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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 MB (BIANCHI, MAURIZIO) Technology X (Mirror Tapes) cassette 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The entire MB back catalogue is a daunting encyclopedia of industrial noise, bleak abstraction, and internalized struggles with abjection and salvation. Bianchi has been known to recycle titles for considerably different compositions, with Symphony For A Genocide being truncated for a different work called SFAG. The same goes for Technology, as this was the name of a double cassette originally released in 1981 with several bootlegs to follow until an official 2cd set was made available through At War With False Noise in 2009. Technology X is an entirely different composition, although much of the same electronic gear was obviously used in both sets of recordings (and throughout all of the MB recordings in the early '80s for that matter). Similarly, the track titles are slightly different ("Techno-X" vs. "Techno" and "Logy-X" vs. "Logy"); at the same time, the tracks on Technology X are considerably more caustic than those tracks on the original Technology.
Bianchi has long been an obsessive composer and documentarian of his work, which emerged in birth pangs of Industrial Culture in 1980 through the first of many self-released cassettes. His neurotic drones, turgid noises, and bleak electronics recognized influences from the Kraut-electron-magicians of Klaus Schulze and Tangerine Dream; but Bianchi was far more interested in revealing his own theories on the disintegration of the human mind, body, and soul through the encroachment of technological and informational warfare. Technology X, like the aforementioned SFAG album, is a very bleak undertaking of abstracted blorping electronics distorted and mangled through a number of effects giving the impression of a scorched battlefield rumbling with numerous panzer divisions, raked machine-gun fire, and various experimental weapons decimating whoever might be unfortunate enough not to have died in the first wave of dive-bombs and ballistic missiles. His compositions are known for their many turns and twists, moving from mind-wiping lazer shots to engine-revving accelerations of noise and into weirdly militant musical moments of atonal stabs on his synthesizer. It's altogether an exhilarating and claustrophobic recording; and one that's limited to a little over 200 copies. The cassette also comes with an MB / Technology X button!

MB (BIANCHI, MAURIZIO) The Plain Truth (EEs'T / Alga Marghan) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally released in 1983 on Broken Flag (the malignant UK label which spawned Skullflower and Ramleh), "The Plain Truth" distances itself considerably from MB's preceeding electroshock bricolages, coming closest to the "Forbidden Planet" aesthetic of poetically bleak electronics. If one were to ask me to bet on when Maurzio Bianchi (MB) came to God, I'd put $100 on this record. Aside from the giveaway inscription "This record is dedicated to all the redeemed people," "The Plain Truth" has dropped the decomposition metaphors of sound / body from Bianchi's arsenal of sound and has left behind a swirling miasma of cosmic synth drones that one might find in Conrad Schnitzler's most mindwarping psychedelectronics. Regardless of the status of Bianchi's belief at the time of this recording, "The Plain Truth" is a fabulous piece of kaleidoscopic darkness.

MB (BIANCHI, MAURIZIO) The Plain Truth (Hot Records) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MB (MAURIZIO BIANCHI) / HUE / FHIEVEL Erimos (Digitalis) cd 11.98

album cover MB (MAURIZIO BIANCHI) Carcinosi (Menstrual Recordings) lp 30.00
The mythology of Maurizio Bianchi / MB has been well documented here at Aquarius; as we have long been spellbound by many of his classic industrial productions. He began experimenting with electronics, noise, and 'tape decomposition' in the late '70s, recording at a feverish pace over a five year period. He released a handful of records on Sterile, Broken Flag, and Come Organisation, with a few albums being self-financed private pressings. All of these albums quickly went out of print, not only due to the quality of the recordings, but because of his mysterious disappearance from the music scene, spawning a number of implausible legends. In the late '90s, the Italian avant-garde label Alga Marghen embarked on a reissue campaign of MB's classic albums. Those 10 discs, too, went out print leading to yet another campaign of Bianchi's earliest work. Carcinosi was one of those 10 Alga Marghen albums, and has now gotten the reissue treatment from Menstrual Recordings.
If there is one MB record to own, it's Carcinosi - the existentially bleak synthesis of the divebomb synth squalor found on his early work like Symphony for a Genocide and the frigid drone exasperation of his finale Armaghedon. Originally released in 1983 as a private edition of 400 copies, Carcinosi is part two of his dyptic of 'bionic music' alongside Endometrio. The metaphors of cancer mutating within a technologized body parallel a text in which Bianchi refers to this work as a warning of another Auschwitz. Bianchi's Carcinosi masterfully actualizes his grim metaphors with a mesmeric carousel of dark fractures, muted noise and disorienting synthetic pulsations smothered in a heavily saturated wall of delay. Again just 400 copies of this are around, with an exact reproduction of the original artwork with the album itself pressed on clear vinyl.
MPEG Stream: "Terzo Ciclo"
MPEG Stream: "Quarto Ciclo"

album cover MB (MAURIZIO BIANCHI) Giudizio Finale (Menstrual Recordings) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
At this point, pretty much the entirety of Maurizio Bianchi's catalogue of cassettes, lps, and compilation tracks chronicling his frenzied output from 1980 to 1984, should have been exhausted by now through various reissue campaigns. But even after the multiple boxsets and reissues, there's still somehow enough material to warrant an exceptional collection of frigid electronics from the latter days of MB's seminal output. We've long told the bizarre tale of Maurizio Bianchi, but here's his background in a nut shell: Bianchi was one of the pioneers of Italian industrial music compressing the already bleak synthmuzik of Conrad Schnitzler into an existentially devastating morass of electronic drones, echoing rhythms, and deadened wastelands. His early recordings were released infamously under the moniker Leibstandarte SS MB, and released through the Come Organisation and laced with Nazi speeches and true crime dramatizations. Bianchi and Come's William Bennett disagree over who authorized the inclusion of the morally questionable Nazi recordings, but those albums sealed Bianchi's reputation as a blunt composer of early power electronics. Between 1980-1984, Bianchi recorded incessantly producing a weighty archive of tapes and albums before he publicly quit music in pursuit of his religious beliefs. The last four proper MB records from that time period - Endometrio, Carcinosi, The Plain Truth, and Armaghedon - marked an aesthetic and conceptual shift for Bianchi as gloomy introspection settled through the work's iron-gray ripples that replaced the panzer rhythms and genocidal allusions. Those four records are easily our favorite work here at aQ; and we're very happy to report that the bulk of the material on Giudizio Finale was composed during this same time period. The first five tracks are drawn from super obscure cassette compilations, with the last three being unreleased material of the fizzing high-voltage patterns of Bianchi's marching drum machines and metallic noise that dominated such albums as Symphony For A Genocide. While a lot of the MB archival collections (especially those Vinyl On Demand boxsets) are designed with the collector in mind, Giudizio Finale actually makes for an impressive introduction to his work. At the same time, none of this material has been featured on any of the reissues so far, well, to the best of our knowledge at least. A limited release of 250 numbered copies.
MPEG Stream: "Menstruum"
MPEG Stream: "Yhwh"
MPEG Stream: "Giudizio Finale"

album cover MB (MAURIZIO BIANCHI) Mectpyo Bakterium (Menstrual Recordings) lp 30.00
Maurizio Bianchi is one the pioneers of Italian Industrial music, transforming the psychedelic electronics of the likes of Conrad Schniztler, Cluster, Eno, Neu!, etc. into a chilling, dark theater of cancerous sounds that had become the template for the countless dark ambient / industrialists who followed. His story is a peculiar one, as he was incessantly productive throughout the late '70s and early '80s until he unexpectedly stopped in 1984. This musical cessation served to heighten the mystique around the man, as rumors and falsehoods swirled around his legacy, followed by numerous bootleg tapes and LPs of his rarities. Mectpyo Bakterium was an album originally released on lp back in 1982 on the Mnemonists' imprint DYS out of Colorado, and then later in 1998 on cd through the Alga Marghen reissue campaign of his major records. And here is the first repress of the vinyl which goes for a very pretty penny on the collector's market.
Mectpyo Bakterium is a bleak piece of electronic expressionism, with shivering tones and slashing bursts of clinical noise meandering through minefields of grim atmospheres. As it was originally released on LP, the two main tracks of this album are each side-long excursions that mutate and fold on top of themselves, beginning at very dark, very grim launching points and ending up in an entirely different mindframe, having rotated through dour melodies, squalid noises, funeral drum machine marches, and further bleak electronics. It makes sense for this to be a worthy contemporary of TG, Cabaret Voltaire, and Whitehouse! This officially sanctioned lp is limited to 275 copies in a nearly exact reproduction of the original.
MPEG Stream: "Festish Pinksha"
MPEG Stream: "Sterile Regles"

album cover MB (MAURIZIO BIANCHI) Symphony For A Genocide (Hospital Productions) cd 12.98
Hospital Recordings has just reissued the first proper M.B. album, which first came out on Sterile Records in 1981 and then again on CD on Alga Marghen in the mid '90s. They've redone the design, making it look more stripped down, lo-fi and punk rock with gritty scans of the Alga Marghen artwork and old school cut and paste liner notes (that unfortunately seem to be missing some of the original notes), but don't let the makeover fool you, this is still some of the most abject and brilliantly bleak dronemusic ever.
Symphony For A Genocide wasn't the first recording for the Italian Industrialist, as he did have some earlier recordings as Sacher-Pelz and the infamous Leibstandarte SS MB albums (on which Whitehouse's William Bennett dubbed various Nazi speeches on top of Bianchi's music without Bianchi's permission). Bianchi's work does come out of a transgressive mindset; but one that is uniformly misanthropic, nihilistic, and utterly black. On this album, MB construct brutal, hallucinatory blasts of electronic noise and grinding rhythms of hand-cut tape noise and overblown synthetic distortion. These, bleak chilling drones are reminiscent of Conrad Schnitzler at his most neurotic, Nurse With Wound at their most droning, and Whitehouse at their least annoying. MB's very prolific career in the early 80's with more than a dozen records was cut short in 1984 at which time he declared himself a Jehovah's Witness and ceased making music until recently when he finally returned to the blackened ambience of old.
It should also be noted that the recordings of Symphony For A Genocide are drastically different from another set of recordings called SFAG (Symphony For A Genocide), which has also gotten the reissue treatment twice, adding extra confusion into the mix.
MPEG Stream: "Treblinka"
MPEG Stream: "Auschwitz"

album cover MB (MAURIZIO BIANCHI) Teban Slide Art (Menstrual Recordings) 3cd 48.00
Teban Slide Art collects a body of work from the industrial pioneer Maurizio Bianchi that has long been a point of controversy in the history of noise music. At the very beginning of his career, Bianchi had 'signed' a contract with Whitehouse's William Bennett for the release of two albums on Bennett's Come Organisation label. There were rumors that Bennett and Steven Stapleton of Nurse With Wound drafted a completely daft contract that assumed all of the rights to Bianchi's work, which Bianchi signed. Here is where the story splits, as Bianchi claimed that he never consented to the additional overlay of Third Reich speeches found on these recordings, nor to rechristening of his nom de plume from MB to Leibstandarte SS MB; where Bennett asserts that the albums were released as Bianchi intended, and his latent religious conversion a few years later around 1984 sparked his discontent. Regardless of which of these stories is the actual truth, those early Leibstandarte SS MB albums quickly became the stuff of legend and myth, with very few ever actually hearing any of those recordings. What prompted Bianchi to agree to reissue these recordings is also a bit of mystery, but here they are - Triumph Of The Will and Weltanschauung (the two Come Organisation albums) and Lebensraum (an unreleased album that was unofficially issued as a cassette by Murder Release). The cancerous sounds that Bianchi produced are sinister echoes of bone-chilling vibrations, throbbing rhythms, deranged anti-melodies, and horrifying atmospheres that drip through Bianchi's frigid electronics which are not too far from the material he produced on albums like Menses and Neuro Habitat around the same time. Not all of the tracks are laced with Nazi speeches, but when they are, the mastering pushes Bianchi's cold synth-noise into the background. All this said, it is impossible to escape the context of those speeches; but the intent of lacing these two becomes unclear. Is this the simulacrum approach to the modern society as being so corrupt that the crimes of the Third Reich are still within the capacity of the human condition? Or was this something akin to a very British form of black humor (especially if this was in fact Bennett adding the speeches later) in poking fun at all of the 'transgressive' references that punk and industrial culture were appropriating? The verdict is still out. Limited to 413 copies.
MPEG Stream: "Triumph Of The Will"
MPEG Stream: "Weltanschauung"
MPEG Stream: "Endoradiation"
MPEG Stream: "Examples Of Cannibalism"

album cover MB (MAURIZIO BIANCHI) Telmegiddo / Bacterhabitat (Menstrual Recordings) cd + cd-r 29.00
Following the release of the Teban Slide Art collection of Maurizio Bianchi material that dates back to early 1981 of the infamous Leibstandarte SS MB recordings released on William Bennett's Come Organisation, we find ourselves at the end of 1984 with Telemediggo. Bianchi's final official album was the self-released Armaghedon - a soundtrack to an unfinished film that would have been really interesting to have seen. Unfortunately, Bianchi destroyed more than half of the pressing of Armaghedon, with the film probably suffering the same fate. All of this was spurned by his religious conversion, becoming a Jehovah's Witness, causing him to eschew many of the ties he made with the industrial / experimental community for well over a decade. Telemediggo would have been the follow-up to Armaghedon, and is a continuation of the free-floating almost psychedelic dronework that shows a considerable amount of maturity of Bianchi's compositional prowess. Gone are the almost meandering attempts at melody and gone are the panzer division rhythms found on albums like Symphony For A Genocide. Instead, the gasping environments from Bianchi's final period could be considered placid in comparison to his more suffocating works, as if he's allowing for slivers of light to seep through the vast darkness. Don't worry, Telemediggo is a heavy piece of refined minimalism! There were a handful of private issue cassettes of this album that made the rounds, eventually getting bootlegged under the title "Extreme Man 2" in 1990. Another bootleg made the rounds of some sketches that Bianchi was working on, and that had the title "Extreme Man 1." This cassette is reprised as the second disc here, rechristened as Baterhabitat. For some reason, this second disc is a professionally duplicated cd-r, where the disc of Telemediggo is a properly replicated cd. Hmm. These recordings are considerably rougher than Telemediggo and do expose some of Bianchi's process, as he began to layer sympathetic synth sounds that he describes as a "mixture of bacteriological wall of noise." He indicates that the recordings date back to 1982, but seem to have been left unfinished. Packaged in a really cool metal box that solves the problem of those Chain Reaction metal boxes with a soft-felt case that holds both discs. Limited to 208 copies.
MPEG Stream: "Tel"
MPEG Stream: "Mediggo"

MC HAWKING A Brief History Of Rhyme (Brash Recordings) cd 14.98

MC5 Are You Ready To Testify! The Live Bootleg Anthology (Sanctuary) 3cd 21.00

MC5 Back In The USA (Atlantic) cd 13.98

MC5 High Time (Rhino) cd 9.98

MC5 High Time (Total Energy) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MC5 Kick Out The Jams (Elektra) cd 10.98
Rock n' roll albums don't get too much more classic than this one!!

MC5 Motor City Is Burning (Trojan) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With so many retro rock bands out there these days attempting to recapture the magic and fury of the MC5, I think we must pay respect where it is due and remember how awesome and revolutionary this band was. Recorded live at various venues, Motor City Is Burning features one of very few known recordings of "Black To Comm", their infamous two chord blast, and the main inspiration for Spacemen 3's "Revolution". Featuring such classics as "Ramblin Rose", "Borderline" and of course "Kick Out the Jams", this album remains a rough, raw and significant sonic testament to the importance and legacy of the MC5. I don't usually like live records but this one conveys so much fucking energy and rock that it's a record that should be live.
RealAudio clip: "Black to Comm"
RealAudio clip: "Kick Out The Jams"

MC5 Starship - Live at the Sturgis Armory June 27, 1968 (Total Energy) cd 13.98
Pretty excellent early live MC5 show, remastered and with notes by former manager/White Panther leader/Total Energy label guy John Sinclair. Previously available as a Euro-boot called Black To Comm. Yep, that famed song's on here, as well as a bunch of the Five's other greats and covers of James Brown, Pharoah Sanders (!), and Little Richard...Nobody rocks like this anymore, it's true.

album cover MCBAIN, JOHN The In-Flight Feature (Duna) cd 16.98
Former Monster Magnet guitarist, also of Wellwater Conspiracy.
MPEG Stream: "The Underwater Pornographer's Assistant"
MPEG Stream: "In Santiago Airspace"

album cover MCBEE, HAMPER The Good Old-Fashioned Way (Twos & Fews) lp 16.98

album cover MCBEE, HAMPER The Good Old-Fashioned Way (Twos & Fews) lp 16.98

album cover MCBRIDE, BRIAN The Effective Disconnect (Kranky) cd 14.98
Brian McBride, for those who don't know, is one half of beloved slowcore drone drift soundscapers Stars Of The Lid, and based on the reviews on the aQuarius website, you might assume they were one of our all time favorite bands, and well, you would most definitely be correct. If there was indeed an official aQ pantheon, Stars Of The Lid would absolutely be included, their records, spanning the last two decades now, have without fail been absolutely breathtaking works of sublime ambient brilliance, from raw blurred 4 track shimmer, to the more orchestral and composed later releases, we can't think of a SOTL record that we didn't love.
The Effective Disorder is a score McBride recorded for a documentary film called Vanishing Of The Bees, and in the liner notes, McBride explains that he tried his best to compose music that was hopeful, striving to capture in music the "gloriousness of the bees", but that the result was more in keeping with his past works, pieces that tended toward the melancholy and lamentable, that dark and haunting and sweetly sorrowful. And we're not complaining one bit!
The Effective Disorder plays out like it could very well have been a new Stars Of The Lid records, lush and orchestrated, but still intimate and emotional. Separated into suites, the opening two parter mixes the muted sitar-like buzz of old SOTL soundscapes, with soaring strings, swirling streaks of minor key melody, and lots of space, the sounds unfurled in glacial swells, gorgeous harmonies left to gradually fade and drift into nothingness.
"Girl Nap" is about as close as The Effective Disorder comes to sunshiney, but even then it's just barely, sun dappled shimmer dissipates in a haze of hushed soft focus blur, peppered with far away reverbed piano, "Several Tries (In An Unelevated Style)" is another assemblage of longform tones, lushly layered, the overtones adding color and movement, "Supposed Essay On The Piano (B Major Piano Adagietto)" adds horns, the mournful brass moans giving the already sorrowful sound a funereal cast, but shot though with warm hints of hope.
The three part "Toil Theme" is brooding and ominous, haunting and delicate, another dreamscape of minor key swells, while "Beekeepers Vs Warfare Chemicals" drapes tinkling chimes over streaks of stings, and warm sun dappled melodies, the track gradually transforming into something much darker and depressive.
The brief closer, "Chamber Minuet" is the perfect coda, a brief recapitulation of the rest of the score, and of the two sides of McBride's composing style, beginning with a rough bit of low fidelity drift, gauzy and hushed, before it blossoms into a more traditional sounding string quartet, dramatic and majestic, only to slip right back into the opening ominous minimal drift. So lovely and captivating.
The music perhaps darker than the film makers intended, but for the purposes of pure listening, removed from the visuals, Stars Of The Lid fans will not be disappointed, nor will fans of dark brooding ambience.
MPEG Stream: "Melodrames Telegraphies (In B Major 7th) Part 1"
MPEG Stream: "Girl Nap"
MPEG Stream: "Several Tries (In An Elevated Style)"
MPEG Stream: "Beekeepers Vs Warfare Chemicals"

album cover MCBRIDE, BRIAN The Effective Disconnect (Kranky) lp 14.98
Brian McBride, for those who don't know, is one half of beloved slowcore drone drift soundscapers Stars Of The Lid, and based on the reviews on the aQuarius website, you might assume they were one of our all time favorite bands, and well, you would most definitely be correct. If there was indeed an official aQ pantheon, Stars Of The Lid would absolutely be included, their records, spanning the last two decades now, have without fail been absolutely breathtaking works of sublime ambient brilliance, from raw blurred 4 track shimmer, to the more orchestral and composed later releases, we can't think of a SOTL record that we didn't love.
The Effective Disorder is a score McBride recorded for a documentary film called Vanishing Of The Bees, and in the liner notes, McBride explains that he tried his best to compose music that was hopeful, striving to capture in music the "gloriousness of the bees", but that the result was more in keeping with his past works, pieces that tended toward the melancholy and lamentable, that dark and haunting and sweetly sorrowful. And we're not complaining one bit!
The Effective Disorder plays out like it could very well have been a new Stars Of The Lid records, lush and orchestrated, but still intimate and emotional. Separated into suites, the opening two parter mixes the muted sitar-like buzz of old SOTL soundscapes, with soaring strings, swirling streaks of minor key melody, and lots of space, the sounds unfurled in glacial swells, gorgeous harmonies left to gradually fade and drift into nothingness.
"Girl Nap" is about as close as The Effective Disorder comes to sunshiney, but even then it's just barely, sun dappled shimmer dissipates in a haze of hushed soft focus blur, peppered with far away reverbed piano, "Several Tries (In An Unelevated Style)" is another assemblage of longform tones, lushly layered, the overtones adding color and movement, "Supposed Essay On The Piano (B Major Piano Adagietto)" adds horns, the mournful brass moans giving the already sorrowful sound a funereal cast, but shot though with warm hints of hope.
The three part "Toil Theme" is brooding and ominous, haunting and delicate, another dreamscape of minor key swells, while "Beekeepers Vs Warfare Chemicals" drapes tinkling chimes over streaks of stings, and warm sun dappled melodies, the track gradually transforming into something much darker and depressive.
The brief closer, "Chamber Minuet" is the perfect coda, a brief recapitulation of the rest of the score, and of the two sides of McBride's composing style, beginning with a rough bit of low fidelity drift, gauzy and hushed, before it blossoms into a more traditional sounding string quartet, dramatic and majestic, only to slip right back into the opening ominous minimal drift. So lovely and captivating.
The music perhaps darker than the film makers intended, but for the purposes of pure listening, removed from the visuals, Stars Of The Lid fans will not be disappointed, nor will fans of dark brooding ambience.
MPEG Stream: "Melodrames Telegraphies (In B Major 7th) Part 1"
MPEG Stream: "Girl Nap"
MPEG Stream: "Several Tries (In An Elevated Style)"
MPEG Stream: "Beekeepers Vs Warfare Chemicals"

album cover MCBRIDE, BRIAN When The Detail Lost Its Freedom (Kranky) cd 14.98
Brian McBride is one half of AQ faves Stars Of The Lid, a group who specialized in somnambulent moonlit guitarscapes, dark and gorgeously lugubrious, and who more recently have begun to explore more lush and epic musical vistas. Some of our favorite late night dreamy drones have come from those Stars, so it's no surprise that McBride's first proper solo outing is just as mysterious and compelling. A lush series of swoonsome smears, warm chordal swells stretched into slow burning minor key sagas, minor key but still strangely hopeful sounding, sun dappled with the first rays of morning light after an endless night of darkness and despair. Each piece on When The Detail Lost Its Freedom is delicately assembled from minimal violins, gentle piano, moaning trumpets, haunting western guitar, drifting disembodied vocals, and warm reverb, all swirled into indistinct shapes, like opening your eyes first thing in the morning, a hazy blurry dreamlike world, so serene and peaceful. At times, it almost sounds like the most minimal of post rock, but slowed down to a drumless crawl, the occasional vocals definitely remind us of Low, a darkly romantic slowcore, but wherever McBride takes these songs, we're never far from slipping back into a doleful drift of melancholy moods and slow shifting shimmers. It's sort of like staring into a thick cloudy swirl of sound, dense and drifting, with the occasional melody or voice slowly emerging and taking shape before flickering and fading out, dissolving into the swells of surrounding sound. So lovely.
MPEG Stream: "Overture (For Other Halfs)"
MPEG Stream: "A Gathering To Lead Me When You're Gone"

MCCALL, C.W. Wolf Creek Pass (Omni) cd 17.98

album cover MCCANN, SEAN Changes Are Staying (DNT) lp 12.98
After releasing dozens of tapes and tons of limited releases, Sean McCann delivers his gorgeous vinyl debut on local SF label, DNT. If Sean McCann is a new name to your list of weirdo dronesters, you better get hip quick, McCann is one of the most prolific ambient artists of recent years, and has delivered countless offerings of violin based, long-tone beauty on almost every home-spun tape label around. And even though "Chances Are Staying" is McCann's first attempt at vinyl glory, he's no newcomer to the soft-drifting world of string-based soundscaping.
What really draws us into McCann's music is his signature, ever-changing kaleidoscopic whirl, sounds and notes constantly shifting and swirling over crumbling layers of noise and grit, never a boring moment in an ocean of crashing color and melodic smear, so propelling yet immersive and entrancing. There's a refined quality to McCann's music that definitely reminds us of stuff on the Kompakt label, but that precision is offset by a weirdo playfulness that leaves each track unpredictable and completely fluid. It also reminds us of early Not Not Fun releases or maybe Ducktails. "Labyrinth" opens with a gauzy melodic passage, distant bells and chimes echo into a rhythmic lull, synthy washes and a deep low-end pulse guide you deeper into a gorgeous ambient headspace. Dry passages of violin stretch across the echoing beauty below, a buzzing drone builds into an epic flurry until suddenly the track is over and you're itching for more! "County Heirlooms" is another favorite, drum and bass set the rhythmic pulse as soaring strings and bellowing horns become tangled in a mess of field recordings, drones, and weirdo noise, so nice and quite unlike anything we've heard before. Somehow pleasant and very very strange all at once, like someone manipulating a Pharoah Sanders tape while a krautrock rhythm section rehearses next door.
So Rad! Super unique and super limited to 400 hand number copies, we got these straight from the label, pretty sure it'll be out of print in no time, so pick one up!

album cover MCCANN, SEAN Flutter Oasis (Digitalis) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another crazy limited cassette release. This one from a name we'd never heard before, Sean McCann, but judging from this tape, we'll definitely want to be hearing more.
The sound is super distorted and in-the-red, lo-fi and warbly, like it was recorded on some old thrift store tape on a busted up tape recorder, the guitar being the focal point, but rendered in numerous un-guitar-like sounds and setting, simple strums are distorted to the point of complete collapse, strange effects make the tape sound like it's skipping, vocals howl and croon, everything super washed out.
Some tracks are warm and whirring and warbly, almost old timey sounding, everything shimmery and dreamlike, circus like melodies, kitchen sink percussion, and a soft focus patina of fuzz and buzz and whir, the tape continually slowing to a crawl, or skipping and hiccupping like the stop and record buttons getting pushed, others are dense and chaotic, but with the same sort of sun dappled summer dreaminess, the distortion and the tape drop outs as much, if not more of, a part of the sound than the actual instruments.
Noisy, but that sort of soft noise, dreamy, but not sleepy, instead a sort of druggy bleary eyed drift, think lo-fi folk or pop, via Merzbow, filtered through Philip Jeck and Tim Hecker, recorded by Faxed Head, and played back on a Dictaphone with dying batteries plugged into a massive P.A. with blown speakers. So cool.
LIMITED TO ONLY 50 COPIES!!! In beautiful silk screened sleeves, with a printed insert, each tape hand numbered.

album cover MCCANN, SEAN Wind In Their Way (Monorail Trespassing) cassette 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
San Franciscan Sean McCann has produced a ton of material running the gamut between splattery feral pop, crusty noise, and dreamy droneworks; and despite our neighborly geographies, we've only managed to get a hold of a few of his recordings, most of which tend toward the micro-edition side of things. The fine folks at Foxy Digitalis have been showering this guy with praise; and now we can see why on this great cassette from the increasingly essential cassette label Monorail Trespassing. Wind In Their Way begins with a sweeping atmosphere of elongated drone, smoke, and shadow with an elegant violin emoting sad, sad melodies all bathed in reverb, looped back into those background sounds, and muddled nicely into the mix. Here, McCann seems to be paralleling what fellow Bay Area stringed conjurer Darwinsbitch had mustered on her impressive Ore album released earlier in 2009. This same direction continues on the second side of the album, with more shimmering tones that probably have their origins from a guitar, producing majestic swells of ambience not nearly as dark as those by Troum but just as ethereal, with those gauzy, flickering ghosts of sound woven in and out. Peter Wright and Machinefabriek even come to mind on this lovely, lovely, lovely piece. Limited to 125 copies!

MCCARTHY The Best of Mccarthy: That's All Very Well But... (Cherry Red) cd 16.98
Tim Gane before he met Laetitia and formed Stereolab.

MCCARTHY, DAWN & BONNIE PRINCE BILLY What The Brothers Sang (Drag City) cd 14.98

MCCARTHY, DAWN & BONNIE PRINCE BILLY What The Brothers Sang (Drag City) lp 17.98

album cover MCCARTHY, DAWN & BONNY BILLY Wai Notes (Sea Note) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Wai notes is essentially the raw and super stripped down version of The Letting Go, the Bonnie 'Prince' Billy album from 2006, compiled from the demos of that album. On that record he teamed up with Dawn McCarthy from Faun Fables who added back up vocals that sounded both sweet and haunting. But we have to say that these bedroom recordings do these songs more justice then the fully produced version that ended up being the album. We love hearing Will Oldham's classic voice as it's captured so intense and raw right onto what sounds like a 4-track cassette. It's the sparse and chilling side of Oldham's songs that made us fall in love with him all those years back. And we love the tape hiss that crackles so slightly throughout the recording adding such a scrumptious layer of warmth to the cozy and intimate words being sung alongside very minimal and bare acoustic guitar all accented by McCarthy's other worldly back-up's. So simple and stunning! Very limited so you know what that means....
MPEG Stream: "Then The Letting Go"
MPEG Stream: "Wai"

album cover MCCARTNEY, PAUL McCartney (MPL / Hear Music) 2cd 21.00

MCCARTNEY, PAUL AND WINGS Band on the Run: 25th Anniversary Edition (Capitol) 2cd box 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
You might have thought you'd never see a Paul McCartney record here at Aquarius, but you'd be very wrong. Hey, we carry Kix, Chicago, and John Prine, too, and if you think we're old fogeys for doing so, grow up! We've always said that a real music fan loves all kinds of music as long as it's good, and boy is this album killer (and, like, duh, the Beatles were really awesome too). It took the long lost Peruvian psychedelic group We All Together (themselves the subject of some great recent reissues) to really wake us up to McCartney again. From the epic Lennon-esque "Let Me Roll It" to the title track, "Band on the Run" features amazing songwriting and delivery, and it's beloved by all here at AQ. For the price of one disc you get a deluxe box with two cds within. The second disc "relives the period when the album was made and includes the voices of Paul and linda McCartney, Dustin Hoffman and the celebrities who appear on the cover. Running in excess of 50 minutes, the programme also includes previously unreleased version of some Band on the Run tracks."

album cover MCCOMBS, CASS PREfection (Monitor) cd 14.98
On his sophomore outing PREfection, Mr. Cass McCombs proves he's no run of the mill singer/songwriter. Imagine the quirky pop of Robyn Hitchcock crossed with the swoonsome elegance of Rufus Wainwright and laced with the British melancholia of Morrissey, but then drench it all in cavernous cathedral reverb a la Neko Case or My Morning Jacket. Sound good to you? He's sure got quite a knack for crafting seemingly straightforward songs that your ears will like, but he's got a few tricks up his sleeve to boot. Check out the peppy retro British pop stylings (complete with organ!) of the second song, "Subtraction". It's a great kickstart-your-morning kind of tune, not unlike a gentler version of Iggy's "Lust For Life". The next number "Multiple Suns" is quite a bit darker and more brooding, but still wholly engaging. He saves his most unconventional track for last, "All Your Dreams May Come True". For the first few minutes it's a straightforward sensitive pop song but it eventually dissolves into a lengthy soundscape.
MPEG Stream: "Subtraction"
MPEG Stream: "All Your Dreams May Come True"

MCCOMBS, CASS Wit's End (Domino) cd 14.98
Nice songwriting and sensual execution by Cass Mccombs on this outing.
MPEG Stream: "County Line"
MPEG Stream: "Saturday Song"
MPEG Stream: "Hermit's Cave"

MCCOMBS, CASS Wit's End (Domino) lp 22.00
Nice songwriting and sensual execution by Cass Mccombs on this outing.
MPEG Stream: "County Line"
MPEG Stream: "Saturday Song"
MPEG Stream: "Hermit's Cave"

MCCOOK, TOMMY Blazing Horns / Tenor In Roots (Blood & Fire) cd 9.98

MCCOOK, TOMMY AND THE SUPERSONIC Top Secret (Beatville) cd 14.98

album cover MCCULLOCH, BRUCE Drunk Baby Project (Drunk Baby) cd 16.98
Here it is, the second cd from this Kid In The Hall! If you were fortunate to see him on his one-man tour or check out his first cd Shame Based Man, then you know you're in for some of the blackest, most absurd humor. Frequently it's much more so than any of the stuff he did on the series. Some of the tales - addressing all the usual subjects, y'know, sex, religion, aliens and Bob Seger - he conveys in his unmistakable half-sung, over the top rock/blues delivery, on others it's in his supreme deadpan, while on another, well... let's just say you'll be hearing from a voice that sounds a lot like KITH fave Gavin. The music backing him comes courtesy of Craig Northey who also did the soundtrack for their movie Brain Candy and Brian Connelly of Shadowy Men On A Shadowy Planet (who wrote and performed the tv series' theme song) and more recently of Neko Case And Her Boyfriends. An in-store listen triggered many a groan specifically directed at the backing music, but taken together with the words it all makes perfect sense. There's a definite unsettling quality about it, but not in the way you might think. Composing a very eclectic array of tunes, these two follow McCulloch's twisted path quite closely and effectively, but it often falls in the super slick and radio-friendly department. On its own, you too might find it a bit painful to listen to, but maybe the discomfort's intentional... to make the listener squirm and cringe even little bit more. Listening to Bruce McCulloch is not always a belly laugh funny experience, it can be an amazingly dark, heartbreaking bullseye bummer. Such is the role of the comedian. Yes, it's funny 'cause it's true.
RealAudio clip: "Aliens"
RealAudio clip: "Never Trust"
RealAudio clip: "Sucra Poppa"

album cover MCDANIELS, EUGENE Headless Heroes Of The Apocalypse (Atlantic) lp 14.98
An off-kilter hard-hitting soul masterpiece, Headless Heroes Of The Apocalypse was the cap to a strange topsy turvy career. Starting off in the early sixties with suave soul-pop hits like "A Hundred Pounds of Clay" and "Tower of Strength", McDaniels became more successful as a song-writer than a singer, with his songs taking on a more conscious and political vibe. While he did write the RnB hit, "Feel Like Making Love" for Roberta Flack, he also wrote the heavy groover, "Compared To What" for Les McCann and Eddie Harris which became a hit for the black protest movement. Signing to the Atlantic Label in the seventies, McDaniels' recorded two of the perhaps most uncompromising political soul records, Outlaw in 1970 and Headless Heroes in 1971. Of the two, Headless Heroes is the one we keep coming back to, because what makes it most unique is its unusual form. Combining elements of jazz, funk, and rare groove, with some acid-psych and folk thrown into the mix, the result is a heady and allegorical rallying cry against social injustice through a veil of nightmarish imagery and narcotic sounds. While not a hit upon its initial release, it has grown in influence over the years especially in the nineties, when much of this record was sampled in hip-hop circles. Much tougher in form than similarly themed records by Marvin Gaye and Curtis Mayfield, McDaniels' records were harder to market because of their rather scathing views of powerless humanity on the brink of depravity. This is really what's going on!
MPEG Stream: "Jagger The Dagger"
MPEG Stream: "Supermarket Blues"

MCDANIELS, EUGENE Outlaw (Water) cd 14.98

album cover MCDONALD, STEVEN GROUP This Is Not A Rebellion (Five Foot Two) cd ep 8.98
Sounds like Ol' McDonald's taken a turn away from his former feisty power pop self into a more straight-up rock guise. Okay, maybe that's a bit of an exaggeration. There are glimpses on this EP of the McDonald brothers' trademark vocal harmonies and non-stop kick-ass catchiness. It's hard not to draw comparisons to their past glories, especially considering that (as Redd Kross) they'd cornered the market on shining, well-crafted pop back in the late '80s / early '90s. You'd hope that some of that quality would've inevitably surfaced in other subsequent musical endeavors. However, it's been many moons since then, and it seems all that remains are those few faint glimmers. The magical chemistry is gone and these songs seem somewhat lackluster and a bit clunky. Maybe it was his bro' Jeff who wielded the mightier songwriting pen? To find out what he's been up to, check out his band Ze Malibu Kidz.

album cover MCDOWELL, FRED Alan Lomax Recordings (Mississippi) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
**MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT**
What else needs to be said about Mississippi Fred McDowell really, a legendary blues icon for sure, whose music is not rare really or difficult to come by, but we imagine part of the purpose of these Mississippi reissues is to introduce a whole new generation to these artists and sounds, and to make them available on vinyl. These recordings are the very first McDowell ever made, recorded at his home, a farm north of Como, Mississippi, in 1959 by the legendary field recordist Alan Lomax, and demonstrate McDowell's unique guitar playing (with a homemade bottleneck slide) and distinctive voice. Minimalist and powerful, raw and deeply moving, McDowell would become well known for being covered by The Rolling Stones and playing at the Newport Jazz festival in 1964, but it's these early tracks that display the true magic of his music. Essential blues!
Housed in nice thick sleeves, and includes an insert with liner notes.

album cover MCDOWELL, FRED Amazing Grace (Sutro Park) lp 16.98

album cover MCDOWELL, FRED s/t (Mississippi) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
MISSISSIPPI ALERT!!!!!!!!
This reissue of Fred McDowell's 1966 second lp for the Arhoolie label is arguably one of the Mississippi delta bluesman's best outings. Discovered in the late fifties by Alan Lomax, McDowell has become since then and until his death in 1972, one of the more famous practitioners of the delta blues tradition. His most well known song, "You Got To Move", included here, was famously covered by the Rolling Stones, and his world-weary voice that ranges from drawling mumble to intense emphatic howls comes from a deep but humble spiritual core. Though he honed his craft at fish fries and dances, many of his songs were laments and spirituals about trying evils, redemption, and longing for love. Here on some tracks he is accompanied by close friends, Eli Green on second guitar, and his wife Anne on second voice. The track "I Wish I Was In Heaven Sittin' Down" was recorded with the Hunter's Chapel Spiritual Singers, whom Fred performed with often on Sunday Mornings. A fine and essential addition to the Mississippi Records catalog and your Mississippi Records collection!

album cover MCDOWELL, FRED & FURRY LEWIS When I Lay My Burden Down (Sutro Park) lp 15.98
Sutro Park continues to reissue some of the most vital blues sounds ever recorded with this amazing split featuring legends Fred McDowell and Furry Lewis. Anyone paying attention to the aQ site these last few years will have already seen and hopefully heard something from these two masters. The material here was recorded in the late 1960s after some of the original bluesmen began receiving belated and enthusiastic praise from new generations during the folk revival. Each set features intimate performances captured in the comfort of McDowell's and Lewis' homes in Como, Mississippi and Memphis, Tennessee respectively. Despite being in their 60s, both men crank out the classic, hardhitting blues they built their reputations on. Presented in a classy replica sleeve from the Biograph original, this one comes highly recommended as always.

MCDOWELL, MISSISSIPPI FRED Live at the Mayfair Hotel (Infinite Zero/Warner) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE. SORRY
Reissued by Henry Rollins' (major) label. Tried and true bluesman who named one of his albums I do not play no rock & roll. White underground rockers love getting verbal whupped like that. Makes 'em feel less guilty. Discuss.

MCDUFF, BROTHER JACK Gin & Orange (Dusty Groove) cd 14.98

album cover MCFALL, CHRISTOPHER The City Of Almost (Sourdine) cd 14.98
Vacant lots. Empty storefronts. Warehouses pocked with shattered windows, rusted walls, and pigeon shit. These are haunts for Christopher McFall when he collects field recordings in and around his hometown of Kansas City. The area where McFall has a studio is one of the rundown areas of town, that once was a thriving nexus of commerce and culture, but for the most part has crumbled under neglect; and The City Of Almost is a well constructed album that wholly embody the grit, decay, murk, and dust of those crumbling spaces. His processed recordings amplify the melancholy of the space through his ominous looping techniques and the atmospheres of malaise which hang upon elongated drones raked with wind-swept textures and numerous passages of scraped objects distressed by the elements over the years. These moments of The City Of Almost do recall some of the earlier dystopic works from John Grzinich, Michael Northam, and the non Jewelled Antler sounds of Loren Chasse; but McFall furthers the theatrical and allegorical sense of neglect through a fortunate discovery of an stash of musty old records and a barely functioning turntable during his wanderings. Thus, the scratchiness of dust upon the needle and ghostly hints of a forgotten melody also work their way into McFall's work, with references to Philip Jeck being noted even as McFall slows everything down way further than Jeck ever did to match the turgid pacing of the album. We've heard a few pieces from McFall over the years, and this one is the strongest to date.
MPEG Stream: "Slow Containment"
MPEG Stream: "Requiem For Troost (Home)"
MPEG Stream: "All Parts Contained"

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