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


album cover MASSACRE Meltdown (Tzadik) cd 16.98
Massacre has been around since 1981's seminal album Killing Time (which you must seek out if you haven't heard it already). Comprised of guitarist Fred Frith, bassist Bill Laswell, and -- new to the group -- Charles Hayward on drums, Massacre specialize in improvised avant rock -- propulsive rhythms, plink-plonking bass, scraping schizo textural guitarwork. Recorded live at Robert Wyatt's 2001 Meltdown Festival, it all adds up to an intense listening experience, especially when the trio lets loose with climactic fervor. As the founder of the legendary This Heat, Hayward's name makes this even more of a supergroup than before. Luckily the music lives up to that, although we'd still recommend Killing Time to start with.
RealAudio clip: "Closing the Circles and Loose End"
RealAudio clip: "Up For It"

MASSEMORD Obscura Symphonia (Cybertzara) cd 14.98

album cover MASSEMORD Skogen Kaller (Cybertzara) cd 14.98
Another awesome warehouse find that definitely deserves to see the light of day. We've had Massemord's Skogen Kaller since 2003... but sometimes stuff gets lost in the shuffle. Anyway, we're glad we found these - all 4 of them, so act fast - because for those like ourselves who dig their metal black, Norwegian, and totally evil, this is sure to hit the spot. Nothing super "out there" or "fucked up" about this one, just grim, buzzing hate with some surprisingly majestic guitar leads thrown in every once in a while. The vokillz are classic black metal rasps delivered in both Norwegian and English (not that you could necessarily tell), and with song titles like "Eternal War", "I Have Sipped The Blood...", and "Flowers For Your Funeral", you should know whether or not this is your cup of freshly harvested human blood or not... Apparently after a name change, Massemord is back to their old moniker under the helm of mainman (and, it would seem, only man these days) Barren. We definitely look forward to checking that stuff out and hopefully won't wait another 7 years to review it...
MPEG Stream: "Solen Skinner Ikkje"
MPEG Stream: "Flowers For Your Funeral"
MPEG Stream: "My Last Breath"

album cover MASSIERA, JEAN-PIERRE Midnight Massiera (Finders Keepers) cd 23.00
We'd never normally accuse the Finders Keepers Label of being slow on the draw, having turned us on to so much stuff we wouldn't know about otherwise. But we thought it a bit odd that they just released this Jean-Pierre Massiera compilation so soon after the Mucho Gusto label released the two incredible Psychoses compilations (Discoids and Freakoids) showcasing the eccentric prog, pop and disco productions of this incredible French mad genius. Yet while there is some crossover (six songs here are also on the Freakoids comp; three are also on Discoids), there is about half of Midnight Massiera that's from other outfits not featured on those two previous comps. Some we've heard of (Les Maledictus Sound, who contribute two tracks), others we've heard of but didn't realize Massiera was involved in their production (Chico Magnetic Band and Chris Gallbert, the same track featured on the awesome earlier Mucho Gusto comp, Total Freak Out!), and finally there are a few groups totally new to us: the spaghetti western Moog weirdness of S.E.M. Studios; the one and only Jesus, who contributes two tracks - one loungey freak beat, the other melancholy folk; a percussive fuzz interlude by Atlantide, and the cinematic psych-folk of Afterlife. Visitors, Hermans Rocket, Human Egg, Basile (with two tracks) Les Chats, Les Monegasques, The Pyranhas, and The Starlights make repeat appearances. Folks who already have the two previous compilations (plus the Les Maledictus Sound, Visitors, and Chico Magnetic Band albums, as well as the Total Freak Out compilation), may not want to shell out more for this. But for a one-stop Massiera compilation, this is very wide ranging and well curated, featuring most of the best of the Mucho Gusto compilations, as well as our favorite tracks from Les Maledictus Sound. If you haven't already purchased any of the previous Massiera related releases available, and need a really good introduction, this one will do quite nicely!
MPEG Stream: THE STARLIGHTS "Mao Mao"
MPEG Stream: BASILE "Engins Bizarres et Gens Estranges"
MPEG Stream: VISITORS "Visitors"
MPEG Stream: CHRIS GALLBERT "Sing Sing"
MPEG Stream: LES MALEDICTUS SOUND "Kriminal Theme"
MPEG Stream: JESUS "Song Mortuaire"
MPEG Stream: CHICO MAGNETIC BAND "Pop Or Not"

album cover MASSIERA, JEAN-PIERRE Psychoses: Discoid (1976 - 1981) (Mucho Gusto) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on cd!! We sold a ton of both volumes of these on vinyl already, here's our review...
It's not every day you hear samples of Hitler speeches and Nazi marches over a pulsating glammy space groove next to an even wackier freaked out French version of Napoleon XIV's "They're Coming To Take Me Away". Throw in some warped '60s beat pop, zany space prog and the weirdest but most sublimely cosmic disco tracks you have never heard, and you are somewhat closer to wrapping your head around the skewed production genius of Jean-Pierre Massiera. Starting his career in the south of France and relocating to Montreal in the seventies, Massiera, best known for Les Maledictus Sound, a holy-grail record for collectors of sixties psych-exotica freakiness has continued to explore for the past 40 years all manner of spacey and unhinged pop and dance grooves through a myriad of single-based projects, the best of collected on these two volumes. Like a surrealist Serge Gainsbourg mixed with Gong, Cerrone and Zolar X, Massiera never concerned himself with record industry pressures or making fame or fortune off his production efforts but instead used the studio to explore his love of surrealism, off-beat humor and some coke-addled (we presume) cosmic fantasy.
The Discoid volume begins with Sex Conventions' "Toi Qui Reve de Baisers", a funky groover that owes much of its success to Dennis Coffey's "Scorpio" as they share similar riffs and breaks. Native American, and Brazilian rhythms come through on tracks by Herman's Rocket (who were also on the first volume) and Brasa Brasil & Helena. While Human Egg gives us "Onomatopaiea", a hypnotic vocal-only rhythm chant and the cosmic disco epic "Love Like This" that any DJ with a penchant for Italo or electro-funk should get this volume for that track alone! Of course The Starlights "Mao Mao" along with tracks by Mickey and Joyce and Venus Gang also make this essential for crate diggers and beatheads and freaky music collectors of all types. Psychoses Indeed!
MPEG Stream: THE HUMAN EGG "Love Like This"
MPEG Stream: THE STARLIGHTS "Mao Mao"
MPEG Stream: SEX CONVENTION "Toi Qui Reve De Baisers"

album cover MASSIERA, JEAN-PIERRE Psychoses: Discoid (1976 - 1981) (Mucho Gusto) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's not every day you hear samples of Hitler speeches and Nazi marches over a pulsating glammy space groove next to an even wackier freaked out French version of Napoleon XIV's "They're Coming To Take Me Away". Throw in some warped '60s beat pop, zany space prog and the weirdest but most sublimely cosmic disco tracks you have never heard, and you are somewhat closer to wrapping your head around the skewed production genius of Jean-Pierre Massiera. Starting his career in the south of France and relocating to Montreal in the seventies, Massiera, best known for Les Maledictus Sound, a holy-grail record for collectors of sixties psych-exotica freakiness has continued to explore for the past 40 years all manner of spacey and unhinged pop and dance grooves through a myriad of single-based projects, the best of collected on these two volumes. Like a surrealist Serge Gainsbourg mixed with Gong, Cerrone and Zolar X, Massiera never concerned himself with record industry pressures or making fame or fortune off his production efforts but instead used the studio to explore his love of surrealism, off-beat humor and some coke-addled (we presume) cosmic fantasy. Each record comes with a code to download mp3's and a bonus track.
The Discoid volume begins with Sex Conventions' "Toi Qui Reve de Baisers", a funky groover that owes much of its success to Dennis Coffey's "Scorpio" as they share similar riffs and breaks. Native American, and Brazilian rhythms come through on tracks by Herman's Rocket (who were also on the first volume) and Brasa Brasil & Helena. While Human Egg gives us "Onomatopaiea", a hypnotic vocal-only rhythm chant and the cosmic disco epic "Love Like This" that any DJ with a penchant for Italo or electro-funk should get this volume for that track alone! Of course The Starlights "Mao Mao" along with tracks by Mickey and Joyce and Venus Gang also make this essential for crate diggers and beatheads and freaky music collectors of all types. Psychoses Indeed!
MPEG Stream: THE HUMAN EGG "Love Like This"
MPEG Stream: THE STARLIGHTS "Mao Mao"
MPEG Stream: SEX CONVENTION "Toi Qui Reve De Baisers"

album cover MASSIERA, JEAN-PIERRE Psychoses: Freakoid (1963 - 1978) (Mucho Gusto) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on cd!! We sold a ton of both volumes of these on vinyl already, here's our review...
It's not every day you hear samples of Hitler speeches and Nazi marches over a pulsating glammy space groove next to an even wackier freaked out French version of Napoleon XIV's "They're Coming To Take Me Away". Throw in some warped '60s beat pop, zany space prog and the weirdest but most sublimely cosmic disco tracks you have never heard, and you are somewhat closer to wrapping your head around the skewed production genius of Jean-Pierre Massiera. Starting his career in the south of France and relocating to Montreal in the seventies, Massiera, best known for Les Maledictus Sound, a holy-grail record for collectors of sixties psych-exotica freakiness has continued to explore for the past 40 years all manner of spacey and unhinged pop and dance grooves through a myriad of single-based projects, the best of collected on these two volumes. Like a surrealist Serge Gainsbourg mixed with Gong, Cerrone and Zolar X, Massiera never concerned himself with record industry pressures or making fame or fortune off his production efforts but instead used the studio to explore his love of surrealism, off-beat humor and some coke-addled (we presume) cosmic fantasy.
The Freakoid volume begins with Basile, a novelty singer who was popular in the South of France for playing a rural imbecile who has two tracks, one being the skewed Napoleon XIV cover mentioned above. That there is no mention that this song is a cover ( both were released the same year) and instead claims to be inspired by an early thirties French recording just adds to Massiera's strange self-made mythos masking some pretty blatant appropriations. Other tracks by groups Les Monegasques and Piranhas venture into psyche beat and garage rock while tracks by Le Chats and J.P.M & Co. explore proggified Salvador Dali, with wigs and body paint, hermaphrodites, and tape collages over pulsing synths and rhythms. More cosmic space funk rounds out side two with alien fantasias from Visitors and more glitter wigs and body paint from Herman's Rocket and Venus Gang providing some late-era Mutantes / Nina Hagen zaniness. Add the traditional African and Indonesian folk groove of The Starlights and you're in for a druggy Euro-mind-trip that you might not be able to return from. Psychoses indeed!
MPEG Stream: BASILE "Engins Bizarres et Gens Estranges"
MPEG Stream: J.P.M & CO. "Plus Jamais Ca"
MPEG Stream: VISITORS "Flatwoods Story"
MPEG Stream: VENUS GANG "Space Inferno"

album cover MASSIERA, JEAN-PIERRE Psychoses: Freakoid (1963 - 1978) (Mucho Gusto) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's not every day you hear samples of Hitler speeches and Nazi marches over a pulsating glammy space groove next to an even wackier freaked out French version of Napoleon XIV's "They're Coming To Take Me Away". Throw in some warped '60s beat pop, zany space prog and the weirdest but most sublimely cosmic disco tracks you have never heard, and you are somewhat closer to wrapping your head around the skewed production genius of Jean-Pierre Massiera. Starting his career in the south of France and relocating to Montreal in the seventies, Massiera, best known for Les Maledictus Sound, a holy-grail record for collectors of sixties psych-exotica freakiness has continued to explore for the past 40 years all manner of spacey and unhinged pop and dance grooves through a myriad of single-based projects, the best of collected on these two volumes. Like a surrealist Serge Gainsbourg mixed with Gong, Cerrone and Zolar X, Massiera never concerned himself with record industry pressures or making fame or fortune off his production efforts but instead used the studio to explore his love of surrealism, off-beat humor and some coke-addled (we presume) cosmic fantasy. Each record comes with a code to download mp3's and a bonus track.
The Freakoid volume begins with Basile, a novelty singer who was popular in the South of France for playing a rural imbecile who has two tracks, one being the skewed Napoleon XIV cover mentioned above. That there is no mention that this song is a cover ( both were released the same year) and instead claims to be inspired by an early thirties French recording just adds to Massiera's strange self-made mythos masking some pretty blatant appropriations. Other tracks by groups Les Monegasques and Piranhas venture into psyche beat and garage rock while tracks by Le Chats and J.P.M & Co. explore proggified Salvador Dali, with wigs and body paint, hermaphrodites, and tape collages over pulsing synths and rhythms. More cosmic space funk rounds out side two with alien fantasias from Visitors and more glitter wigs and body paint from Herman's Rocket and Venus Gang providing some late-era Mutantes / Nina Hagen zaniness. Add the traditional African and Indonesian folk groove of The Starlights and you're in for a druggy Euro-mind-trip that you might not be able to return from. Psychoses indeed!
MPEG Stream: BASILE "Engins Bizarres et Gens Estranges"
MPEG Stream: J.P.M & CO. "Plus Jamais Ca"
MPEG Stream: VISITORS "Flatwoods Story"
MPEG Stream: VENUS GANG "Space Inferno"

album cover MASSIMO Hey Babe, Let Me See Your USB And I'll Show You My FireWire (Mego) 3" cd 9.98
Gross! Okay, referring to the cover art, wherein an image of a naked man sitting in a chair with a FireWire cable superimposed in place of his dick via Photoshop is coupled with a similar image of a man's ass sporting a rather large USB port: One of the most annoying traits of current electronic music is the fact that artists like to fetishize aspects of their equipment -- that was okay when electronic music consisted of knobs and levers and oscillators and physical objects found only on electronic music equipment. But when it comes down to USB and Firewire and common things used by everyone from accountants to musicians, it's just dumb. Anyway, that's beside the point. It's just that the idea was probably a funny idea to the folks at Mego (and the images themselves are good for one laugh), but plain retarded in execution. Maybe that's what they were going for... This ep from the Sicilian Massimo is full of extremely loud digital farts and squiggles akin to Pita or a more hyper/short attention span Russell Haswell. The cover art as mentioned before takes digital pornography to new levels. Nasty.

album cover MASSIVE ATTACK 100th Window (Virgin) cd 16.98
Our beloved customer and friend Jesse Zeifman loves this album more than any of the AQ staff did, so we asked him to say a li'l something about it:
It's been five years since Massive Attack's startlingly aggressive Mezzanine marked a turning point for the Bristol trio credited, by most, for creating trip-hop. In the interim, the band's lost two of its three founding members, leaving the reins in Robert "3D" Del Naja's hands.
From Blue Lines (1991), a debut that used hip-hop as an endoskeleton and had a body made of soul music, to the muted, austere, follow-up Protection (1994), no Massive Attack album has sounded alike. For their new release, Del Naja has managed to shape-shift the group once again, eschewing Mezzanine's guitars and static and grit for something closer to ambient electronica.
Beginning with "Future Proof" and its combination of galloping electronic blips, reverberating guitars and layers of feedback, Del Naja throws an unexpected curve when, rather than delivering his lyrics with his signature blunted raps, he sings. Sounding like Thom Yorke stoned might, he doesn't display a lot of range, but he phrases things accordingly, effectively, and where it could have felt soft and wrong it doesn't.
As with their previous efforts, the sound-system dynamic with which the group was built remains in place. While Del Naja helms four of the album's nine tracks, he calls upon two other vocalists, Sinead O'Connor and Horace Andy, to give voice to the rest. O'Connor is, unfortunately, underused, leaving her songs the album's least interesting, but Andy, especially on the lovely "Everywhen", fares better. "Small Time Shot Away" is the album's warmest song. If any tonal comparison is to be drawn, it would be with Boards of Canada's "Music Is Math" (from their latest, Geogaddi). "Antistar" closes 100th Window with a threatening guitar loop smashed against Middle Eastern-flavored strings and Del Naja at his most claustrophobic. Juxtapositions of the beautiful and the ominous betray this track's genetic lineage. It's the take-no-shit younger sibling of Mezzanine's, "Risingson."
The rigor of Massive Attack's production always sets their work apart and 100th Window is no different. It may feel, upon first pass, like a pleasant soundtrack to your next dinner party. Check again. Tracks upon tracks of percussive elements, of tingling, stuttering, noise, of lost guitar loops moving independently, churning in their subterranean canals, makes for an experience of uneasy listening.
Recommended for fans of the group -- if you're new to Massive Attack, please start with Mezzanine.
RealAudio clip: "Everywhen"
RealAudio clip: "Future Proof"

MASSIVE ATTACK 100th Window (Virgin) 3lp 31.00
Our beloved customer and friend Jesse Zeifman loves this album more than any of the AQ staff did, so we asked him to say a li'l something about it:
It's been five years since Massive Attack's startlingly aggressive Mezzanine marked a turning point for the Bristol trio credited, by most, for creating trip-hop. In the interim, the band's lost two of its three founding members, leaving the reins in Robert "3D" Del Naja's hands.
From Blue Lines (1991), a debut that used hip-hop as an endoskeleton and had a body made of soul music, to the muted, austere, follow-up Protection (1994), no Massive Attack album has sounded alike. For their new release, Del Naja has managed to shape-shift the group once again, eschewing Mezzanine's guitars and static and grit for something closer to ambient electronica.
Beginning with "Future Proof" and its combination of galloping electronic blips, reverberating guitars and layers of feedback, Del Naja throws an unexpected curve when, rather than delivering his lyrics with his signature blunted raps, he sings. Sounding like Thom Yorke stoned might, he doesn't display a lot of range, but he phrases things accordingly, effectively, and where it could have felt soft and wrong it doesn't.
As with their previous efforts, the sound-system dynamic with which the group was built remains in place. While Del Naja helms four of the album's nine tracks, he calls upon two other vocalists, Sinead O'Connor and Horace Andy, to give voice to the rest. O'Connor is, unfortunately, underused, leaving her songs the album's least interesting, but Andy, especially on the lovely "Everywhen", fares better. "Small Time Shot Away" is the album's warmest song. If any tonal comparison is to be drawn, it would be with Boards of Canada's "Music Is Math" (from their latest, Geogaddi). "Antistar" closes 100th Window with a threatening guitar loop smashed against Middle Eastern-flavored strings and Del Naja at his most claustrophobic. Juxtapositions of the beautiful and the ominous betray this track's genetic lineage. It's the take-no-shit younger sibling of Mezzanine's, "Risingson."
The rigor of Massive Attack's production always sets their work apart and 100th Window is no different. It may feel, upon first pass, like a pleasant soundtrack to your next dinner party. Check again. Tracks upon tracks of percussive elements, of tingling, stuttering, noise, of lost guitar loops moving independently, churning in their subterranean canals, makes for an experience of uneasy listening.
Recommended for fans of the group -- if you're new to Massive Attack, please start with Mezzanine.

MASSIVE ATTACK Blue Lines (Virgin) cd 16.98

album cover MASSIVE ATTACK Heligoland (Virgin) cd 15.98
We wanted so much to like this new Massive Attack record. It had all the right ingredients (vocals by Horace Andy, Hope Sandoval, Damon Albern, etc.) but damn if it doesn't just fall a little bit flat. There are a few nice moments but as an album it feels a bit dated and really underwhelming. Some consolation can be found in the fact that another record came out not long ago, reviewed last list: King Midas Sound's record Waiting For You, which sounded exactly how we were had hoped the new Massive Attack would, warped and dark and dreamy, hypnotic and otherworldly, washed out and so divine. So if you love how Massive Attack sounded way back when they were great, maybe pass on this one and get King Midas Sound instead!
MPEG Stream: "Pray For Rain"
MPEG Stream: "Psyche"
MPEG Stream: "Saturday Come Slow"

MASSIVE ATTACK Mezzanine (Circa) cd 16.98
Scoffing at Portishead for not really extending themselves beyond the John Barry inspired trip hop of their first album, Massive Attack's Mezzanine is an excellent departure from the blunted references from Protection into a darkly polished gem that features Elizabeth Fraser of The Cocteau Twins on vocals! We think this record out-Trickys Tricky.

MASSIVE ATTACK Vs Mad Professor (Caroline) cd 14.98

MASSTISHADDHU Shekinah (Psychedelic Pig) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Masstishaddhu's only album was released on United Daries back in 1988 and finally sees its long overdue cd reissue on Psychedelic Pig. Fronted by the hermetic Richard Rupenus (who also masterminded the noise scrape of The New Blockaders, the baffling Dada collages of The Mixed Band Philanthrophist, and the industrial rituals of Metgumbnerbone), Masstishaddhu is an entirely new vocabulary for Rupenus as he employs a healthy dose of Indian drones, deep transcendental chants, and bowed metal clatter. While references to the grizled malevolence of Organum or even some Nurse With Wound stuff may be appropriate, Masstishaddhu's dark, heavily opiated improvisations sit much closer to the American improv-damage of the Sun City Girls and No Neck Blues Band at their nost subtle. Jim has actually been looking for this album for several years now, and happily announces its return!

MASTA KILLA No Said Date (Nature Sounds) cd 14.98

MASTER MUSICIANS OF BUKAKKE Far West (Important Records) cd 14.98

MASTER MUSICIANS OF BUKAKKE Far West (Important Records) lp 17.98

album cover MASTER MUSICIANS OF BUKKAKE Elogia De La Sombra (Latitudes) cd 14.98
A handful of new installments in the ongoing Latitudes series, where bands are given a session in the Southern Studios to whip up some improvised on the spot sounds, and release them into the world. Elsewhere on this week's list you'll find new Latitudes releases from Gowns, Gang Gang Dance and Nadja, then there's this one, from aQ faves the Master Musicians Of Bukkake, featuring the usual lineup, made up of various members of other bands you might have heard of: Earth, Sun City Girls, Burning Witch and more...
MMOB aren't so much a band, making music, as they are a collection of sonic sorcerers, conjuring up gorgeous and mysterious songscapes, drawing on all manner of world musics, Morricone-esque soundtracks, free jazz, drone, doom, Appalachia, and whatever else they've picked up on their travels, somehow all of that is woven into lush organic expanses of fantastically enthralling, super cinematic sound, that drifts from meditative Eastern tinged raga to buzz drenched Hawkwind style space rock.
Two tracks, 31 minutes, the first, is a fantastically abstract bit of raga-drift, the steel strings buzz and shimmer, sitar like melodies draped over warm whirring chordal thrum, slide guitars offer up slippery melodies, all softly tangled into gorgeous sun dapped dreamlike free-raga-drone music, the drums relentless, non stop rhythms adding less rhythmic heft, and more percussive texture, flurries of notes, clouds of cymbal shimmer, until about halfway through, when the various elements seems to coalesce into a bit of Eastern tinged slo-mo Appalachia, now with chanted monklike vocals, the drums more rhythmic, gradually locking into a hazy, deserty sprawl of twang flecked raga doom folk drift.
Which couldn't be more different than the second track, which immediately launches into some super motorik, cyclical krautrock, synthy swells swooping from speaker to speaker, the vocals down in the mix, but oh so Hawkwindy, repetitive and sing songy, and the song follows a distinctly space rock trajectory, locking into some druggy memser, and then slowly building and building, getting louder and louder, the main groove remaining virtually unchanged, but all around it, wild squalls of FX, streaks of glitched out synths, the guitars a bit crunchier and distorted, to cut through the swirling clouds of blur and buzz and skree and squelch, just the sort of thing for anyone into White Hills, The Heads, Eternal Tapestry, Heavy Winged, Monster Magnet, Colour Haze, the Telescopes and of course Spacemen 3, Loop and Hawkwind!
LIMITED TO 1000 COPIES, the covers the immediately recognizable brown and white origami style Latitudes sleeves, this one with super swank copper foil printing, and a full color insert inside.
MPEG Stream: "Tainted Phenomena"

album cover MASTER MUSICIANS OF BUKKAKE Elogia De La Sombra (Latitudes) lp 16.98
A handful of new installments in the ongoing Latitudes series, where bands are given a session in the Southern Studios to whip up some improvised on the spot sounds, and release them into the world. This one comes from aQ faves the Master Musicians Of Bukkake, featuring the usual lineup, made up of various members of other bands you might have heard of: Earth, Sun City Girls, Burning Witch and more...
MMOB aren't so much a band, making music, as they are a collection of sonic sorcerers, conjuring up gorgeous and mysterious songscapes, drawing on all manner of world musics, Morricone-esque soundtracks, free jazz, drone, doom, Appalachia, and whatever else they've picked up on their travels, somehow all of that is woven into lush organic expanses of fantastically enthralling, super cinematic sound, that drifts from meditative Eastern tinged raga to buzz drenched Hawkwind style space rock.
Two tracks, 31 minutes, the first, is a fantastically abstract bit of raga-drift, the steel strings buzz and shimmer, sitar like melodies draped over warm whirring chordal thrum, slide guitars offer up slippery melodies, all softly tangled into gorgeous sun dapped dreamlike free-raga-drone music, the drums relentless, non stop rhythms adding less rhythmic heft, and more percussive texture, flurries of notes, clouds of cymbal shimmer, until about halfway through, when the various elements seems to coalesce into a bit of Eastern tinged slo-mo Appalachia, now with chanted monklike vocals, the drums more rhythmic, gradually locking into a hazy, deserty sprawl of twang flecked raga doom folk drift.
Which couldn't be more different than the second track, which immediately launches into some super motorik, cyclical krautrock, synthy swells swooping from speaker to speaker, the vocals down in the mix, but oh so Hawkwindy, repetitive and sing songy, and the song follows a distinctly space rock trajectory, locking into some druggy memser, and then slowly building and building, getting louder and louder, the main groove remaining virtually unchanged, but all around it, wild squalls of FX, streaks of glitched out synths, the guitars a bit crunchier and distorted, to cut through the swirling clouds of blur and buzz and skree and squelch, just the sort of thing for anyone into White Hills, The Heads, Eternal Tapestry, Heavy Winged, Monster Magnet, Colour Haze, the Telescopes and of course Spacemen 3, Loop and Hawkwind!
MPEG Stream: "Tainted Phenomena"

album cover MASTER MUSICIANS OF BUKKAKE The Visible Sign Of Invisible Order (Abduction) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ostensibly the Master Musicians of Bukkake is one John Schuller and one Randall Dunn, but for the recording of The Visible Sign Of Invisible Order the two have called into service a veritable super-group of the Northwest's avant-garde to assist in its recording including both Alan Bishop and Charlie Gocher of Sun City Girls, violinist extraordinaire Eyvind Kang, drummer Shahzad Ismaily (Secret Chiefs contributors among other things) and more. Of the parents here Master Musicians seems to take more of its genes from the Sun City Girls, but not so much that you couldn't be fooled into believing it was adopted. Spacious soundscapes comprising field recordings, relocated ethnic percussion of vague origin lays the foundation for haunting and murky acoustic guitars, flutes and wordless vocals. That both the Secret Chiefs and the Sun City Girls are avid usurpers and subverters of the world of music are common interests enough to spawn such a child.
MPEG Stream: "Bukkake Sunrise"
MPEG Stream: "Access of Evil"

album cover MASTER MUSICIANS OF BUKKAKE The Visible Sign Of Invisible Order (Important) lp 28.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!!! Deluxe packaging, extra music too! The Important label vinylizes this out of print Abduction cd release from '04, which was the first thing we'd heard from the MMoB. This reissue includes 20 more minutes of music from the original sessions, it's on 180 gram vinyl, and comes in a gorgeous heavy duty gatefold sleeve with new, gold metallic artwork, wrapped in an obi, wow. Here's what we said about the cd edition back when:
Ostensibly the Master Musicians of Bukkake is one John Schuller and one Randall Dunn, but for the recording of The Visible Sign Of Invisible Order the two have called into service a veritable supergroup of the Northwest's avant-garde to assist in its recording including both Alan Bishop and Charlie Gocher of Sun City Girls, violinist extraordinaire Eyvind Kang, drummer Shahzad Ismaily (Secret Chiefs contributors among other things) and more. Of the parents here Master Musicians seems to take more of its genes from the Sun City Girls, but not so much that you couldn't be fooled into believing it was adopted. Spacious soundscapes comprising field recordings, relocated ethnic percussion of vague origin lays the foundation for haunting and murky acoustic guitars, flutes and wordless vocals. That both the Secret Chiefs and the Sun City Girls are avid usurpers and subverters of the world of music are common interests enough to spawn such a child.
MPEG Stream: "Bukkake Sunrise"
MPEG Stream: "Access of Evil"

album cover MASTER MUSICIANS OF BUKKAKE Totem 2 - Picture Disc (Important) picture disc lp 21.00
NOW AVAILABLE AS A PICTURE DISC LP!! And boy does the feverish psychedelic jungle Seldon Hunt artwork look nice on the vinyl! Limited of course. Here's what we said about the previous cd and vinyl editions:
Sometimes seeing a band play live in the flesh surpasses the experience on record, but other times, there's the danger of diminishing whatever mystique they've created for themselves, which remains safe when one listens at home with just the music (and record sleeve artwork) for one's imagination feed upon. Seeing a bunch of dudes in jeans and baseball hats up on stage making musician faces and fiddling with gear has bummed us out a bit about bands we've liked before, when we wanted gods and monsters and supermen.
And the ominously, exotically evocative music of the Master Musicians Of Bukkake, along with their colorful album cover imagery, provides a LOT of mystique to live up to (despite their irreverent/gross/jokey monicker). So when Allan here got the chance to see 'em recently at the Roadburn Festival in Holland, he was full of anticipation, but also a bit trepidatious about it. Turns out he had nothing to worry about. Do go see the Master Musicians Of Bukkake if you get the chance, their mystique will remain intact, never fear! Led by a dramatic robed figure wearing a wooden demon mask, the rest of the large ensemble wore white sombrero-like hats, their faces shrouded in black netting, and rocked out like dervishes, looking like they stepped out of scene in a Jodorowsky movie. One of most memorable performances at Roadburn for sure (and despite being, ah, so different from a lot of the other bands, they got a great response).
Witnessing that definitely got Allan excited about this impending new album, Totem Two. Plus we loved Totem One. The sequel raises the Master Musicians' mystic monolith still higher to the heavens. Once again to describe their sound, we could use the usual shorthand of the Sun City Girls meet latter-day Earth (which has some basis in this band's hybrid heavy drone exotica as well as their actual membership / friendship connections to those two legendary Seattle outfits). Other references: Ghost, Grails, Acid Mothers Temple, Secret Chiefs, Tangerine Dream! Thus, Totem Two has certainly been getting played a lot in the store, the MMoB's particular/pecuilar synthesis of sounds appealing to all of us here. Psychedelic, pretty, sinister, cinematic, steeped in ancient, Third World folk music and mythology... they're a mysterious moody mix of a lot of stuff we love, electronic drone filtered through faux-ethno ceremony, part SUNNO))), part Sublime Frequencies! Also, we're almost surprised this isn't on Ipecac, they ought to be Mike Patton's favorite band, in some ways bringing to life Mike Patton's Ennio Morricone compilation Crime & Dissonance (which was actually compiled by Alan Bishop, who of course is one of the Sun City Girls, and a mentor of / inspiration for / occasional collaborator with these guys).
The album begins with what sounds like a ghost train a-comin'... field recordings and tinkling percussion, hushed drone and the far-off foggy bellowings of Tibetan horns... you know you're in for a far ranging journey, off the beaten track. Gorgeous lonely flute dominates the second song, floating o'er a ritual processional, like Djivan Gasparyan sitting in on a sombre Amon Duul or International Harvester jam... the middle of the album brings in more buzzing synths, majestic and melancholic, getting spacey like Klaus Schulze, playing sentimental cinematic themes, dark and melodic.... The distortion ramps up briefly as a segue into the album's final eleven minute piece, a calm and psychedelic epic like Six Organs with extra synth squiggle... Beautiful! Almost makes us think of Japan's Far East Family Band from the '70s, that one. That's just a short surface summary, you could fall into this album's depths though, and come back changed, as if from a dream/drug quest...

album cover MASTER MUSICIANS OF BUKKAKE Totem One (Conspiracy ) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Sun City Girls fans! Drone-doom freaks! Here's your unlikely crossover dream come true, kind of. A psychedelically heavy (sometimes) and always eerily exotic new album on the Conspiracy label from this band with the wiseass faux-ethnic name (if you don't know what Bukkake is, don't ask, and definitely don't Google it - if you do, be aware it's NSFW). Now including members of Earth and Burning Witch amongst their ranks, and once again boasting cameo appearances from folks belonging to the Sun City Girls and Secret Chiefs 3, this is exactly (and excellently) what we might have expected from this project. Acoustic ethnic instrument buzz and drone meets guitars-leaning-on-amps buzz and drone. There's electronic FX and analog synths alongside field recordings, bells and chimes and gamelan percussion mixed with Tibetan monkish low-end drone-chant, and let's not forget the flute and Mellotron... The seven tracks of Totem One span a wild, wide range of (moody) moods, from the heavy throbbing maelstrom that is "Schism Prism / Adamatios" to the spacey, spooky folk ramble of "Cascade Cathedral". The most Sun City Girlish moment here is probably "People Of The Drifting Houses", not surprisingly the track which features guest vocals provided by Alan Bishop of SCGs and Sublime Frequencies fame.
"In The Lightness Of The Sonoran" could be the recently reviewed Harappian Night Recordings attempting to channel SUNNO))), whilst other tracks (simultaneously) bring to mind such not-entirely-disparate artists as Angus MacLise, Blood Of The Black Owl, Six Organs Of Admittance, Ghost, and Acid Mothers Temple. The latter especially, for instance on the most freaked out parts of the aforementioned "Schism Prism / Adamatios" or during the blissful ceremony of the album-ending nine minute long "Eaglewolf". Fantastic. We're now eagerly looking forward to further Totem installments! (Totem Two is due out later this year on the SCG-related Abduction label, that released MMOB's prior album as well.)
NB. The vinyl version of this comes with a coupon for free mp3 download of the whole album.
MPEG Stream: "A Mist Of Illness"
MPEG Stream: "In The Lightness Of the Sonoran"
MPEG Stream: "Cascade Cathedral"

album cover MASTER MUSICIANS OF BUKKAKE Totem One (Conspiracy ) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We got the last few (like, ten of 'em) vinyl copies of this they had at the distributor, and won't be able to get any more. So if you missed it before, better grab it now... Sun City Girls fans! Drone-doom freaks! Here's your unlikely crossover dream come true, kind of. A psychedelically heavy (sometimes) and always eerily exotic new album on the Conspiracy label from this band with the wiseass faux-ethnic name (if you don't know what Bukkake is, don't ask, and definitely don't Google it - if you do, be aware it's NSFW). Now including members of Earth and Burning Witch amongst their ranks, and once again boasting cameo appearances from folks belonging to the Sun City Girls and Secret Chiefs 3, this is exactly (and excellently) what we might have expected from this project. Acoustic ethnic instrument buzz and drone meets guitars-leaning-on-amps buzz and drone. There's electronic FX and analog synths alongside field recordings, bells and chimes and gamelan percussion mixed with Tibetan monkish low-end drone-chant, and let's not forget the flute and Mellotron... The seven tracks of Totem One span a wild, wide range of (moody) moods, from the heavy throbbing maelstrom that is "Schism Prism / Adamatios" to the spacey, spooky folk ramble of "Cascade Cathedral". The most Sun City Girlish moment here is probably "People Of The Drifting Houses", not surprisingly the track which features guest vocals provided by Alan Bishop of SCGs and Sublime Frequencies fame.
"In The Lightness Of The Sonoran" could be the recently reviewed Harappian Night Recordings attempting to channel SUNNO))), whilst other tracks (simultaneously) bring to mind such not-entirely-disparate artists as Angus MacLise, Blood Of The Black Owl, Six Organs Of Admittance, Ghost, and Acid Mothers Temple. The latter especially, for instance on the most freaked out parts of the aforementioned "Schism Prism / Adamatios" or during the blissful ceremony of the album-ending nine minute long "Eaglewolf". Fantastic. We're now eagerly looking forward to further Totem installments! (Totem Two is due out later this year on the SCG-related Abduction label, that released MMOB's prior album as well.)
NB. The vinyl version of this comes with a coupon for free mp3 download of the whole album.
MPEG Stream: "A Mist Of Illness"
MPEG Stream: "In The Lightness Of the Sonoran"
MPEG Stream: "Cascade Cathedral"

album cover MASTER MUSICIANS OF BUKKAKE Totem Three (Important) cd 14.98
Yet another mantric missive from these musical missionaries and cosmic sonic seers, a collective of sorts, its membership drawn from several somewhat similarly likeminded groups, including Earth, Sun City Girls, and Burning Witch among others. And as with past installments in the ongoing Totem series, here the Master Musicians weave lush, slow building soundscapes, drawing on all manner of musics, Eastern ragas, Western space rock, minimal dronemusic, experimental ambience, freaky forest folk and who knows what all else, woven deftly into dark, brooding, expansive epics.
Totem Three begins ominously with chiming bells, a deep rumbling synth drone, tinkling chimes, a darkly meditative drift, deep vocals, horns and other low tones, are all layered on top of that initial drone, the sound swept up by slow shimmering swells, laced with strange spacey effects, just below the surface, an intro of sorts, leading directly into the much more traditionally song-y "In The Twilight Of The Kali Yuga", those shimmering swells from the first track carrying over, but in the place of the drone, strummed steel string guitars, fluttering flutes, sitar like buzz, Eastern hand drums, and the quickly song coalesces into a surprisingly jaunty bit of Middle Eastern sounding folk, rife with hazy vox, and tabla, as well as other percussion. Before the record returns to the drone of the opener. But again, that rumbling buzzing synth is overlaid with some sort of woodwind, balancing the ominous vibe of the drone, thick downtuned guitar chords are unfurled, as are bells, and chantlike vox, the result a strange sort of Eastern style folky dirge, SUNNO))) like guitars beneath a meditative raga.
The record splits the rest of its time between a buzzy, Middle Eastern style folk, lush with fiddles and handclaps, and group vocals, albeit with a bit more buzz and strange sonic filigree than actual traditional music, soaring string laden almost soundtracky ambience, moody and dramatic, and haunting minimal dronemusic, replete with moaning horns, creepy incantations, glitched out electronics, finally finishing off with a seriously left field bit of cinematic weirdness, that basically sounds like the soundtrack to some eighties straight to video Indian movie, all cheesy eighties synths, groovy Euro disco rhythms, and of course some bloopy bass and some shredding guitar solos, the sort of thing that would definitely appeal to folks into Zombi and Umberto and the like. Compared to Totems One and Two, Three seems to lean a bit more towards the atmospheric, away from the heavy.
As always weird and wonderful, with appropriately eye popping psychedelic cover art courtesy of Seldon Hunt.
MPEG Stream: "Bardo Sidpa"
MPEG Stream: "Prophecy Of The White Camel / Namoutarre"
MPEG Stream: "Failed Future"

album cover MASTER MUSICIANS OF BUKKAKE Totem Three (Important) picture disc 17.98
Yet another mantric missive from these musical missionaries and cosmic sonic seers, a collective of sorts, its membership drawn from several somewhat similarly likeminded groups, including Earth, Sun City Girls, and Burning Witch among others. And as with past installments in the ongoing Totem series, here the Master Musicians weave lush, slow building soundscapes, drawing on all manner of musics, Eastern ragas, Western space rock, minimal dronemusic, experimental ambience, freaky forest folk and who knows what all else, woven deftly into dark, brooding, expansive epics.
Totem Three begins ominously with chiming bells, a deep rumbling synth drone, tinkling chimes, a darkly meditative drift, deep vocals, horns and other low tones, are all layered on top of that initial drone, the sound swept up by slow shimmering swells, laced with strange spacey effects, just below the surface, an intro of sorts, leading directly into the much more traditionally song-y "In The Twilight Of The Kali Yuga", those shimmering swells from the first track carrying over, but in the place of the drone, strummed steel string guitars, fluttering flutes, sitar like buzz, Eastern hand drums, and the quickly song coalesces into a surprisingly jaunty bit of Middle Eastern sounding folk, rife with hazy vox, and tabla, as well as other percussion. Before the record returns to the drone of the opener. But again, that rumbling buzzing synth is overlaid with some sort of woodwind, balancing the ominous vibe of the drone, thick downtuned guitar chords are unfurled, as are bells, and chantlike vox, the result a strange sort of Eastern style folky dirge, SUNNO))) like guitars beneath a meditative raga.
The record splits the rest of its time between a buzzy, Middle Eastern style folk, lush with fiddles and handclaps, and group vocals, albeit with a bit more buzz and strange sonic filigree than actual traditional music, soaring string laden almost soundtracky ambience, moody and dramatic, and haunting minimal dronemusic, replete with moaning horns, creepy incantations, glitched out electronics, finally finishing off with a seriously left field bit of cinematic weirdness, that basically sounds like the soundtrack to some eighties straight to video Indian movie, all cheesy eighties synths, groovy Euro disco rhythms, and of course some bloopy bass and some shredding guitar solos, the sort of thing that would definitely appeal to folks into Zombi and Umberto and the like. Compared to Totems One and Two, Three seems to lean a bit more towards the atmospheric, away from the heavy.
As always weird and wonderful, with appropriately eye popping psychedelic cover art courtesy of Seldon Hunt.
MPEG Stream: "Bardo Sidpa"
MPEG Stream: "Prophecy Of The White Camel / Namoutarre"
MPEG Stream: "Failed Future"

album cover MASTER MUSICIANS OF BUKKAKE Totem Two (Important) cd 14.98
Sometimes seeing a band play live in the flesh surpasses the experience on record, but other times, there's the danger of diminishing whatever mystique they've created for themselves, which remains safe when one listens at home with just the music (and record sleeve artwork) for one's imagination feed upon. Seeing a bunch of dudes in jeans and baseball hats up on stage making musician faces and fiddling with gear has bummed us out a bit about bands we've liked before, when we wanted gods and monsters and supermen.
And the ominously, exotically evocative music of the Master Musicians Of Bukkake, along with their colorful album cover imagery, provides a LOT of mystique to live up to (despite their irreverent/gross/jokey monicker). So when Allan here got the chance to see 'em recently at the Roadburn Festival in Holland, he was full of anticipation, but also a bit trepidatious about it. Turns out he had nothing to worry about. Do go see the Master Musicians Of Bukkake if you get the chance, their mystique will remain intact, never fear! Led by a dramatic robed figure wearing a wooden demon mask, the rest of the large ensemble wore white sombrero-like hats, their faces shrouded in black netting, and rocked out like dervishes, looking like they stepped out of scene in a Jodorowsky movie. One of most memorable performances at Roadburn for sure (and despite being, ah, so different from a lot of the other bands, they got a great response).
Witnessing that definitely got Allan excited about this impending new album, Totem Two. Plus we loved Totem One. The sequel raises the Master Musicians' mystic monolith still higher to the heavens. Once again to describe their sound, we could use the usual shorthand of the Sun City Girls meet latter-day Earth (which has some basis in this band's hybrid heavy drone exotica as well as their actual membership / friendship connections to those two legendary Seattle outfits). Other references: Ghost, Grails, Acid Mothers Temple, Secret Chiefs, Tangerine Dream! Thus, Totem Two has certainly been getting played a lot in the store, the MMoB's particular/pecuilar synthesis of sounds appealing to all of us here. Psychedelic, pretty, sinister, cinematic, steeped in ancient, Third World folk music and mythology... they're a mysterious moody mix of a lot of stuff we love, electronic drone filtered through faux-ethno ceremony, part SUNNO))), part Sublime Frequencies! Also, we're almost surprised this isn't on Ipecac, they ought to be Mike Patton's favorite band, in some ways bringing to life Mike Patton's Ennio Morricone compilation Crime & Dissonance (which was actually compiled by Alan Bishop, who of course is one of the Sun City Girls, and a mentor of / inspiration for / occasional collaborator with these guys).
The album begins with what sounds like a ghost train a-comin'... field recordings and tinkling percussion, hushed drone and the far-off foggy bellowings of Tibetan horns... you know you're in for a far ranging journey, off the beaten track. Gorgeous lonely flute dominates the second song, floating o'er a ritual processional, like Djivan Gasparyan sitting in on a sombre Amon Duul or International Harvester jam... the middle of the album brings in more buzzing synths, majestic and melancholic, getting spacey like Klaus Schulze, playing sentimental cinematic themes, dark and melodic.... The distortion ramps up briefly as a segue into the album's final eleven minute piece, a calm and psychedelic epic like Six Organs with extra synth squiggle... Beautiful! Almost makes us think of Japan's Far East Family Band from the '70s, that one. That's just a short surface summary, you could fall into this album's depths though, and come back changed, as if from a dream/drug quest...
Both cd and lp formats, like Totem One, feature feverish psychedelic jungle Seldon Hunt artwork, the vinyl version also comes wrapped in an obi.
MPEG Stream: "Bardo Chonyid / Master Of All Visible Shapes"
MPEG Stream: "Perde Kaldirma"
MPEG Stream: "The Heresy Of Origen"

album cover MASTER MUSICIANS OF BUKKAKE Totem Two (Important) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Sometimes seeing a band play live in the flesh surpasses the experience on record, but other times, there's the danger of diminishing whatever mystique they've created for themselves, which remains safe when one listens at home with just the music (and record sleeve artwork) for one's imagination feed upon. Seeing a bunch of dudes in jeans and baseball hats up on stage making musician faces and fiddling with gear has bummed us out a bit about bands we've liked before, when we wanted gods and monsters and supermen.
And the ominously, exotically evocative music of the Master Musicians Of Bukkake, along with their colorful album cover imagery, provides a LOT of mystique to live up to (despite their irreverent/gross/jokey monicker). So when Allan here got the chance to see 'em recently at the Roadburn Festival in Holland, he was full of anticipation, but also a bit trepidatious about it. Turns out he had nothing to worry about. Do go see the Master Musicians Of Bukkake if you get the chance, their mystique will remain intact, never fear! Led by a dramatic robed figure wearing a wooden demon mask, the rest of the large ensemble wore white sombrero-like hats, their faces shrouded in black netting, and rocked out like dervishes, looking like they stepped out of scene in a Jodorowsky movie. One of most memorable performances at Roadburn for sure (and despite being, ah, so different from a lot of the other bands, they got a great response).
Witnessing that definitely got Allan excited about this impending new album, Totem Two. Plus we loved Totem One. The sequel raises the Master Musicians' mystic monolith still higher to the heavens. Once again to describe their sound, we could use the usual shorthand of the Sun City Girls meet latter-day Earth (which has some basis in this band's hybrid heavy drone exotica as well as their actual membership / friendship connections to those two legendary Seattle outfits). Other references: Ghost, Grails, Acid Mothers Temple, Secret Chiefs, Tangerine Dream! Thus, Totem Two has certainly been getting played a lot in the store, the MMoB's particular/pecuilar synthesis of sounds appealing to all of us here. Psychedelic, pretty, sinister, cinematic, steeped in ancient, Third World folk music and mythology... they're a mysterious moody mix of a lot of stuff we love, electronic drone filtered through faux-ethno ceremony, part SUNNO))), part Sublime Frequencies! Also, we're almost surprised this isn't on Ipecac, they ought to be Mike Patton's favorite band, in some ways bringing to life Mike Patton's Ennio Morricone compilation Crime & Dissonance (which was actually compiled by Alan Bishop, who of course is one of the Sun City Girls, and a mentor of / inspiration for / occasional collaborator with these guys).
The album begins with what sounds like a ghost train a-comin'... field recordings and tinkling percussion, hushed drone and the far-off foggy bellowings of Tibetan horns... you know you're in for a far ranging journey, off the beaten track. Gorgeous lonely flute dominates the second song, floating o'er a ritual processional, like Djivan Gasparyan sitting in on a sombre Amon Duul or International Harvester jam... the middle of the album brings in more buzzing synths, majestic and melancholic, getting spacey like Klaus Schulze, playing sentimental cinematic themes, dark and melodic.... The distortion ramps up briefly as a segue into the album's final eleven minute piece, a calm and psychedelic epic like Six Organs with extra synth squiggle... Beautiful! Almost makes us think of Japan's Far East Family Band from the '70s, that one. That's just a short surface summary, you could fall into this album's depths though, and come back changed, as if from a dream/drug quest...
Both cd and lp formats, like Totem One, feature feverish psychedelic jungle Seldon Hunt artwork, the vinyl version also comes wrapped in an obi.
MPEG Stream: "Bardo Chonyid / Master Of All Visible Shapes"
MPEG Stream: "Perde Kaldirma"
MPEG Stream: "The Heresy Of Origen"

album cover MASTER MUSICIANS OF BUKKAKE Twilight Of The Kali Yuga Tours (Important) lp 21.00

MASTER MUSICIANS OF JAJOUKA s/t (Genes CD Co. ) cd-r 14.98

MPEG Stream: "Sidi Hamid Sherk "
MPEG Stream: "Boujeloud "
MPEG Stream: "Brian Jones "

MASTER MUSICIANS OF JAJOUKA The Primal Energy That Is The Music And Ritual Oh Jajouka, Morocco (Sol Re Sol) lp 19.98

MASTER MUSICIANS OF JAJOUKA / TALVIN SINGH s/t (Point Music) cd 15.98
Bachir Attar and the Master Musicians of Jajouka are teamed up with producer Talvin Singh for this traditional Morrocan trance-music meets modern club beats experiment. If you've seen the movie "The Cell" you've heard some music from this album, used as the soundtrack to the "desert" sequences, all layered, massive, and wailing.

album cover MASTER MUSICIANS OF JOUJOUKA Boujeloud (Sub Rosa) cd 14.98
The Master Musicians of Joujouka have had held a mystique on Western ears ever since they were first documented by Bryon Gysin in the 50's and popularized by Brian Jones when he released some of the first recordings on the fledgling (at the time) Rolling Stone imprint. This is the third in a series on the Sub Rosa label documenting the ritual of Boujeloud which celebrates the myth of a Pan-like deity-half man, half goat-who introduced music into their culture. The music on this disc was recorded between 1994 and 1996 in Northern Morocco from four generations of Joujouka Masters. The musicians start out with soft bamboo flutes or lliras and as more people gather, the musicians switch to the oboe-like rhaita. Backed by some seriously primal drumming, the playing intensifies into trance-inducing trills and whirls as village dancers act out the ancient story. It's little wonder that Gysin and Jones, mad explorers of altered consciousness, were deeply entranced by this ancient pagan-like music.
MPEG Stream: "Boujeloudia/Joujouka Ei Calihoun"
MPEG Stream: "Joujouka Ei Calhoun/T'werkia d'Boujeloudia"

album cover MASTER MUSICIANS OF JOUJOUKA / GNOUA BROTHERHOOD OF MARRAKESH Moroccan Trance Music II : Sufi (Sub Rosa) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Plenty has been written about, and a handful of recordings exist of the Master Musicians of Joujouka, due in no small part to the attention lavished on them by Brian Jones of the Rolling Stones who along with other musical wisdom seekers travelled to Marrakesh to record, play with and learn from the Master Musicians. And it's easy to see why from their intricate tribal drumming, soaring chanting vocals, trilling woodwinds, all very primal and inspiring. The three tracks from the Master Musicians are gorgeous, free and totally moving. But it's the Gnoua Brotherhood Of Marrakesh who knocked our socks off when we first threw this disc on. The Gnoua have an amazing sound, stringed instruments that sound like downtuned guitars, strangely heavy, warm and rich, buzzing and droning, lots of low overtones, riffing repetitively and hypnotically, with simple hand drums and rhythmic clapping, and then eventually joined by the raspy tribal chants of a main vocalist, and echoed by a chorus of complimentary voices. Sounds like some ultra pure, unadulterated early form of the blues. Which it basically is. Hard to describe (listen to the first sound sample) but that low droning strum is just so totally mesmerizing. As hypnotic and heavy as Earth or SUNN0))) or any of those modern guitar drone outfits, but accomplished without the aid of thousand watt amps and pick ups, just fingers and strings. Amazing.
MPEG Stream: GNOUA BROTHERHOOD OF MARRAKESH "Sidi Musakar"
MPEG Stream: GNOUA BROTHERHOOD OF MARRAKESH "Jilalay"

MASTER MUSICIANS OF JUJUKA, THE (WITH BACHIR ATTAR) Live Vol.1 (Jajouka Records) cd 13.98

MASTER P Ghetto Postage (No Limit) cd 16.98

MASTER P MP Da Last Don (No Limit/Priority) 2cd 19.98
Just as Master P (the P stands for Perry if you must know...) has brought his trademarked "Ugh!" to universal recognition for symbolizing all things id (i.e. fucking, getting fucked up, fucking other people up, etc...), he releases his final album. Joined by his No Limit soldiers (Sylkk the Shocker, Mystikal, Mia X, and the newly signed Snoop Dogg), P has created a claustrophobic hip hop masterpiece of beats so hard they're brittle under the weight of the superb vocal delivery. As with all No Limit records, it's complete with the utterly gauche yet entirely captivating, Jeff Koons-as-a-teenager-with-Photoshop graphics... this time with holographic cover.

MASTER'S APPRENTICES Complete Recordings 1965 - 1968 (Ascension) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Master's Apprentices are one of Australia's best (yet rarely heard) 60's psych / beat / garage groups not too far from early Kinks or The Count Five. This compilation has 23 tracks in total, taken from the original masters with some unreleased stuff.

album cover MASTER'S HAMMER Ritual / The Filemnice Occultist (Osmose) 2cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Black metal fans into the brilliance (and weirdness) of Czech band Root shouldn't forget that other great black metal band from Prague, Master's Hammer. Osmose has just reissued their first two early '90s discs as a double cd digipack. First there's the raw, blasting attack of Ritual, which we've always loved especially for the how well the Czech tongue lends itself to the rasping vocals. More musically advanced (and Root-like) is the next disc, The Filemnice Occultist. It's a "classical operetta" in three acts; a tragic, gothic melodrama involving spiritualism and treachery, set "under the slopes of the Krkonose mountains in the summer and autumn of the year 1913, anno Satanas". Heavy, symphonic, and bizarre.
RealAudio clip: "Genioue"
RealAudio clip: "Ouveture"

album cover MASTERS OF REALITY s/t (Delicious Vinyl) 2cd 21.00
Blues rock gets a pretty bad rap around here sometimes. Whenever Allan is excited about some proto metal reissue or heavy psych rarity, Andee's first question is always "is it blues rock?", which essentially means, is it really heavy psych rock or proto metal, or does it fall to just that side of the sound, and is really just plain ol' blues rock? Which Allan and plenty of other folks still definitely dig, but is just too bluesy for some of us, getting dangerously close to pub rock or dad rock or whatever pejorative you use to describe cheesy blues.
Which makes this reissue all the stranger, and all the more frustrating for Allan, cuz Andee LOVES it, loved it when it first came out back in 1990, and STILL loves it, but the thing is, it totally and absolutely is BLUES ROCK. And Andee can't really deny it, and yet still digs it. But c'mon, check out those first few samples, it's GREAT blues rock, not quite heavy enough to be stoner rock, but it is pretty rocking, big riffs, pounding drums, wailing vocals. And it is kinda stonery, which makes sense, since the mainman behind MoR is Chris Goss, who produced a bunch of the Kyuss records, and because of that, Masters Of Reality has always been connected to that Palm Desert stoner rock scene, which again, even sonically makes sense. While this may be way more poppy and mainstream, and yeah, bluesy, it's also groovy, and stonery, and kinda heavy. Cream's Ginger Baker joined briefly, to play on the second record, Sunrise On The Sufferbus, and the band has featured plenty of stoner rock luminaries over the years, but this is the one, their Rick Rubin-produced debut, is still the best, and still sounds awesome almost 15 years later. If you actually do dig blues rock, this will kick your ass, and if you're into stonery bluesy psych, you might be surprised to discover how much you dig this too.
The reissue comes in a super fancy multipanel digipak, and includes a bonus live disc!
MPEG Stream: "The Candy Song"
MPEG Stream: "Doraldina's Prophecies"
MPEG Stream: "John Brown"
MPEG Stream: "Domino"

album cover MASTERS, MARC No Wave (Black Dog Publishing) book 29.95

album cover MASTERY Barbaric Usurpation Of The Hypereonic Black Metal Throne (tUMULt) 2cd 15.98
How can you resist a hyperbolically boastful black metal title like Barbaric Usurpation Of The Hypereonic Black Metal Throne? Andee's tUMULt label continues to dig deep into the Bay Area black metal underground, after introducing the rest of the world to such USBM luminaries as Weakling, Leviathan, Draugar and Crebain, now prepare yourself to bow before the mighty Mastery. Another one man band, known (not so) simply as Domignostika, who also does time as vocalist in local corpse painted horde Pale Chalice, as well as being the one man behind the only REAL one man black metal band (as in he plays guitar and sings while playing blast beats with his feet) Pandiscordian Necrogenesis, and who had previously played bass and sung for the late great Horn Of Dagoth (which also featured members of Crebain and Kerasphorus), Mastery is Domignostika's long running project, which over the last six years released 5 extremely limited cd-r demos, all of which are collected here, remastered, and widely available outside of the Bay Area for the very first time.
Barbaric Usurpation Of The Hypereonic Black Metal Throne? A serious claim of musical supremacy? A tongue in cheek poke at the constant battle for supreme grimness and kvltness, or taking the piss? Hard to tell, but considering the sheer brutality and relentless buzz of Mastery's frenzied black onslaught, we're leaning toward that title being a serious claim. After a strange, ambient intro, a sort of John Carpenter-ish bit of creeped out synthscapery, Mastery launches into the most recent demo, from 2009, the simply titled 'I' (all the tracks here a confusionally titled with Roman numerals), a frantic, frenzied freak out of swirling chaotic black buzz, a sound that at first blush sounds like some bastard hybrid of Inquisition and Vondur and Ocrilim. Six plus minutes of relentless gnarled buzzing, the vocals a sinister beastly croak, the drums a furious buried blast, but it's the guitars, insanely tangled and twisted, not so much riffs as a continuous serious of constantly mutating rapidfire runs, with much of the 'riffing' sounding more like multiple guitars maniacally soloing, spitting off pick harmonics and jagged squeals without ever looking back. Minus the drums and the vokills, this could definitely be some sort of avant experimental guitar record, but as it is, it becomes a demented slab of blurred, blown out, frenzied and fucked up black metal weirdness. The second track is way heavier on the low end, but no less flipped out, the riffing impossibly hyper, once again a swirling chaos of gnarled blackness and nearly psychedelic abstract avant shreddery. Mastery is total berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery's cracked perception, transforming this into something beyond true, a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal.
Sure on the surface, it's blast and buzz, but as you sink into these extended black sprawls, the songs seem to unfold, and expand, buzzing blackness that blossoms into something wholly other, in such a way, that one has to fight the urge to try and figure out how these songs work, or how they're arranged, they sound almost improvised, but they're impossibly dense, and the arrangement, however esoteric, seems to be structured, but in some way that out pitiful human brains can not hope to comprehend.
Of course the newest demo is the most polished, but the older demos, for what they lack in polish, they seem to make up for in sheer whatthefuckness, demo four is another series of black blasts that twist and turn, and mutate before your ears, a glancing listen will reveal some of THEE fastest and most furious BM you may have heard, but again, the riffs seem to be constantly twisting and turning, the vocals to, hateful and harsh as befitting BM, but also completely baffling and utterly alien. But demo 3, a single 33 minute epic is something else entirely, with much of the record being made up of glitched out, harrowing black ambience, crunchy and distorted, with howled raspy vox, when the guitar do kick in, the buzz and drone, with the drums sounding almost electronic, looped way down in the mix, the sound weirdly hypnotic, before slipping into something slightly more black, and then back into some creepy ambience, before launching into a long stretch of blown out black majesty, which like much of the record, as much to offer upon deep listening, revealing all manner of hidden melody, lush textures, and most notably some strange strange riffs, this track in particular, though adding a super mesmerizing trancelike element, which is in fact present throughout all the demos, in lesser measure.
The second disc is made up of the first two demos, and thus finds Mastery at their (his?) most traditionally black metal, but again, it's all relative, so while much of this disc is spent chugging and blasting, raw and grim, all brittle buzz and brutal blast, the twisted sounds that would come to define Mastery's baffling sound begin to surface, strange gnarled riffs, some cool drum/guitar interplay, plenty of wild tangled squiggle guitar weirdness (especially on the first track of demo 2), which mixes in maniacally shredding guitars with more o that tranced/droned out atmosphere, not to mention some of the most anguished vokills yet, the whole collection finishing with the downright doomy final track from the second demo, a crumbling super distorted death march, with somehow even MORE anguished vocals, a woozy, washed out, blackened plod, that explodes in the final two minutes for one final burst of blasting, maniacal, demoniac blackness.
Killer black, red and white space / wolf / spacewolf cover art, lovingly adapted/purloined from a lost eighties art rock artifact...
MPEG Stream: "I (Demo 5)"
MPEG Stream: "II (Demo 4)"
MPEG Stream: "I (Demo 3)"
MPEG Stream: "I (Demo 2)"
MPEG Stream: "I (Demo 1)"

album cover MASTODON Blood Mountain (Relapse) cd 13.98

MASTODON Call Of The... (Relapse) cd 14.98

album cover MASTODON Crack The Skye (Reprise) cd 14.98
Regarding Mastodon, here at Aquarius we were fairly early adopters, being pretty into the mathy, very metal metalcore of their first ep and album, which we reviewed quite enthusiastically at the time. But, as their career continued, we got bored and began to lose interest in 'em. Unlike most folks - as of course Mastodon have since gotten quite big. We didn't even review their last album, but when this new one came in (and thence flew out, as it's been selling quite well here already) we eventually gave it a spin and opening track "Oblivion" immediately made us sit up and take notice. Hmm, Mastodon have changed. They've pretty much done away with the shouty 'brutal' death vocals in favor of a variety of more melodic vocal options, many of which are displayed in "Oblivion", from an Ozzyish wail to singing that sounds more 'grunge', like Alice In Chains maybe. When a few years ago they first dabbled with 'clean' vocals we weren't as into it, but now it works, 'cause in doing so, they've added a definite 'pop' element to what's in other respects totally technical proggy metal a la recent Opeth or Enslaved. In addition, metalcore and even emo are mixed in to Mastodon's weird (but successful) hybrid, that in that first track alone manages to makes us think of all those artists we just mentioned along with both Torche and Coheed and Cambria!
We already had Mastodon pegged as prog (they did a whole concept album based on Moby Dick, remember? And this disc's got a four-part, 11 minute track about Russian royalty or something) but being complex and epic AND pop, that's pretty neat. There's a lot going on here, lots of nifty details, as well as sheer metallic might, and it seems that Mastodon have finally arrived at a point where all the different stuff they do works in context, compositionally. We'll definitely be giving this album (and maybe their previous one too) some repeated, closer listens. Perhaps our expectations were unfairly low and shouldn't have been, but in any case we have to say that this new disc seems worthy of all the attention Mastodon had been getting lately from pretty much everyone but us.
MPEG Stream: "Oblivion"
MPEG Stream: "Divinations"

album cover MASTODON Crack The Skye (Relapse) 2lp 49.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on DELUXE Double Vinyl! Deluxe? Yep, super thick gatefold sleeve, "mastered at 45 rpm", pressed in Germany, limited to 2500 copies only. And it comes with a free cd of the album so you don't even have to play the precious vinyl if you don't want. Nice. Here's what we wrote when we recently highlighted the regular cd version:
Regarding Mastodon, here at Aquarius we were fairly early adopters, being pretty into the mathy, very metal metalcore of their first ep and album, which we reviewed quite enthusiastically at the time. But, as their career continued, we got bored and began to lose interest in 'em. Unlike most folks - as of course Mastodon have since gotten quite big. We didn't even review their last album, but when this new one came in (and thence flew out, as it's been selling quite well here already) we eventually gave it a spin and opening track "Oblivion" immediately made us sit up and take notice. Hmm, Mastodon have changed. They've pretty much done away with the shouty 'brutal' death vocals in favor of a variety of more melodic vocal options, many of which are displayed in "Oblivion", from an Ozzyish wail to singing that sounds more 'grunge', like Alice In Chains maybe. When a few years ago they first dabbled with 'clean' vocals we weren't as into it, but now it works, 'cause in doing so, they've added a definite 'pop' element to what's in other respects totally technical proggy metal a la recent Opeth or Enslaved. In addition, metalcore and even emo are mixed in to Mastodon's weird (but successful) hybrid, that in that first track alone manages to makes us think of all those artists we just mentioned along with both Torche and Coheed and Cambria!
We already had Mastodon pegged as prog (they did a whole concept album based on Moby Dick, remember? And this disc's got a four-part, 11 minute track about Russian royalty or something) but being complex and epic AND pop, that's pretty neat. There's a lot going on here, lots of nifty details, as well as sheer metallic might, and it seems that Mastodon have finally arrived at a point where all the different stuff they do works in context, compositionally. We'll definitely be giving this album (and maybe their previous one too) some repeated, closer listens. Perhaps our expectations were unfairly low and shouldn't have been, but in any case we have to say that this new disc seems worthy of all the attention Mastodon had been getting lately from pretty much everyone but us.
Again, LIMITED, we only got very very few.
MPEG Stream: "Oblivion"
MPEG Stream: "Divinations"

album cover MASTODON Leviathan (Relapse) 2cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This Atlanta-based metalcore outfit of ever-growing popularity is back with their sophomore full-length effort entitled Leviathan...can it live up to the hype? I mean, the sticker on the front quotes MTV.com to the effect that Mastodon are "the second coming of Metallica and Rush combined". Woah. Well it IS good. Heavy, complex, tuneful, dynamic, mixing all the things -- from epic post rock to retro thrash to mathcore -- that got people so excited about this band in the first place. That said, for the same reason, this album may suffer a bit from the band trying to be all things to all metalheads...the "future of metal" (sez Kerrang!), a return to metal's roots, melodic, brutual, left-field, etc... At some point you want to 'em to stop and not be so hectically eclectic. And if all that wasn't enough, this appears to be a concept album based on Melville's Moby Dick! Also, we're not convinced that the greater prevalence of clean singing on this disc is an addition they needed to make. But, it's not like we aren't impressed...and if you like the idea of a mixture of, say, Isis and The Fucking Champs, you'll probably love this.
If they get much bigger, though, (the fact that this comes in a deluxe package with a bonus DVD-audio disc ought to clue you in to the fact that Mastodon are definitely part of someone at Relapse's next-big-thing marketing plan) we'll have to start wondering about folks who buy this, did they also buy the last couple of Deceased albums (also on Relapse)? 'Cause that band NEVER got half the hype of these guys, not even close, yet other than being 100 percent metal (rather than maybe 90 percent like Mastodon) Deceased are a similar blend of Maiden, math and death metal...so check 'em out too I guess! Anyway, future of metal or not these guys are making a mark in the here and now, no need for our nitpicking really. The limited edition 2cd version we've got while it lasts, and you probably are curious as to what's on the extra disc: seven tracks of 5.1 surround sound mixes and live recordings, including one otherwise unreleased song.
MPEG Stream: "Blood And Thunder"
MPEG Stream: "Aqua Dementia"

album cover MASTODON Lifesblood (Relapse) cd ep 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"Lifesblood" is the debut from Atlanta's Mastodon, and we have to say that this 5-song ep has us eagerly awaiting their upcoming full-length! Crushing riffs and rhythms, punishing drums, and razorsharp lead guitar...they play math-rock metalcore worthy of a Coalesce or Converge, with post rock dynamics that remind us of Engine Kid. Mostly, though, Mastodon sounds like Today Is The Day, which makes sense since the guitarist and drummer are in fact ex-Today Is The Day members! Originally in another pretty insane technical metal band called Lethargy, they were drafted into TITD for the killer album "In The Eyes Of God". Now on their own again (TITD mastermind Steve Austin isn't very good at keeping a stable lineup!), they've regrouped as the mighty Mastodon and released this ep. It's great, but we have one slight criticism: metal bands have got to stop it with the sampled dialogue before every song! The samples on Carcass' classic "Necroticism: Descanting The Insalubrious" were cool, but the practice is getting pretty old now! Regardless, this disc is quite highly recommended, especially if you're the sort of person who enjoys both The Fucking Champs (who Mastodon admit as an influence) and full-on mastodon-heavy death metal.
RealAudio clip: "Shadows That Move"

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