause we were curious) and it didn't take long before we realized we had a Record Of The Week on our hands. It was obvious, really, since some of us here ending up getting so obsessed with this that it was just about ALL they'd listen to, for days, getting home after work and throwing it on, listening to it going to sleep at night, and when they'd get up in the morning, playing it at the store too... At first, though, we thought well heck maybe that's just us, maybe we're weird to like Tony Tears that much. But of course, we ARE weird, and so are a lot of AQ customers, and that's why this is definitely a good choice for Record Of The Week. Anything this hypnotic and dirgey and doomy and last but not least weird, has got AQ (and possibly you) written all over it.
We had to go to some trouble to acquire enough of these to list, contacting Tony Tears via MySpace, importing copies from Italy, getting all the cds we could lay our hands on. Which means we may or may not be able to get more when we run out, and if we can, it will certainly take a while, so be forewarned...
Tony Tears? So what IS that, you ask? Actually when we first saw the name, we thought it said Ebony Tears, which is the name of another band. But no, it's Tony Tears, as in a guy named Tony, last name Tears. And the "band" is indeed just the work of one man, whose (we presume) stage name gives this its monicker. How perfect is that, a mournful Italian doom metaller named Tony Tears? Already you feel sorry for him. Awww, Tony Tears...
Tony Tears' MySpace page is also perfect for this sort of depressed, lonely sounding music. It's really stark and plain, with a sort of electric purple/pink background color. He's got, like, only 66 friends (one of 'em us), and in his "top friends" listing he still has Tom. You know, Tom the founder of MySpace, who is automatically your first and only friend when you first sign up, but then of course you remove Tom 'cause he's not actually someone you know or care about... But lonely Tony, grateful for Tom's friendship, keeps him around.
So, anyway, to answer your question, this is some sort of underground doom metal, but also Italian in that spooky proggy soundtracky way, so it's kind of like Goblin crossed with St. Vitus, or Umberto teamed up with Trollman Av Ildtoppberg. Or, our early '70s proto-doom prog faves Jacula, channelled through someone's (Striborg's?) basement 4-track today.
Tony wrote the lyrics and the music, sings, and plays all the instruments... there's layers of fuzzy, foggy bass, gorgeously melancholic psychedelic electric guitar leads, eerie Goblin-y synths tinkling and droning, and a rhythmic foundation of slightly stumbling drum machine programming. Along with enough echo effects to give parts of this a bit of a dubby, or druggy, vibe.
Perhaps most crucial to our enjoyment of this are the vocals, which are spoken rather more than sung, and are all in Italian. Which works great, it's a language which even when simply spoken still sounds rather musical, we LOVE hearing Italian in this manner (we're reminded of old fave "Ordine Pubblico" by Starfuckers, especially by the track "Antichi Messagi" here), and we feel Tony's echoing, emotional chant-like recitations further enhance the hypnotic aspect of this lugubrious music. We can imagine Om fans zoning out to this quite easily!
Speaking of hypnotic, one of the times recently we had this playing in the store, a customer asked if it was some sort of new Circle side project... we can see why he thought it might be.
The overall atmosphere of this record is sooooooooo sad, yet somehow comforting. Even though we don't understand the Italian, this comes across as being very intimate & personal, and not just because of a certain sparseness to the mix that speaks to this being a one-man effort.
Tony Tears' repetitive lumbering heavy riffs and dark keyboard coloration, punctuated with mechanical, but not entirely predictable drum beats, awash with flangey, spacey effects and further embellished with his poetically mannered, incantatory Italian, has had quite an effect on the psyches of those here who can't help but keep this in heavy rotation. While rather raw and ragged in a charming DIY home-recorded way, the results are sheer beauty, weird weeping dreamlike beauty.
Definitely in the tradition of such strange Italian dark underground metal/prog/psych as Death S.S., Paul Chain, and Black Hole. But quite something else besides, with no prior interest in that tradition being necessary for appreciation of this. Even moreso maybe than The Puritan album we ROTW'd last time, being into doom metal isn't a prerequisite, as long as you like unusual music. Being into Goblin though might help.
If we can persuade a ton of folks to buy this, hopefully that won't make Tony Tears any -less- unhappy, because we're looking forward to more from this miserable, mesmerizing, and altogether unique act... stay doomed Mr. Tears!
MPEG Stream: "Le Ossa E Il Fuoco"
MPEG Stream: "Voci Dal Profondo"
MPEG Stream: "Antichi Messagi"
MPEG Stream: "Mondo Parallelo"

NECKS, THE Silverwater (ReR) cd 17.98
Hot damn. A new Necks album. They're one of our favorite bands EVER, and this is (one of the many reasons) why. Silverwater provides 67 minutes of the Necks' unique, hypnotic, keys/bass/drums bliss, all one track of course as is their wont. Over the course of those 67 minutes, though, the music made by this Australian trio varies quite a bit. Their trademark trance-iness is present, always, but at the same time this new album (their first studio record in, like, 3 years) seems more programmatic and propulsive than we're used to from these guys, taking off in directions we haven't necessarily heard from them before, but still sounding more like the Necks than anything else. Yet, parts could be mistaken for an underground ambient psychedelic jam from the likes of Sylvester Anfang, almost. And we'd say this is the Necks record to get Bohren & Der Club Of Gore fans into 'em. Other comparisons we've perhaps made before would be to Circle (in their non-metallic Miljard mode), Supersilent, Alice Coltrane, and AMM... anything that can elicit references to the likes of those is, obviously, amazing.
Eerie wavering drones delicately unfurl near the start, quiet and pretty... that gives way to a section that's almost ceremonial, like some percussive ritual. Sparse and deliberate, drums-only for a stretch, to be joined by deep, plucked bass notes... it could be some kinda krautrock jazz... and it does get "jazzier", sort of, with electric organ coloration, and cyclic piano plinkings, but also electronic-y gritty glitchiness overdubbed... Silverwater's shimmering textures and minimalist pulsations are simply beautiful, enthralling. It's a glorious 67 minutes, all right.
If you know the Necks, you know you need this. If you're new to the Necks, please do yourself a favor and check this out. Next to seeing them live (which some of us have been lucky enough to do, oh my god they were good), this will demonstrate quite effectively why we hold them in such high regard.
MPEG Stream: "excerpt 1"
MPEG Stream: "excerpt 2"
MPEG Stream: "excerpt 3"

V/A The BYG Deal (B-Music / Finders Keepers) cd 15.98
For a lot of us, buying comps and reissues and stuff put out by Finders Keepers / B-Music is pretty much a no-brainer. These folks know their stuff. They can DJ for us anytime! So mentioning that The BYG Deal is the latest from 'em might be all we need to say, though dropping some names like Brigitte Fontaine, Jean-Claude Vannier, Daevid Allen & Gong, Giorgio Gomelsky, Robert Wyatt, Vangelis, Ame Son, and the Art Ensemble Of Chicago couldn't hurt. Or perhaps a name like Inter-Groupie Psychotherapeutic Elastic Band - never heard of 'em before, no, but they've gotta be good, right!!? (And they are, their track "Floating" anyway being a blissful bit of la-la-la space psych ceremony).
What we have here is a collection of tracks released by France's BYG, a post '68 radical rock/jazz label that flourished 'til about 1974. We'd heard of 'em before mainly in conjunction with the famed BYG/Actuel series of African-American jazz releases, stuff by the Art Ensemble, Don Cherry, Sunny Murray, etc. But this disc demonstrates that BYG (which according to one graphic here stands for Beautiful Young Generation, though elsewhere we're told it's the initials of the three label owners) was as much about psychedelic pop rock and groovy "hairy funk" as it was about avant-garde free jazz... an awesome blend in our opinion, and blend they do, some of these tracks really hard to classify. Maybe it's the "Total Space Music" of which they speak. In any case, whatever discotheque played this stuff must have been REALLY hip and happenin'.
The music here is almost all super groovy, but often quite quirky too (take Gong's circusy nursery rhyme freakout "Hip Hypnotise You" for instance!), these various tracks loaded with flute, orgasmic female vocals, heavy psych guitar, and equally heavy prog organ (running wild alongside frenetically shuffling drums on Vangelis' "Stuffed Tomato", for example, among many standout spots here). From chanteuse Valerie Lagrange's ye-ye grooves to the poppy psychedelic stomp of Coeur Magique to Banana Moon's Beefheartian crunt, this is pretty far out and awesome.
Here's the complete lineup of artists appearing here: Alice (2 tracks), Francois Wertheimer, Brigitte Fontaine and Areski, Gong (3 tracks), Alan Jack, Couer Magique (2 tracks), Valerie Lagrange, Jacques Barsamian, Alpha Beta, Ame Son (2 tracks), Art Ensemble Of Chicago, Freedom, Vangelis, Paul Semana, Inter-Groupie Psychotherapeutic Elastic Band, Banana Moon, Joachim and Rolf Kuhn. Yep, the disc is crammed, 22 tracks, almost 80 minutes, and the thick cd booklet is equally full up with full color graphics and extensive liner notes, it's amazing the compilers could dig up so much info on this stuff, considering how obscure a lot of this is, but that's their biz!
There's a few tracks you could have run across elsewhere on other reissues, but most of 'em you haven't, that's for damn sure. For instance, the awesomely named track "Astral Abuse" from the rare 7" by Alpha Beta, a one-off Vangelis project. And there's plenty more from other collector's-only, never before on cd sources.
If you liked other B-music compilations like Andy Votel's Prog Is Not A Four Letter Word, this ought to be right up your alley. Likewise if you enjoyed the two Pop Made In France comps we've listed, this is a bit like those (some of the same artists appear, in fact) but way weirder. And of course any fan of Jean-Pierre Massiera's strange productions is gonna find this of interest as well... in fact there's personnel connections to his Visitors project, and connections also to the likes of Magma and Aphrodite's Child for that matter.
Another keeper from Finders Keepers that's for sure, thankfully available domestically, complete with slipcover!
MPEG Stream: BRIGITTE FONTAINE AND ARESKI "Ca Va Faire Un Hit"
MPEG Stream: ALAN JACK CIVILIZATION "Ny Change Rien"
MPEG Stream: INTER-GROUPIE PSYCHOTHERAPEUTIC ELASTIC BAND "Floating"
MPEG Stream: JOACHIM AND ROLF KUHN "Bloody Rockers"

GIROUX, ANNICK Hellbent For Cooking: The Heavy Metal Cookbook (Bazillion Points) book 27.95
The lucky few who managed to snag a copy of Canadian metal mag Morbid Tales #6, also got a glimpse of something pretty spectacular, strange and unexpected: a heavy metal cookbook, recipes from famous rockers, their own peculiar and particular metal food faves, compiled by Morbid Tales editrix Annick "Morbid Chef" Giroux, who has now taken her love of metal, and food, and that little cookbook supplement, and expanded it to a full on, honest to goodness cookbook.
And it's awesome. We really can't imagine a metalhead who wouldn't want this, even if they never planned on actually making all the recipes. Pretty much the perfect gift for the metaller in your life, and who knows, maybe this cookbook will be the catalyst for some homemade meals. Although some of these recipes might have you thinking twice. Some sound delicious for sure, and the pictures are appropriately appealing, but others maybe not so much, and some seem to be purposefully disgusting, something only a very drunk metalhead would eat. But that's part of the fun of the book. We wanted to make a bunch of these before we reviewed it but ran out of time. We will though, already have a few bookmarked.
For all her troo metal cred, editor Giroux is just too cute, on the cover in her metal patch-ed apron and huge knife, or on the dust cover chowing down on a sausage, heck the book is even dedicated to her grandmother, but let's get to the meat of this here cookbook. Every recipe features a full color photo (which at first glance seem like standard cookbook photos, until you begin to notice various metal items in the background, leather jackets, spikes, album covers, beer cans, wine bottles, etc.), the band logo and bio, the ingredients and instructions from the chef, as well as a little note from the Morbid Chef, her own take on each recipe. Some highlights include: Mummified Jalapeno Bacon Bombs from Chris Reifert of Autopsy/Abcess, Candied Sweetbreads On A Bed Of Sacred Heart from Balsac The Jaws Of Death from Gwar, Fried Egg Rigor Mortis Cure from Ustumallagam Of Denial Of God, Devil's Porridge from Montalo of Witchfynde, Welfare Nachos from Jason Decay of Cauldron/Goathorn, Bull Testicle Surprise from Tomas 'Necrocock' Kohout of Master's Hammer (and while many of the recipes have funny metal names and in fact are something else entirely, this one is in fact bull testicles!), The Stew Of True Doom from Karl Simon of Gates Of Slumber, Thundering Beef Brisket from Lips of Anvil, Doro's Black Forest Cake from Doro of Warlock, Beer Pizza Crust from Olaf Zissel of Tankard, New Orleans Blood Red Beans And Rice from Mike IX Williams of Eyehategod, Shellfish Crossfire from King Ov Hell of God Seed/Gorgoroth, and we could go on and on...
More than 100 recipes from more than 30 countries, other bands contributing their favorite delectables include: Abigail, Accept, Amebix, Anthrax, Tygers Of Pan Tang, Uriah Heep, Thin Lizzy, Trouble, Electric Wizard, Destruction, Mayhem, Melechesh, Death SS, Judas Priest, Budgie, Impaler, Brutal Truth, Mutiilation, Lord Vicar, The Lord Weird Slough Feg, Piledriver, Pentagram, Rigor Mortis, The Rods, S.O.D, Stiny Plamenu, Warpig, Kreator and more more more.
Separated into sections for: appetizers and side dishes, beef, pork, lamb, poultry, seafood, vegetarian, desserts, even drinks (of course - and many of the food recipes include instructions to drink beer WHILE MAKING the food, not just when eating it), with lots of awesome illustrations, photographs, record covers, it's pretty epic, and totally metal, and we really can't recommend this enough. As Giroux says in her intro, making a meal is a great excuse for drinking and listening to metal! INDEED!!!