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


MARKANT Cat M 9 (Markant) lp 18.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With more than a dozen LPs (17 as of this date) released in less than a year or so, Markant's prolific output has been compared to an electronica diary by Drew from Matmos... Working remarkably similar to Boards of Canada and the Skam output, Markant excels at constructing beautiful and melancholic melodies over sputtering post-AFX electronica breakbeats. With so many of his records out, there's sure to be a dud. So our recommendations are for... Cat M-5, Cat M-14, Cat M-17 and Cat M-18, but we will do our best to keep as many of them in stock!

MARKANT Cat M-21 (Markant) 2lp 27.00
Yup, the twenty-first album in less than two years (!?!) from the Bavarian electronica prodigy is his most diverse and most humorous so far. The sputtering breakbeats and melancholic melodies found on the previous 20 albums are fused with near jazz experimentations that would make any Squarepusher fan happy!

MARKANT Infam (Markant) cd 16.98
After a seemingly endless barrage of vinyl only releases, Carsten Endrass (aka Markant) has finally produced his first CD -- a format much better suited to his extended passages of melancholic, IDM-based electronica. It's not entirely clear if these tracks had come from the last couple of Markant singles, but we have encountered rumours that "Infam" may in fact be a compendium of his more recent singles. Since we haven't heard those singles, we can't be certain. Anyway, Markant specializes in slow revelations of melody and rhythm within the somewhat limiting agendas of IDM (especially those of Autechre and Boards of Canada). With the whirring sputter of a filtered / distorted breakbeat as the structural constant, Markant gradually introduces sombre electronic melodies and counterpoints, to create majestic crescendos that are on par with the melodramatic orchestral swells of Sigur Ros, but fortunately devoid of those saccharine vocals. Ardent fans of Boards of Canada, who have been patiently waiting for another that may never come, should certainly take note of Markant!
RealAudio clip: "Badesi"
RealAudio clip: "Evektion"
RealAudio clip: "Gras"

album cover MARKANT Vice Versa (Markant) cd 15.98
The once hyper-prolific Markant entered the IDM / electronica community with a flurry of releases, which seemed to appear with almost monthly regularity. These vinyl only releases (now all out of print) were short albums or long singles each clocking in around 35 minutes, and were often situated near the melancholic, lullaby electronica of Aphex Twin or Boards of Canada. After a brief, ill advised detour into questionable sort-of jazz-fusion (ala Squarepusher) at the end of his series of vinyl only releases, Markant has shifted his attention to more fully developed albums on cd. "Vice Versa" is his second cd release after "Infam," firmly planted back in the aesthetics of his earliest singles with lilting electronics and whirring, cybernetic breakbeats. Markant hasn't the knack for melody and rhythm that any of the aforementioned artists have; yet he is certainly aware of his own limitations. Markant succeeds through his insistence upon the theme of repetition and difference, as he sequences tightly structured palpitations of simple melodies, ambient washes, and mechanized rhythms that by themselves would be quite uninteresting. Yet, after layering his tracks for 8 - 12 minutes and gradually shifting the parameters of those sounds, Markant crafts a sublime electronica which really does get under your skin. If you're one of the many who claim allegiance to Boards of Canada, you should certainly check this album out and allow it some time to grow on you.
RealAudio clip: "Spurwechsel"
RealAudio clip: "Vice Versa"

album cover MARKEY, DAVID & JORDAN SCHWARTZ We Got Power (Bazillion Points) book 37.95
Holy crap, Bazillion Points does it again, another amazing book, and another collection rescuing some amazing influential zine from oblivion, this one collecting all of the issues of legendary Southern California punk zine We Got Power, which was edited by Mr. Dave Markey, who if you're a SoCal eighties punk nerd, you might know better as the director of both Lovedolls Superstar and Desperate Teenage Lovedolls, and yeah later The Year That Punk Broke, but those movies, starring of course Redd Kross and a who's who of the scene, were perhaps our favorite documents of that era. We missed out the We Got Power zine, which existed from 1981-1983, and consisted of five issues (although a sixth unreleased issue is included here) and featured pretty much everyone and anyone you could want to read about: Flipper, Wasted Youth, Nervous Gender, Red Cross (before they became Redd Kross), Overkill, Saccharine Trust, DOA, Misfits, Channel Three, T.S.O.L, No Crisis, Dead Kennedys, Black Flag, Bad Religion, Minor Threat, Husker Du, Suicidal Tendencies, Circle Jerks, Vandals, White Flag, Necros, and more more more. Not to mention, record reviews, show reviews, columns, amazing ads for classic records, and assorted other silliness/radness. The amazing thing is, that the reprints of We Got Power, barely take up any of the book. The majority of which is made up of essays by Henry Rollins, Chuck Dukowski, Dez Cadena, Keith Morris, Mike Watt, Pat Fear and tons of others, but the real treasure here are the loads of rare vintage photos documenting the scene at the time, which of course included Redd Kross, the Gun Club, Circle Jerks, Black Flag, The Descendents, The Minutemen, Saccharine Trust, Government Issue, Social Distortion, JFA, the Big Boys, Nip Drivers, Suicidal Tendencies, fIREHOSE, Butthole Surfers, D.R.I. and so much more, not to mention amazing shots of club kids and punks, old venues, various locations that are gone, or that have been totally transformed, it's an incredible look back at not just the scene, but the time, and the place, and the people.
A thick coffee table style hardcover book, with swank debossed full color covers, and it weighs a ton, so mailorder folks, this will get shipped by weight, not at the single item rate, just FYI.

album cover MARKIE, BIZ The Biz Never Sleeps (Cold Chillin') lp 21.00

album cover MARKIS SAGE Paper Boat (Losonofono) cassette 8.98
Yo, skweee fans!!! Skweee alert!!!
We're always happy to have something new to share with you from the realm of this wonderful Scandinavian-originated electronic micro-genre. This time, from the same label that last brought us Daniel Savio's Nekropolis lp, here's a limited edition cassette tape from the duo of skweee big shots Rigas Den Andre and Mesak (also an ex-member of Mr. Velcro Fastener)! Collaborating together, they're calling themselves Markis Sage (?), and making skweee with a "Boogie Disco" infusion... This, their first full-length effort, consists of seven new cuts as well as alternate versions of three tracks that previously surfaced on singles and comps.
As any skweee fancier might expect, this is hip hopped lo-fi glitchfunk, full of choppy electro zip-blip and '80s style synth wobble. The tempos are probably too slowed down (or the rhythms too jittery!) for the dancefloor, but great for groovin' in the car or at your crib. And while it's almost all-instrumental, like most skweee, the cover and some track titles suggests a comic book horror theme ("Creature Of Lagoon"), but one with paper boats, blimps, and other oddities of their skweeed-up imagination.
Ok, now pay attention, here's some special info pertinent to his release/format, you'll wanna know: this cassette is strictly limited to 100 hand-numbered copies, and comes with a download code, as well as a coupon that will allow you to get the album on vinyl direct from the label for only $5 (+shipping), WHEN and IF the vinyl version comes out. Basically, they're only gonna do an lp of this if they sell all the tapes first. Which, we can't imagine they won't.
MPEG Stream: "Creature Of Lagoon"
MPEG Stream: "Ranking Officer"

album cover MARKKU LAHTELAN SIRKUS Vol. 1 (Kevyt Nostalgia) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This Finnish duo don't make it easy to describe their music, that's for sure -- but at least we got the magic word "Finnish" in there right off!
The very first track here, "Kun Tulet Tarpeeksi Lahelle, Muutun Perhoseksi", explores moody, cinematic, improvised post-rock textures, building to a noisy, intense climax over the course of 13 minutes. The next, "Nurin Lentaa Lintu", is more of a droning electronic soundscape, abruptly joined by primitive percussion and guitar freakery. Some of the other tracks are even more abstract and ambient, constructed of hiss and crackle, cello and cassette sound collage. Or at one moment this will be all placid and mellow, maybe acoustic guitar and bongos to the fore, before switching with the next track to a weird percolating proggy funky free jazzy thing. A diverse success, and quite carefully crafted/edited, it seems. Fans of other weirdness from Finland (like Avarus and Doktor Kettu) and elsewhere for that matter should check this out.
MPEG Stream: "Kun Tulet Tarpeeksi Lahelle, Muutun Perhoseksi"
MPEG Stream: "Vimikoynnoksen Tytar"

album cover MARKOWSKI, VINCENT Dirty Capsules (DC Recordings) 12" 13.98

album cover MARL, MARLEY The Best Of Cold Chillin' (Cold Chillin') 2cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Double disc reissue of legendary producer Marley Marl's first two full length albums, released in '88 and '91 respectively. Queens-born Marley Marl *founded* the Cold Chillin' label whose Juice Crew in turn launched the careers of Roxanne Shante, Masta Ace, Biz Markie, Kool G Rap, etc. These two albums feature all of those mentioned above, also LL Cool J (Marl produced his million-selling Mama Said Knock You Out), Big Daddy Kane, Heavy D, and more. The cuts are bright and crisp with sampled 'n looped hooks galore. Cool.
RealAudio clip: "The Symphony"
RealAudio clip: "Keep Your Eyes on the Prize"

MARLEY, BOB Chant Down Babylon (Tuffgong / Island) cd 17.98
In contrast to the exceptional compilation from Trojan records of 70's Jamaican producers and vocalists performing Marley's numbers, this reeks of major label exploitation. "Duets" with the legendary Bob Marley and contemporary chartbusters Erykah Badu, Krayzie Bone, Guru, Rakim, Busta Rhymes, Lauren Hill, Lost Boyz, MC Lyte, The Marley Brother & The Ghetto Youths Crew, Steven Tyler & Joe Perry, Chuck D, and The Roots.

MARLOW Colussus (Black Acre) 12" 13.98

MARQUIS DE TREN AND BONNY BILLY Get On Jolly (Palace Records) cdep 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The beloved Bonny Billy (a.k.a. Will Oldham / Palace) returns just in time to completely redeem his reputation after the rather unremarkable EP with Rian Murphy. On this new EP, Oldham collaborates with amazing guitarist Mick Turner (of Dirty Three fame). The results are six of the most beautifully elegant songs we've heard from Mr. Oldham in many moons. The dark overtones of "I See a Darkness" coupled with Turner's sparse, fractured melodies, delicately plucked -- and no twang, just stark atmosphere. The lyrics are adapted from a book of Indian love poems called GITANJALI (hence the play on words in the album title). Overall, a very, very beautiful record. Forget how sick you've gotten of Oldham, this is really lovely.
A sample of the lyrics:
when you ask me to sing
it feels like my heart
could burst with pride
when i look at your face
tears come to my eyes
i know you take pleasure
in my singing
i know that only when i sing
do you hear me

and drunk with the joy of singing
i forget myself
and call you my friend


RealAudio clip: "25"
RealAudio clip: "64"

album cover MARR, JOHNNY AND THE HEATERS Boomslang (Artist Direct) cd 16.98
Upon first sight of this cd, we were taken aback by the odd identicalness of the band members' mouths. Byram proclaimed that they looked like seagulls flying off in the distance - thin inky curving lines - and they absolutely do. But enough about their petulant embouchures, this album marks not only the debut of Johnny Marr's new band but also of his premiere as a lead vocalist and frontman. As well, all but one of the songs are credited to Marr as the sole songwriter. The lone exception is "Inbetweens" which was co-written with bandmates bassist Alonzo Bevan (ex-Kula Shakur), guitarist Adam Grey and drummer Zac Starkey (who is indeed Ringo's son). Generally this is standard Brit rock fare (think watered down Stone Roses or Oasis) made notable only by the presence of Marr's name on it. Unfortunately the one thing we all hoped would be the highlight and defining factor of Boomslang is all in all absent - that is, Marr's guitar playing. Alas!
RealAudio clip: "The Last Ride"
RealAudio clip: "Inbetweens"

album cover MARS Rehearsal Tapes And Alt. Takes NYC 1976-1978 (Anomia) 3 x cassette 35.00
Whew! Here's quite an anthology of the rehearsal tapes that Mark Cunningham dug up from the archives. Mars is a band that really shouldn't need any introduction, as they were one of the four seminal No Wave outfits along with Teenage Jesus & The Jerks, James Chance & The Contortions, and DNA, featured on the No New York compilation from 1978. At the time of that compilation, the band had only issued one single, but they recorded furiously with enough material to warrant the 78 album released by Lydia Lunch in the late '80s and a couple of live recordings some 20+ years after the fact.
According to the insightful liner notes from Mars' bassist Mark Cunningham, the band's origins date back to late 1978 when Connie Burg (aka Lucy Hamilton) and Cunningham met Sumner Crane and Nancy Arlen. Aside from Crane's ability to play the piano and Cunningham's school days with a trumpet, Mars was an entirely self-taught proposition, trying to learn the basics of rock'n'roll through their collective infatuation with the Velvet Underground. The first tape of this 3 cassette anthology features the band in their earliest, acoustic mode with Crane on piano, Burg on acoustic guitar, Cunningham on bass, and Arlen on "paper bag percussion." At that time, the band christened themselves China (a moniker later adopted by Burg); and they loosely worked through bluesy, drone-rock numbers that had the primitive fug of the Velvets or the Monks, minus all of the feedback squalor given the acoustic set up. The switch from acoustic to electric is described in Dylan-esque terms, along with the name change to Mars as well as introductions to Lydia Lunch and James Chance being instrumental in the development into a tour-de-force project of rhythmic dislocation and atonal distortion. As charming as the early tracks are, the potential for Mars becomes self-evident by the second tape and onward, as their songs began to lurch through the rhythm section and the strange, detuned guitars chimed into what could be seen as the 'classic' Mars sound of such noise-rock madness of "Helen Forsdale" (an obvious precursor to Sonic Youth) and the swampy morass of "The Immediate Stages Of The Erotic" (without which there would probably be no Wolf Eyes or Black Dice). Alternate mixes of the Brian Eno recordings for the No New York compilation are found on this collection as well as some mystery tracks of which Cunningham has no idea about their origin.
This set marks the third (and presumably final) pressing for these tapes. We'll try to keep these in stock, but don't hold your breath.

album cover MARS The Complete Studio Recordings (Important) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Of the four bands that graced the No New York compilation, Mars has always been the most enigmatic, having only recorded 32 minutes of music in the studio. Yet, their sound has been vastly influential upon the development of bands like Sonic Youth and the Swans as well as every single band that seeks to embrace the No Wave spirirt. In their very short career (spanning something like 18 months), the Mars sound was defined by psychotic / narcoleptic investigations into thoroughly damaged improvisations; yet, their early ventures into structured songs (i.e. "3E," "11,000 Volts," and "Helen Fordsdale,") are so jaw-droppingly energetic, complex, and curiously catchy that their evolution into the abstract can be a bit frustrating. Yet, it is precisely this tension between the the proto-Daydream Nation, avant-punk riffs they clearly had a knack for and the delirious throbs of noise that became Mars signature and that has made Mars so compelling after all these years. For die-hard Mars fans, these recordings are in fact the original masters that bassist Mark Cunningham found a few years back. The earlier Mars retrospective 78+ originally released on Lydia Lunch's Widowspeak and later on Atavistic found Jim "Foetus" Thirlwell reconstructing many of the recordings which had been considered lost. Regardless, Mars was an amazing band who was well ahead of their time, and this document clearly proves that. This deluxe LP is limited to 1000 copies, athough it is still available on cd as well.

MARS The Complete Studio Recordings NYC 1977-1978 (No More) cd 15.98
Of the four bands that graced the No New York compilation, Mars has always been the most enigmatic, having only recorded 32 minutes of music in the studio. Yet, their sound has been vastly influential upon the development of bands like Sonic Youth and the Swans as well as every single band that seeks to embrace the No Wave spirirt. In their very short career (spanning something like 18 months), the Mars sound was defined by psychotic / narcoleptic investigations into thoroughly damaged improvisations; yet, their early ventures into structured songs (i.e. "3E," "11,000 Volts," and "Helen Fordsdale,") are so jaw-droppingly energetic, complex, and curiously catchy that their evolution into the abstract can be a bit frustrating. Yet, it is precisely this tension between the the proto-Daydream Nation, avant-punk riffs they clearly had a knack for and the delirious throbs of noise that became Mars signature that has made Mars so compelling after all these years. For die-hard Mars fans, these recordings are in fact the original masters that bassist Mark Cunningham found a few years back. The earlier Mars retrospective 78+ originally published on Lydia Lunch's Widowspeak and later on Atavistic found Jim "Foetus" Thirlwell reconstructing many of the recordings which had been considered lost. Regardless, Mars was an amazing band who was well ahead of their time, and this document clearly proves that.

album cover MARS VOLTA Amputechture (Universal) cd 15.98
The Mars Volta, the still relatively youthful captains of the league of recent prog progeny, have consistently presented themselves as a very promising sonic entity of cryptic cerebral progressive substance. However despite what they themselves might believe, it seems the shoes they're trying to fill still might require some growin' in. With Amputechture, they've sure shorn the last of their At The Drive-In-ness (both musically and appearance-wise including one large 'fro). Really, on paper it all sounds fantastic... sci-fi inspired, Latin salsa infused prog rock, but what comes out of the speakers sounds more like aimless prog-styled noodly guitar solos and ill-conceived pretentious posturing that lacks the direction, composition and fortitude of its forefathers. And to be honest, there are a million bands doing this modern metallic prog thing a whole lot better. Weirder, heavier, more complex, more energetic, more inspired, take your pick, Chiodos, Circa Survive, Coheed And Cambria... And while we love John Frusciante (at least his fucked up solo records, his presence on the album doesn't help matters much if at all. A high falutin' disappointment.
MPEG Stream: "Tetragrammaton"
MPEG Stream: "Day Of The Baphomets"

album cover MARS VOLTA Amputechture (Universal) lp 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Mars Volta, the still relatively youthful captains of the league of recent prog progeny, have consistently presented themselves as a very promising sonic entity of cryptic cerebral progressive substance. However despite what they themselves might believe, it seems the shoes they're trying to fill still might require some growin' in. With Amputechture, they've sure shorn the last of their At The Drive-In-ness (both musically and appearance-wise including one large 'fro). Really, on paper it all sounds fantastic... sci-fi inspired, Latin salsa infused prog rock, but what comes out of the speakers sounds more like aimless prog-styled noodly guitar solos and ill-conceived pretentious posturing that lacks the direction, composition and fortitude of its forefathers. And to be honest, there are a million bands doing this modern metallic prog thing a whole lot better. Weirder, heavier, more complex, more energetic, more inspired, take your pick, Chiodos, Circa Survive, Coheed And Cambria... And while we love John Frusciante (at least his fucked up solo records, his presence on the album doesn't help matters much if at all. A high falutin' disappointment.
MPEG Stream: "Tetragrammaton"
MPEG Stream: "Day Of The Baphomets"

album cover MARS VOLTA Francis The Mute (GSL) 3lp 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on vinyl in the form of this ultra deluxe triple lp set!!!
Uh oh. Here we are again, with the band that creates lovers or haters more than any other I know. Although, I have to say, personally I'm kind of on the fence about them! Jon Theodore is one of the most amazing drummers I've ever seen or heard. Their live show is absolutely entertaining, especially when joined by John Frusciante, who's contribution of a second incessant guitar solo seems to make their music make sense. As well, Omar and Cedric's pants are just so tight, it is unbelievable. Their Tremulant EP was shocking. It was this full-on indie-power-prog, like nothing I'd heard before. Their music went somewhere... and kept on going... though, I don't think I understood exactly "where". Their debut full-length, Deloused In The Comatorium (with its odd name and pretty terrible artwork) was still totally beyond me. Not truly prog, not truly indie-pop... someplace in between, with technical insanity, near-constant meter-changes and polyrhythm incessantry. A lot of people seemed to take MV as though they were a total mess of music: ornate, pompous, not at all worthy of any ounce of praise, let alone the legions of "extreme" fans all over the world.
Now, Frances The Mute, their second full-length, is monolithic at 77 minutes long. Despite that length, it seems to be a bit more digestible. I would certainly have something that felt like jet-lag if I had to listen to the whole thing in one sitting, but to dedicated fans, of which there are many, this will hardly be enough power-progtastic-indie-pop. And of course, MV still features Lars Ulrich's and my favorite drummer, Jon Theodore.
MPEG Stream: "The Widow"
MPEG Stream: "Cassandra Geminni: A. Tarantism"

album cover MARS VOLTA Inertiatic ESP / Drunkship Of Lanterns (Picture Disc) (GSL / Erika) 12" Picture Disc 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hey Mars Volta completists! Here's another striking picture disc from these post-prog cool kids. Not the place to start if you're just getting acquainted with these fellows. Head straight for their Tremulant EP first. Limited pressing of 5000.

album cover MARS VOLTA Octahedron (Warner Bros. ) cd 13.98
This latest release from modern prog heroes Mars Volta finds them at their orchestrated and organized best. Omar Rodriguez Lopez lays on the guitar effects while Cedric Bixler Zavala's vocals soar above and beyond into the stratosphere. There's a lot of extended build ups (as one has grown to expect) and some really crazy drum work on this record (especially on "Cotopaxi"). Though most of the eight tracks rock almost beyond belief, there are a couple sloooow, dreamy jams that almost require closed eyes and a doobie to fully appreciate.
MPEG Stream: "Since We've Been Wrong"
MPEG Stream: "Teflon"
MPEG Stream: "Halo Of Nembutals"

album cover MARS VOLTA Octahedron (Rodriguez Lopez Productions) 2lp 38.00
Now on not so cheap vinyl (special for this Saturday's Vinyl Record Store Day)... This latest release from modern prog heroes Mars Volta finds them at their orchestrated and organized best. Omar Rodriguez Lopez lays on the guitar effects while Cedric Bixler Zavala's vocals soar above and beyond into the stratosphere. There's a lot of extended build ups (as one has grown to expect) and some really crazy drum work on this record (especially on "Cotopaxi"). Though most of the eight tracks rock almost beyond belief, there are a couple sloooow, dreamy jams that almost require closed eyes and a doobie to fully appreciate.
MPEG Stream: "Since We've Been Wrong"
MPEG Stream: "Teflon"
MPEG Stream: "Halo Of Nembutals"

album cover MARS VOLTA Scabdates (GSL / Universal ) cd 14.98
Eeep, that rather gnarly album title and one particularly excessive guitar solo in the 11th track aside, this live album from nouveau world proggy youths The Mars Volta will surely please their many fans (hell, maybe those two things won't bother you). Although it clocks in at just under 74 minutes (not really all that long for a prog-rock journey, is it?) of tripped-out jams, more structured songs and surprising little crowd noise, some of us found Scabdates to be somewhat long-winded and self-indulgent... but we're sure for the diehards the time will fly by. Not the first nor best place to start if you're just now getting around to a first encounter with these fellows though (if that's the case, check out their awesome debut Tremulant cdep -- a tight concise workout to launch you into the MV orbit).
MPEG Stream: "Abrasions Mount The Timpani"
MPEG Stream: "Cicatriz Pt. 3"

album cover MARS VOLTA Televators (Picture Disc) (GSL / Erika) 12" Picture Disc 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hey Mars Volta completists! Here's another striking picture disc from these post-prog cool kids. Not the place to start if you're just getting acquainted with these fellows. Head straight for their Tremulant EP first. Limited pressing of 5000.

album cover MARS VOLTA The Bedlam In Goliath (Universal) cd 14.98
Over the past six years The Mars Volta has always torn it up. Their roster has boasted some serious players with amazing chops, but their songs could be long-winded, self-indulgent and overtly wanky (example: 2006's Amputecture). Still, you can't knock 'em too hard. Since their awesome Tremulant debut back in 2002, they've tirelessly brought their often seemingly impervious ethno-proggy sounds to the youthful masses who in turn have devoured them and continue to clamber for more. Starting the year off with a fierce bang, The Bedlam In Goliath is this tight, well-oiled music machine's most infectious and accessible work since that first ep. Yet, it's still driven by the epic, the techy and the cerebral. Sure to please their devotees and win them some new ones too. Pssst, a little aside: Cedric's vocals are sounding their most pitchshifted-up-up-up into the shrill Chipmunks stratosphere. As far as we know they aren't processed but they are totally crazy!
MPEG Stream: "Goliath"
MPEG Stream: "Ouroborus"

album cover MARS VOLTA, THE De-loused In The Comatorium (Universal) cd 15.98
Seeming galaxies away from their former band At The Drive-In, Cedric Bixler and Omar Rodriguez have crafted a most artful and expansive major label debut which surges forth beautifully from their 2002 "Tremulant" 3-song EP. Bixler's vocals take untethered flight into the upper stratosphere bringing to mind the highly affecting vocal acrobatics of forefathers Jon Anderson of Yes or Rush's Geddy Lee. Actually at some points, Bixler's voice soars to near-Bjork heights of emotionality. Rodriguez's songwriting moves even further into mind-spinning prog, psych and jazz-imbued complexities.
The Mars Volta stampedes unrelenting through most of this album only occasionally slowing things somewhat to draw the listener through mysterious subterranean drones and pulses. Looming like the most foreboding of thunderheads, and coming down in taut, torrential downpours, the stirring tech-rock maneuvers are precise and skillfully executed.
This release will undoubtably receive much attention for the band members' lineage as well as the notable individual playing bass -- Flea! -- however this is by no means the Flea Hour. His playing fits seamlessly, but it's the chemistry between the five core players which is the dynamic key. The two fellows were joined once again by Jon Theodore, Ikey Owens, and the late Jeremy Ward. Produced by Rodriguez and Rick Rubin. A most challenging and rewarding listen. An additional note: Cover design by Hipgnosis mainman Storm Thorgerson and Coil's Peter Christopherson.
MPEG Stream: "This Apparatus Must Be Unearthed"
MPEG Stream: "Televators"

album cover MARS VOLTA, THE Frances The Mute (Universal) cd 15.98
Uh oh. Here we are again, with the band that creates lovers or haters more than any other I know. Although, I have to say, personally I'm kind of on the fence about them! Jon Theodore is one of the most amazing drummers I've ever seen or heard. Their live show is absolutely entertaining, especially when joined by John Frusciante, who's contribution of a second incessant guitar solo seems to make their music make sense. As well, Omar and Cedric's pants are just so tight, it is unbelievable. Their Tremulant EP was shocking. It was this full-on indie-power-prog, like nothing I'd heard before. Their music went somewhere... and kept on going... though, I don't think I understood exactly "where". Their debut full-length, Deloused In The Comatorium (with its odd name and pretty terrible artwork) was still totally beyond me. Not truly prog, not truly indie-pop... someplace in between, with technical insanity, near-constant meter-changes and polyrhythm incessantry. A lot of people seemed to take MV as though they were a total mess of music: ornate, pompous, not at all worthy of any ounce of praise, let alone the millions of "extreme" fans all over the world.
Now, Frances The Mute, their second full-length, is monolithic at 77 minutes long. Despite that length, it seems to be a bit more digestible. I would certainly have something that felt like jet-lag if I had to listen to the whole thing in one sitting, but to dedicated fans, of which there are many, this will hardly be enough power-progtastic-indie-pop. And of course, MV still features Lars Ulrich's and my favorite drummer, Jon Theodore.
MPEG Stream: "The Widow"
MPEG Stream: "Cassandra Geminni: A. Tarantism"

album cover MARS VOLTA, THE Francis the Mute b/w The Widow (Live) (GSL) 12" 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hark, all ye kids and collectors! The B-side of this 12" single is a live version of The Mars Volta's heartfelt power-prog ballad "The Widow" recorded at LA's Wiltern Theater on May 6th, 2004. The album version can be heard on their latest release, Frances The Mute (which happens to also be the title of the A-side of this record), but you probably already knew that.

MARS VOLTA, THE Nocturniquet (Warner Brothers) cd 12.98

album cover MARS VOLTA, THE Tremulant EP (GSL) cd ep 7.98
If you've been in search of some new and exciting sounds, you simply should not miss this introductory EP to The Mars Volta. Although this sextet will undoubtedly receive much attention for two of its members' past band (Omar and Cedric were the most recognizable members of At The Drive-In) not to mention the presence of Jon Theodore (of Golden and formerly of Royal Trux and Him) on drums, they fully deserve to be taken on their own ground.
The Mars Volta are determined *not* to take the path of least resistance by retracing the steps they've already trod. Instead, they're traversing a fresh, dynamic terrain. Crafting intricate, multi-layered songs with a definite *prog* angle. Shades of King Crimson and Yes (and U2 in the vocals, but it's not annoying at all). And they've got the chops to successfully execute their formidable mission. The vocals - so untethered, hoarse and fiery in ATDI - are here molded into an emotional falsetto that rings clear and strong with additional effected ones adding an air of alienation. The music is an amazing, intricate blend of ultra-tight drumming, deep bass, keyboards and guitar made even more potent and unsettling by carefully arranged, foreboding samples and electronics. Oh and in case I didn't make myself clear... They absolutely rock! If these three songs are any indication, they will be a force to be reckoned with. Blistering!
Please note: this is not to be confused with DeFacto (TMV members Omar, Cedric, Jeremy and Ikey's experimental dub side project).
RealAudio clip: "Eunuch Provocateur"
RealAudio clip: "Cut That City"

MARS VOLTA, THE Tremulant EP (GSL) lp 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If you've been in search of some new and exciting sounds, you simply should not miss this introductory EP to The Mars Volta. Although this sextet will undoubtedly receive much attention for two of its members' past band (Omar and Cedric were the most recognizable members of At The Drive-In) not to mention the presence of Jon Theodore (of Golden and formerly of Royal Trux and Him) on drums, they fully deserve to be taken on their own ground.
The Mars Volta are determined *not* to take the path of least resistance by retracing the steps they've already trod. Instead, they're traversing a fresh, dynamic terrain. Crafting intricate, multi-layered songs with a definite *prog* angle. Shades of King Crimson and Yes (and U2 in the vocals, but it's not annoying at all). And they've got the chops to successfully execute their formidable mission. The vocals - so untethered, hoarse and fiery in ATDI - are here molded into an emotional falsetto that rings clear and strong with additional effected ones adding an air of alienation. The music is an amazing, complex blend of ultra-tight drumming, deep bass, keyboards and guitar made even more potent and unsettling by carefully arranged, foreboding samples and electronics. Oh and in case I didn't make myself clear... They absolutely rock! If these three songs are any indication, they will be a force to be reckoned with. Blistering!
Please note: this is not to be confused with DeFacto (TMV members Omar, Cedric, Jeremy and Ikey's experimental dub side project).
RealAudio clip: "Eunuch Provocateur"
RealAudio clip: "Cut That City"

album cover MARSFIELD (ANDREW CHALK) Three Sunsets Over Marsfield (Faraway Press) lp 33.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Here's the second release from Andrew Chalk's Marsfield project, even though these recordings date back to 2002 well before the 2010 release of The Towering Sky. At that time, Chalk was still engaged with the sublime Mirror collaboration with Christoph Heemann, producing a vast collection of impressionist drones that certainly set a gold standard for anyone looking to dive into the dronemuzik category. Enter Brendan Walls, an Australian ambient practitioner who also moonlights in the slugfuck-noise outfit the Menstruation Sisters (although there's nothing of the Sisters' scattered noise that enters any of the Marsfield recordings). Walls had released a few albums through Heemann's labels of vaporized hum and oceanic tonefloat, including a 2004 collaboration with Mr. Chalk on Three Poplars. Whatever the relationship of the collaboration between Chalk and Walls might have been, Three Sunsets Over Marsfield has the fingerprints of Andrew Chalk all over it: smeared texture into elongated drone and shimmering resonant tones coalescing into thrumming hypnosis. What is unique to Three Sunsets in relation to the Chalk catalogue, is that there is a peculiar backstory about a retired British soldier who had been able to receive and amplify radio transmissions through a metal plate in his skull. It's easy to imagine that Chalk and Walls set out to create a sublime piece of music, best suited for playback within the skull of an old soldier, sick of listening into whatever the BBC might be broadcasting. Chalk and Walls compact and compress numerous layers of psychedelically-bent guitar drones into a gorgeous, mid-frequency stream of flutter, shimmer, and mirage, not unlike what Chalk would later reprise on Shadows From The Album Skies. To say that this album is mesmerizing is undoubtedly an understatement!
Andrew Chalk vinyl is a rare commodity indeed, and Three Sunsets Over Marsfield is no exception, being printed in an edition of 300 copies in an extraordinary package of embossed metallic paper with an obi sporting the title in Japanese.

album cover MARSFIELD (ANDREW CHALK, ETC.) The Towering Sky (Faraway Press) cd 21.00
BACK IN STOCK!!!
Marsfield is a project featuring the premier UK drone artist Andrew Chalk along side Vikki Jackman, Robin Barnes, and Brendan Walls. This collective recorded The Towering Sky back in 2005, only to see if released some five years later. Given the gap in recording to release, we have to wonder what else Mr. Chalk has buried in the vaults of his Faraway Press that one day might see the light of day.
The recordings reflect the strategies of David Jackman, who had employed the talents of a much younger Andrew Chalk many many moons ago in his Organum ensemble. The Marsfield participants have all gathered various pieces of resonant metal (maybe a large piece of sheet metal, maybe a long stringed instrument, probably a gong or two, and definitely a singing bowl or four) and extracted sustained textures, prolonged scrapes, deep bellowings, and elegantly warbled tones in a large reverberant room. With all of the room noise with its spectral echoing, damp reflections, and incidental ambience, the Marsfield sessions sound as if they could have been recorded in some abandoned factory somewhere in the Northeast of England. The first Isolde record that Chalk and Barnes had constructed a few years back is not all that dissimilar to The Towering Sky, with the first half of this record appearing as shape-shiting ghosts of corroded, droning haze, and shifting into the latter half of the record pocked with distant plucks and small hand bells that dissolve into field recordings of English rain showers. As with all of the Faraway Press titles, this is beautifully packaged; and as with all Andrew Chalk releases, this is very highly recommended.
MPEG Stream: "Marsfield Cathedral"
MPEG Stream: "Marsfield Common"

album cover MARSH / THORAZINE GAZE split (Love Decay) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest from Minneapolis one man raw black metal horde Marsh, who we last heard from on a split with black metal weirdos Lonesummer. Here, Marsh is teamed up with a group called Thorazine Gaze, who we had never heard before but who are pretty amazing, starting things out with a plodding bit of freaked out, depressive, super creepy plodding black metal, the guitars raw and echoe-y, the recording super lo-fi, the vocals super distorted and insanely inhuman sounding, also wrapped in delay and reverb, the result is a dark droning, blackened trudge, with a gloriously melancholy main riff. The next track picks up the pace a little, but the sound remains, grim and miserable, yet still strangely minor key and melodic, the music almost pretty, but the vocals, so intense and tortured and so processed and distorted they end up sounding like dense squalls of white noise, drifting over the pounding D-beat flecked grimnity underneath. The record tends toward the midtempo, but those fucked up vocals push this more toward the realms of groups like Bone Awl or Akitsa, which is absolutely a good thing.
Marsh starts of his side with a stretch of creepy, soundtracky black ambience, laced with strange industrial creaks and whirs, looped melody, a haunting tense slow build, swirling FX, downtuned distorted crumble, echo drenched melodies, before finally exploding into song, but instead of the frenzied black blast we were expecting, it's some creepy depressive gothy doom pop, deep dramatic vocals, clean guitars, low slung Joy Division basslines, all wrapped in a gauzy lo-fi swirl, the rhythms programmed and machinelike, the track laced with occasional shrieked vokills, but for the most part it's weirdly dark and melodic, before finally stumbling into something way more black and harsh, stumbling drums, strange atonal guitars, harsh vox, twisted melodies, everything woozy and off kilter, abstract and gnarled. Finally finishing off with a bit of pounding post rock / black metal, that manages to buzz and brood, the sound blown out, but definitely still warm and melodic. Good stuff for sure. Wondering when some label's gonna finally step up and release a Marsh full length. Until then, better act fast. LIMITED TO 50 COPIES!! We have about 10, not sure we can get more...

MARSH, BOB / THERESA WONG / BRYAN EUBANKS Luggage (Last Visible Dog) cd 9.98

album cover MARSHALL, OWEN The Naked Truth (Jazzman) cd 17.98
Jazzman strikes again, with another rad reissue of outsider jazz genius, this one in the form of Owen Marshall's 1975 album The Naked Truth (also the name of his band), a dizzyingly eclectic and totally far out psychedelic jazz freakout, equal parts droned out FX heavy experiments, lush spiritual jazz, twisted exotica and totally abstract psych-jazz weirdness, those various elements in constant flux, so even the prettiest parts are slightly twisted, and the most warped passages still somehow manage to be strangely lovely. Beyond the usual instrumentation, the record also features 'Hose-A-Phone', 'Tube-Phone', 'Boonet' and 'Ply-Tar', all instruments of Marshall's invention, all created, according to Marshall to "tap the very depths of his creative resources... to make music fun to play, and entertaining to listen to". And we'd have to say he succeeded big time.
The record opens with the far out psychedelic meditation of "Electric Flower", an abstract drift of squiggly electronics, keening high end tones, squeaking horns, and tripped out heavily effected vocals, all accompanied by more straight forward jazz horns, both meditative and totally far out. "Nana's Sleeping" gets a bit more dreamy and jazzy, just piano and saxophone, everything wreathed in reverb, the sound ethereal and drifty, which leads into the murky flute flecked funk of "Peanut Butter Ice Cream Man", groovy and dreamy, the sound weirdly blown out, giving it a strange abstract vibe. "Planet Funk" is a killer slab of jazz funk, sort of cinematic, like a lost cut from some amazing blaxploitation movie, while "Paper Man" introduces the "Tube-O-Phone", which plays the main melody, and sounds a bit like a dog's squeeze toy.
The rest of the record tends toward the spiritual jazz side of Marshall's sound, lush and lovely, at least until the closer "Ancient Astronauts", which bookends the record along with opener "Electric Flower", tripped out drifts of long tones, rumbling drones, strange abstract sounds, more of Marshall's invented instruments, super hypnotic, like some lost seventies psychedelic Eastern ur-drone. Fantastic!
The reissue tacks on a couple of bonus tracks, from a couple super rare 7"s, and sound like they could have been included on the record proper. "Grunt Uh-Uh-Uh" is a dark, brooding slow jam, slithery and sultry, the sound murky and washed out, the vibe dreamy and late night, and even though it's just a bonus track, it's one of our favorites on this reissue. And then there's "Evolove" which is all funky flute, Marshall's vocal grunts, the passionate groans of a female partner (?) and again has a serious jazz funk blaxploitation vibe. Killer stuff. Includes the a reproduction of the original sleeve notes, and includes all new liner notes as well.
MPEG Stream: "Electric Flower"
MPEG Stream: "Nana's Sleeping"
MPEG Stream: "Ancient Astronauts"
MPEG Stream: "Grunt Uh-Uh-Uh"

MARSHALL, OWEN The Naked Truth (Jazzman) lp+7" 17.98
Jazzman strikes again, with another rad reissue of outsider jazz genius, this one in the form of Owen Marshall's 1975 album The Naked Truth (also the name of his band), a dizzyingly eclectic and totally far out psychedelic jazz freakout, equal parts droned out FX heavy experiments, lush spiritual jazz, twisted exotica and totally abstract psych-jazz weirdness, those various elements in constant flux, so even the prettiest parts are slightly twisted, and the most warped passages still somehow manage to be strangely lovely. Beyond the usual instrumentation, the record also features 'Hose-A-Phone', 'Tube-Phone', 'Boonet' and 'Ply-Tar', all instruments of Marshall's invention, all created, according to Marshall to "tap the very depths of his creative resources... to make music fun to play, and entertaining to listen to". And we'd have to say he succeeded big time.
The record opens with the far out psychedelic meditation of "Electric Flower", an abstract drift of squiggly electronics, keening high end tones, squeaking horns, and tripped out heavily effected vocals, all accompanied by more straight forward jazz horns, both meditative and totally far out. "Nana's Sleeping" gets a bit more dreamy and jazzy, just piano and saxophone, everything wreathed in reverb, the sound ethereal and drifty, which leads into the murky flute flecked funk of "Peanut Butter Ice Cream Man", groovy and dreamy, the sound weirdly blown out, giving it a strange abstract vibe. "Planet Funk" is a killer slab of jazz funk, sort of cinematic, like a lost cut from some amazing blaxploitation movie, while "Paper Man" introduces the "Tube-O-Phone", which plays the main melody, and sounds a bit like a dog's squeeze toy.
The rest of the record tends toward the spiritual jazz side of Marshall's sound, lush and lovely, at least until the closer "Ancient Astronauts", which bookends the record along with opener "Electric Flower", tripped out drifts of long tones, rumbling drones, strange abstract sounds, more of Marshall's invented instruments, super hypnotic, like some lost seventies psychedelic Eastern ur-drone. Fantastic!
The reissue tacks on a couple of bonus tracks, from a couple super rare 7"s, and sound like they could have been included on the record proper. "Grunt Uh-Uh-Uh" is a dark, brooding slow jam, slithery and sultry, the sound murky and washed out, the vibe dreamy and late night, and even though it's just a bonus track, it's one of our favorites on this reissue. And then there's "Evolove" which is all funky flute, Marshall's vocal grunts, the passionate groans of a female partner (?) and again has a serious jazz funk blaxploitation vibe. Killer stuff. Includes the a reproduction of the original sleeve notes, and includes all new liner notes as well.
MPEG Stream: "Electric Flower"
MPEG Stream: "Nana's Sleeping"
MPEG Stream: "Ancient Astronauts"
MPEG Stream: "Grunt Uh-Uh-Uh"

album cover MARSHALL, PHILIP Casse-tete (The Tapeworm) cassette 8.98
One of four new tapes on the Tapeworm label, a UK cassette only label that traffics in modern minimalism and all manner of outsider musical ephemera, shrouding many of their releases in mystery, leaving it up to the listener to divine the providence of these strange and wonderful releases. Not entirely sure who Philip Marshall is, although from the credits we're going to assume it's actually not a person, and instead the name of a group, made up of various composers, musicians and field recordists. Composed and performed by English pianist / composer Andrew Poppy, Casse-tete is a gorgeous elegiac bit of solo piano, brooding, and haunting, lush and melodious, but the main piano part is surrounded by various bits of audio detritus and random field recordings, from static and crunch, hiss and clatter, to snippets of conversation, the grinding metal on metal of what sounds like a commuter train, the background sounds occasionally overtaking the piano sounds themselves, a few minutes in, after what sounds like someone removing a tape from a player, we're treated to accordion and crowd sounds and what could be a buys street in Italy, the sounds getting ever more chaotic and noisy, reverbed and echo drenched, finally super distorted in a final squall of Merzbowian crunch, slipping into a strange bout of pulsating organs sliced and diced and all tangled up with more strange sonic snippets and fragments of what sounds like liturgical chorales.
The B side seems to be an extrapolation of that twisted collaged Italian street field recording, thick billows of accordion buzz, the rhythmic crunch of foot steps, church organs, lots of hiss and crunch and buzz, drone and dark, fragmented and fractured, a swirling, whirling droned out soft noise field recording flecked dronescape. Cool.
LIMITED TO 200 COPIES.

MARSHMELLOW COAST Ing (Kindercore) cd 13.98
More elfin voices from the land of Kindercore Records. Very very mellow. No pun intended. Little tunes that meander around a bit with pretty harmonies and flourishes. Like frolicking aimlessly down a rambling path in the woods on a sunny afternoon pausing briefly for a dip in a creek or a bite of wild berries. Starring Julian Koster and Scott Spillane (Elephant 6 gadabouts) on musical saw and flugelhorn respectively.

album cover MARTIAL CANTEREL Refuge Underneath (Wierd) cd 11.98
The minimal wave rolls on! Martial Canterel is the work of Sean McBride whose darkened electronic tunes have come to us by way of his work with Liz Wendelbo as Xeno & Oaklander; and this album actually predates the exceptional Saracen record from Xeno & Oaklander. That said, all of his productions could have come via some Belgian post-punk imprint circa 1982, so the exact timing of his records matters little. There's plenty of similarities between his solo work and his work in Xeno & Oaklander, meaning that if you loved that record, this will not disappoint. Recorded entirely on analogue sequencers, synthesizers, and drum machines and first released as a cassette (foreshadowing the current resurgence of tape releases by a couple of years!), Refuge Underground bristles with dark pulsing energy, snapped around whip-cracking drum programming, tinny metallic sequences, and seriously infectious melodic arppegiations (think the best of DAF, Dark Day, Nitzer Ebb, or Absolute Body Control). McBride's monotone somber delivery accentuates the moods set through his cold and sparse, synth-pop constructions. Another great recapitulation of the past-future from Wierd Records.
MPEG Stream: "Lips Not Listening"
MPEG Stream: "3 Ages"
MPEG Stream: "Two Before Four"

album cover MARTIAL CANTEREL You Today (Wierd) cd 11.98
While there are some fantastic labels crate digging for those awesomely obscure synth-wave / post-punk reissues, there's something to be said for Wierd Records in championing some of the best current practitioners of retrogarde cold-wave. It seems that at every step of Wierd's brief history, there has also been the sounds of Sean McBride, whether that be from his work in the exceptional Xeno & Oaklander or the sporadic tracks released with Three To Forgotten or his solo work as Martial Canterel. These dark-eyed synth-pop projects all share a lot of similarities in their modern romantic poetry working through the urgent marches of interwoven arpeggiation, flanging tone, spectral synth flourishes, and propulsive drum machines; and McBride's vocals carry an affected delivery with British inflections. McBride is quick to point toward his impressive collection of vintage synths and sequencers, speaking of the craftsmanship required to master these instruments. There is self-awareness of the irony in such a statement, given that so many of the great electronic bands had been accused of being less than human through their use of electronics, and McBride wholeheartedly embraces his role as a fetishist and an archivist, presenting all of his arrangements with a flawless reclamation of a forgotten future. As such, all of McBride's productions look toward the classic early new wave works of Human League, OMD, and Depeche Mode, with You Today nestling very comfortably amongst all of those references of old.
MPEG Stream: "Secret Store"
MPEG Stream: "Some Days"
MPEG Stream: "The Empty Sand"

album cover MARTIAL CANTEREL You Today (Wierd) lp 16.98
While there are some fantastic labels crate digging for those awesomely obscure synth-wave / post-punk reissues, there's something to be said for Wierd Records in championing some of the best current practitioners of retrogarde cold-wave. It seems that at every step of Wierd's brief history, there has also been the sounds of Sean McBride, whether that be from his work in the exceptional Xeno & Oaklander or the sporadic tracks released with Three To Forgotten or his solo work as Martial Canterel. These dark-eyed synth-pop projects all share a lot of similarities in their modern romantic poetry working through the urgent marches of interwoven arpeggiation, flanging tone, spectral synth flourishes, and propulsive drum machines; and McBride's vocals carry an affected delivery with British inflections. McBride is quick to point toward his impressive collection of vintage synths and sequencers, speaking of the craftsmanship required to master these instruments. There is self-awareness of the irony in such a statement, given that so many of the great electronic bands had been accused of being less than human through their use of electronics, and McBride wholeheartedly embraces his role as a fetishist and an archivist, presenting all of his arrangements with a flawless reclamation of a forgotten future. As such, all of McBride's productions look toward the classic early new wave works of Human League, OMD, and Depeche Mode, with You Today nestling very comfortably amongst all of those references of old.
MPEG Stream: "Secret Store"
MPEG Stream: "Some Days"
MPEG Stream: "The Empty Sand"

MARTIN DENNY Afro-Desia (Scamp) cd 14.98
Finally available on disc.

MARTIN DENNY Forbidden Island & Primitiva (Scamp/Caroline) cd 15.98
Both albums digitally remastered with added liner notes by Martin Denny himself.

album cover MARTIN DUPONT Lost And Late... (Minimal Wave) lp 24.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Here's another lost gem from Minimal Wave, the label that has been digging deep, very deep into the realms of post-punk and new wave to uncover many a release that might have been lost. For those who have procured plenty of terminal obscurities from such blogspots as Mutant Sounds, No Longer Forgotten Music, or Systems of Romance, some of the reissues on Minimal Wave may be familiar. But these are no grey area reissues. Minimal Wave has assured us that they have taken great care to procure the rights for each of these recordings!
Martin Dupont was a French new wave band with a brief run in the mid '80s, and according to Minimal Wave, the band had acquired something of a cult status in their homeland for their peculiar take on synth-pop. Amidst the catchy melodies and mechanoid drum machines, Martin Dupont alternated between the wailing, barking vocals of Alain Seghir and the ethereal voices of Catherine Loy and Brigitte Balain. Kraftwerk and Joy Division are the references that the band claimed as their own; but their sound resembles the crypto-weirdness of Fad Gadget complete with splatters of trumpet, disjointed left-field rhythms, and purposefully over the top theatrics care of Seghir.

album cover MARTIN, AARON & MACHINEFABRIEK Cello Recycling / Cello Drowning (Type) cd ep 15.98
With all the limited 3" cd-r releases and full lengths, it's amazing Machinefabriek, aka Rutger Zuydervelt could find time to collaborate, but boy are we glad he did. Two pieces, each a collaboration with American multi instrumentalist Aaron Martin, who recorded a series of cello pieces, which Zuydervelt proceeded to chop up, process, reassemble and twist into gorgeous haunting new shapes.
The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda.
As always, absolutely lovely.
MPEG Stream: "Cello Recycling"
MPEG Stream: "Cello Drowning"

album cover MARTIN, AARON & MACHINEFABRIEK Cello Recycling / Cello Drowning (Type) 10" 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With all the limited 3" cd-r releases and full lengths, it's amazing Machinefabriek, aka Rutger Zuydervelt could find time to collaborate, but boy are we glad he did. Two pieces, each a collaboration with American multi instrumentalist Aaron Martin, who recorded a series of cello pieces, which Zuydervelt proceeded to chop up, process, reassemble and twist into gorgeous haunting new shapes.
The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda.
As always, absolutely lovely.
MPEG Stream: "Cello Recycling"
MPEG Stream: "Cello Drowning"

album cover MARTIN, IAN Mechanical Rain (Further) lp 15.98
Not sure how we first heard Ian Martin, a Dutch visual and recording artist, but we do remember it only took about two minutes of one track, and we were totally hooked. With a super minimal set up, never more than two synths, and absolutely no drum machines, Martin manages to create strange overlapping patterns and haunting synthscapes that manage to be ultra minimal, and that are driven by subtle rhythms created from the synths alone. The track that did it for us is the opener here, "Moving Activity", which unfurls long slow chordal swells, lush and haunting, over a murky looped percolation, that makes it sound like some sort of Philip Jeck installation, the feel of a skipping record driving the track, all gauzy and hazy and wreathed in a patina of barely there tape hiss. It's totally mesmerizing and utterly hypnotic, a gorgeous chunk of minimal mesmer that ends way to soon after only about 8 minutes.
It's almost as easy to get lost in the rest of the record "Drups" lays down a dense layered sprawl of atonal drones, over which Martin sends a series of bleeps and bloops pinging back and forth, giving it the vibe of some sort of early electronic space music, raw and primitive. "Voice Of Space" is a bit more crunchy and caustic, the percussion made up of little bits of squelch and static, over a strangely hypnotic loopscape that is both mesmerizing and tense, very cinematic too.
"Stream" probably ranks as a close second to the opener, another Jeck like loopscape, this one flecked with what sounds almost like a Morricone style twang, the rhythm a murky softly crunchy bit of churn, gorgeously hypnotic and hauntingly cinematic, another one we could listen to all day. "Wires" is a lot like "Drups", much busier, and another song that seems to approximate some lost primitive space music, a field of bleeps and bloops, strange tinkling melodies, all over a field of buzz and shimmer, and driven by a muted thump, very playful, almost reminding us of Raymond Scott at times. And finally, the title track, which unfurls a lush metallic buzzscape, that sounds almost like it was woven together from the sounds of grandfather clocks, chiming and tolling tones, all drifting above a strangely clattery abstract rhythm, the sounds crystalline and glistening, a gorgeously mesmerizing sprawl of glimmering synth drift mesmer that's the perfect way soundtrack to drifting off, disappearing into the heavens, are body and soul becoming one with the stars. Fantastic.
MPEG Stream: "Moving Activity"
MPEG Stream: "Stream"

album cover MARTIN, JIMMY Don't Cry To Me: Songs From The Film King Of Bluegrass (Thrill Jockey) cd 15.98
What's goin' on, Thrill Jockey throwing their hat into the bluegrass ring? Can't complain about sixteen great tracks from one of the founding fathers of bluegrass and one of the all time great tenor singers in country. Collected from recordings made between 1954 and 2001, Don't Cry To Me spans a huge chunk of Martin's still strong career. Along with tracks featuring his Sunny Mountain Boys (most of which feature the amazing banjo playing of J.D. Crowe) there's one track of Jimmy performing with Bill Monroe's Bluegrass Boys. Like all great bluegrass recordings, much of these tracks were recorded live at festivals or taken from radio transcriptions. And like other live bluegrass recordings these wouldn't be complete without including the corny between song humor that's pretty much a tradition in the business. A lot of classics are included here such as "John Henry", "Hit Parade of Love", "Poor Ellen Smith", "Free Born Man" and more.
MPEG Stream: "On And On"
MPEG Stream: "Don't Cry To Me"

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