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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.


MEEK, JOE Telstar Anthology (Not Now Music Limited) 3cd 12.98

MEEK, JOE (V/A) Work In Progress: The Triumph Sessions (RPM) cd 15.98
Particularly famous for the hit "Telstar," Joe Meek was Britain's homicidal/suicidal counterpart to Phil Spector... This disc features rare and previously unissued tracks (i.e. demos credited to the likes of The Fabulous Flee-Rakkers) produced by Meek circa 1960. Crazy.

MEELKOP, ROEL 7 Perceptions (Staalplaat) cd 17.98
It was stated in the one sheet that Roel Meelkop 'has been compared to Bernhard Gunter, (but) his work is... above all more audible" Hey, they stole our joke! Regardless, Meelkop presents shifting walls of granite sounds which are slowly grinding against each other leaving behind a residue which some may call musique concrete.

MEELKOP, ROEL + TOY BIZARRE 4 Pieces (Kaon) cd 17.98
The four pieces include one solo track from Meelkop (Goem, THU20), one collaborative piece, and two from Toy Bizarre. Both excel at environmentally based recordings with Meelkop tearing these sounds apart leaving their intrinsic silences behind and Toy Bizarre focusing more on the uncanny behaviour of his raw recordings. Their collaborative pieces narratively links the precedant (the Meelkop track) with the following Toy Bizarre track, as hard disc processing overlay and intercept the fractured sounds of each other to rather electronic means.

MEESHA Clack / Block (LoDubs) 12"+cd-r 8.98

album cover MEGABATS Goes To A Lemon (Debacle) cd-r 8.98
We've slowly been dipping into the impressive catalog of Debacle Records, and pretty much everything we've heard so far has ruled, the recently reviewed Blackout cd-r by space psych explorers Expo 70, and the synth and vocal bliss drone excursions of The Slaves, and now this, the most recent record from Megabats, whose pun titled cd-r offers up a selection of sounds that definitely fit pretty perfectly between both The Slaves and Expo 70, as well as other spaced out electronic weirdos like Fuck Buttons and Oneohtrix Point Never and Pulse Emitter, a sort of sci-fi synth drone tethered to pulsing minimal electro, and then blurred into hazy expanses of far out shimmery drone flecked electro synth throb, that manages to be energizing and urgent, while somehow remaining blissed out and spacey and oh so hypnotic.
The 'beats' are buried underneath thick layers of synth buzz, the beat usually a barely audible pulse, a sort of heroin house underwater rhythm, skeletal and spare, there less for propulsion or groove, and more for an anchor, a mesmerizing metronomic center, which entrances and enthralls, as the layers of buzz and thrum slowly wrap themselves around you and fill your ears with liquid warmth.
Total late night drugged out, sun rise chill out drift off soundscapery, every track here is epic and repetitive and hypnotic, many ditching the pulse completely and instead unfurling lush landscapes of glistening glimmering synthy shimmer, sun dappled sheets of spacey swirl, culminating in the title track, which takes all of the above, and adds a strangely ominous vibe, cinematic and darkly sinister, a fuzzy low end drone drifting beneath crystalline melodies and hushed buzzy blur, the two elements inexorably linked, a darkly beautiful bit of soundtracky synth swell, haunting but also weirdly spacey and soothing, a brooding new age spacesynth finish to a pretty fantastic collection of otherworldly, electro zoner-drone drone-drift bliss!
MPEG Stream: "Smugshot"
MPEG Stream: "Medicine Hat"
MPEG Stream: "Goes To A Lemon"

album cover MEGADETH Killing Is My Business... (Remastered) (Loud) cd 15.98
Reissue of this seminal thrash band's finest moment (although Allan insists 'Rust In Peace' deserves that honor). 'Killing...' is heavy and fast and loud and catchy. Mustaine spent some time in Metallica and there was plenty of mudslinging from both sides as to who wrote which riff and who stole whose leads. Check out the tune 'Mechanix' and compare it to Metallica's 'Four Horsemen'. Same song, different lyrics, marginally different leads, you make the call. All makes for a good Behind The Music. Regardless of how big a tool Dave Mustaine is now, this record is an essential document of 80's West coast thrash metal (Metallica, Exodus, etc,). And the reissue seems worthwhile due to the inclusion of 3 previously unreleased demo tracks, and band members commenting on each song in the liner notes. If you don't have this already (why?!), now's the time.
RealAudio clip: "Mechanix"
RealAudio clip: "Killing is My Business....And Business is Good"

album cover MEGADETH Peace Sells... But Who's Buying? (Capitol) cd 16.98
While Rust in Peace is arguably Megadeth's finest and most cohesive album, it is Peace Sells that is generally considered the best of their old-school 80s thrash releases, especially among the diehard fans who are the least forgiving. From the overt Satanism of "The Conjuring," and "Bad Omen" and the possibly Slayer-influenced graphic depiction of a serial killer's crimes in "Black Friday" to the oddly domestic infidelity of "Wake Up Dead" Peace SellsÉ contains Megadeth's darkest lyrical content. Plus you get their dubious cover of Willie Dixion's "I Ain't Superstitious" which I suppose is no less embarrassing than "These Boots" from the first album or "Anarchy in the U.K." on So Far, So Good, So What! The massive guitar crunch on "Devil's Island" and "Good Mourning/Black Friday" are archetypal 80s thrash -- classics of the era, and when you sit down and think that these tracks are nearly twenty years old, I'd say they hold up far better than most from the time. You may never need buy another metal album again after this one. I've personally had this record for over half of my natural born life and it's still just as good now as when I first bought it at 13. How many of the records you're buying now are you going to be able to say that about in 2018? Like the others in this reissue batch, remixed/remastered and includes alternate-mix bonus tracks.
MPEG Stream: "Wake Up Dead"
MPEG Stream: "Peace Sells"

album cover MEGADETH Rust In Peace (Capitol) cd 15.98
During the summer of 1990, while enjoying a three month holiday in Oslo, Norway, I (Elliott) came across a magazine that would be of untold influence to my thirteen-year old ears -- the 1990 Metal Hammer "Thrash Spectacular". This would serve to be my introduction to an obsession with extreme bands that would consume an unhealthy amount of my time and interest throughout middle and high school -- bands such as Exodus, Sepultura, Pungent Stench, Testament, Sacred Reich, and on and on. But the centerpiece of the issue was four articles on what Metal Hammer referred to as the "Big Four" of thrash, namely: Metallica, Anthrax, Slayer and Megadeth.
And now we have a re-mastered re-issue of Megadeth's Rust in Peace, originally released coincidentally enough, within weeks of my return from the land of fjords. Why is this significant? Well, because with the very notable exception of Slayer's Seasons in the Abyss, Rust in the Peace was arguably the last great album of the great '80s thrash bands. Sure most, if not all, of these bands continued to release albums up to the present, but really -- which of them would you seriously consider to be on par with their '80s predecessors? Exodus, Testament, Slayer, AnthraxÉit's like 1990 was an impenetrable divide that dictated, "No decent thrash may pass". And let's not even discuss the Black album. Anyway, the release of Rust in Peace heralded the end of an era, and did so with august aplomb, the group topping even their own previously great achievements. It was as if all bands of the ilk recognized that nothing more could be done within the confines of what was considered thrash. Thrash had, as they say, "jumped the shark".
But most importantly, Rust in Peace is simply a magnificent album, harkening back to a time when metal records were still collections of great songs. Every song on here is unique and there's not a bit of filler to be found. Take a look at the tracks: you get the MTV-friendly alien conspiracy hit single "Hangar 18"; the sheer aggression of "Take No Prisoners," one of their heaviest songs ever; the eerie occultism of "Five Magics"; the upbeat, almost poppy quality of "Poison Was The Cure"; the coke-sweating solipsism of "Lucretia"; the forlorn desolation of "Tornado Of Souls"; the austere drum and bass death march creepiness of "Dawn Patrol," (where you get to hear Dave's hilarious affected British accent) all book-ended by two of the finest thrash epics ever recorded -- the relentless juggernaut of an opener, "Holy WarsÉThe Punishment Due," and the apocalyptic groove of the closing title track. Rust in Peace also showcases the finest musicianship of their career, featuring the relentless guitar dueling between Mustaine and newly recruited Shrapnel recording artist Marty Friedman. Very rarely has such guitar-shop wankery been harnessed into such tastefully well-crafted songs -- the intro to "Holy Wars" alone is a must-hear. As for the vocals -- some have been at worst annoyed and at best amused by Dave's whining snarl but when you hear him scream "Paid by the alliance, to slay all the giants" I think you'll agree his delivery is perfectly fitting.
Like Black Sabbath's Volume 4 or Celtic Frost's Morbid Tales or Iron Maiden's Killers, Rust in Peace is a milestone of metallic perfection and one which you are doing your metal collection a grave disservice to be without. If you have any genuine interest in metal, any whatsoever -- a single Century Media sampler in your collection, even -- you MUST own this record. Do yourself a favor, hear one of the absolute pinnacles of thrash. It was the last of its era, setting a standard that the genre as a whole would be unable to match again. And don't just take my word for it...Allan's backing me up on this one too: Rust In Peace is a metal essential. This reissue is remixed and remastered, with four bonus tracks (3 demos of album tracks featuring original 'Deth guitarist Chris Poland and the unfinished, unreleased "My Creation").
MPEG Stream: "Holy Wars...The Punishment Due"
MPEG Stream: "Tornado Of Souls"

album cover MEGADETH Rust In Peace (Capitol) lp 22.00
Easily one of our top-metal-albums-of-all-time (especially in the Big Four/Bay Area thrash division), now (again) released on vinyl! Here's what former AQ mailorder staffer (and current medical student!) Elliott had to say about it when we listed a cd reissue of it a while back:
During the summer of 1990, while enjoying a three month holiday in Oslo, Norway, I came across a magazine that would be of untold influence to my thirteen-year old ears - the 1990 Metal Hammer "Thrash Spectacular". This would serve to be my introduction to an obsession with extreme bands that would consume an unhealthy amount of my time and interest throughout middle and high school -- bands such as Exodus, Sepultura, Pungent Stench, Testament, Sacred Reich, and on and on. But the centerpiece of the issue was four articles on what Metal Hammer referred to as the "Big Four" of thrash, namely: Metallica, Anthrax, Slayer and Megadeth.
And now we have a re-mastered re-issue of Megadeth's Rust in Peace, originally released coincidentally enough, within weeks of my return from the land of fjords. Why is this significant? Well, because with the very notable exception of Slayer's Seasons in the Abyss, Rust in the Peace was arguably the last great album of the great '80s thrash bands. Sure most, if not all, of these bands continued to release albums up to the present, but really -- which of them would you seriously consider to be on par with their '80s predecessors? Exodus, Testament, Slayer, AnthraxÉit's like 1990 was an impenetrable divide that dictated, "No decent thrash may pass". And let's not even discuss the Black album. Anyway, the release of Rust in Peace heralded the end of an era, and did so with august aplomb, the group topping even their own previously great achievements. It was as if all bands of the ilk recognized that nothing more could be done within the confines of what was considered thrash. Thrash had, as they say, "jumped the shark".
But most importantly, Rust in Peace is simply a magnificent album, harkening back to a time when metal records were still collections of great songs. Every song on here is unique and there's not a bit of filler to be found. Take a look at the tracks: you get the MTV-friendly alien conspiracy hit single "Hangar 18"; the sheer aggression of "Take No Prisoners," one of their heaviest songs ever; the eerie occultism of "Five Magics"; the upbeat, almost poppy quality of "Poison Was The Cure"; the coke-sweating solipsism of "Lucretia"; the forlorn desolation of "Tornado Of Souls"; the austere drum and bass death march creepiness of "Dawn Patrol," (where you get to hear Dave's hilarious affected British accent) all book-ended by two of the finest thrash epics ever recorded -- the relentless juggernaut of an opener, "Holy WarsÉThe Punishment Due," and the apocalyptic groove of the closing title track. Rust in Peace also showcases the finest musicianship of their career, featuring the relentless guitar dueling between Mustaine and newly recruited Shrapnel recording artist Marty Friedman. Very rarely has such guitar-shop wankery been harnessed into such tastefully well-crafted songs -- the intro to "Holy Wars" alone is a must-hear. As for the vocals -- some have been at worst annoyed and at best amused by Dave's whining snarl but when you hear him scream "Paid by the alliance, to slay all the giants" I think you'll agree his delivery is perfectly fitting.
Like Black Sabbath's Volume 4 or Celtic Frost's Morbid Tales or Iron Maiden's Killers, Rust in Peace is a milestone of metallic perfection and one which you are doing your metal collection a grave disservice to be without. If you have any genuine interest in metal, any whatsoever -- a single Century Media sampler in your collection, even -- you MUST own this record. Do yourself a favor, hear one of the absolute pinnacles of thrash. It was the last of its era, setting a standard that the genre as a whole would be unable to match again. And don't just take my word for it...Allan's backing me up on this one too: Rust In Peace is a metal essential.
MPEG Stream: "Holy Wars...The Punishment Due"
MPEG Stream: "Tornado Of Souls"

album cover MEGADETH So Far, So Good... So What! (Capitol) cd 16.98
Ah the Mega-re-issues just keep on coming! As it stands, So Far, So GoodÉSo What! ranks as the least essential of the set, but definitely still an excellent album and a more than adequate selection if you're still hungry for more Megadeth after Rust in Peace and Peace Sells. On this, Megadeth's third overall album we have the excellent opening pair, the atomic instrumental "Into the Lungs of Hell" and then the massive riffing of "Set the World Afire," plus Megadeth's first two quasi-ballads, the surprisingly decent "Mary Jane" and "In My Darkest Hour". Fear not though, they're both still plenty heavy! Closer "Hook in Mouth" has another classic riff and plenty of classic Mustaine sneer. Plus you get their laughably bad rendition of the Sex Pistols' "Anarchy in the U.K." What's not to like? Come on, go for the 'Deth triumvirate! Like the others in this reissue batch, remixed/remastered and includes alternate-mix bonus tracks.
MPEG Stream: "Into The Lungs Of Hell"
MPEG Stream: "Set The World Afire"

album cover MEGAPUSS Surfing (Vapor) cd 15.98
Whenever we listen to this, we're somehow reminded of a line from The Simpsons where Marge Simpson's sister Selma in reference to a cheap slutty dress says: "This started out as a Halloween costume but soon worked its way into my regular rotation". Seems what began as a jokey one-off side-project between Devendra Banhart and Greg Rogove from Priestbird (formerly Tarantula A.D.) has taken up more time and attention than is probably warranted. From the weird "bro" energy of the cover to the childish references to penises, anal sex, and group masturbation peppered throughout, this is probably a project that perhaps should have stayed a joke. It sounds like their having a lot of fun and all, and it's not that there aren't good songs on here (Devendra's distinct pop sensibilities remain intact), but it seems like as a separate project, it doesn't know what it wants to be. It doesn't take enough risks musically for all of its crazy "fuck-all" posturing, and some of its attempts at humorous irreverence fall embarassingly flat (especially the song "A Gun On His Hip And A Rose On His Chest", where they cop the music from The Strangeloves, "I Want Candy", but replace the lyrics with "Fuck the Police, in the asshole. Fuck the Pope, in the asshole." ad nauseum). If you wanted a full album of all the sillier songs from Smokey Rolls Down Thunder Canyon, this might be for you. For the rest of us, we'll wait for Devendra's next record.
MPEG Stream: "Crop Circle Jerk '94"
MPEG Stream: "Theme From Hollywood"
MPEG Stream: "Another Mother"

album cover MEGASUS s/t (20 Buck Spin) cd 10.98
Finally available on cd!!
A name like Megasus can only mean one thing. METAL. That's right, pounding, thrashing, ass kicking head banging metal from Providence Rhode Island, which just so happens to feature Brian from Lightning Bolt on drums. But NOT Brian Chippendale, nope, that's bass player Brian (Gibson!) pounding the skins, and hot damn, he's a pretty sick drummer for being such an insane bass player.
For those of you out there that play Rock Band or Guitar Hero, odds are you've probably heard Megasus before, one of their tracks was a huge hit on one of those games, downloaded about a million times, but for us, Megasus came out of nowhere, and proceeded to pummel us into submission!
Shredding classic style heavy metal, with a definite punk rock flavor, reminding us a bit of bands like Karp, that sort of punked up metal vibe, although with Megasus it's mostly the vocals, for the most part this is some seriously TRUE metal. Wild soaring leads, guitar harmonies, relentless drum pound, lots of chugging riffage, proggy arrangements, some stretches of doominess, the vocals a distorted howl, but for the most part this is just some seriously kick ass metal radness!
MPEG Stream: "Ten Kingdoms"
MPEG Stream: "Megasus"

album cover MEGASUS s/t (Wild Power) lp 24.00
Available on vinyl one more time, new higher price though sorry:
A name like Megasus can only mean one thing. METAL. That's right, pounding, thrashing, ass kicking head banging metal from Providence Rhode Island, which just so happens to feature Brian from Lightning Bolt on drums. But NOT Brian Chippendale, nope, that's bass player Brian (Gibson!) pounding the skins, and hot damn, he's a pretty sick drummer for being such an insane bass player.
For those of you out there that play Rock Band or Guitar Hero, odds are you've probably heard Megasus before, one of their tracks was a huge hit on one of those games, downloaded about a million times, but for us, Megasus came out of nowhere, and proceeded to pummel us into submission!
Shredding classic style heavy metal, with a definite punk rock flavor, reminding us a bit of bands like Karp, that sort of punked up metal vibe, although with Megasus it's mostly the vocals, for the most part this is some seriously TRUE metal. Wild soaring leads, guitar harmonies, relentless drum pound, lots of chugging riffage, proggy arrangements, some stretches of doominess, the vocals a distorted howl, but for the most part this is just some seriously kick ass metal radness!
And the packaging, we talk about amazing packaging all the time, but wow, does this take the cake, an full color eye popping outer gatefold jacket, some sort of bloody winged goat, the logo and song titles embossed and stamped with gold foil, printed inner sleeve, pressed on 180 gram blood vinyl, comes with a poster, and a sticker. As well as a full album download. Phew.
MPEG Stream: "Ten Kingdoms"
MPEG Stream: "Megasus"

album cover MEGATON LEVIATHAN MMIX (Volatile Rock) cd 6.98
This came out on ultra-limited (108 copies!) vinyl last year, but now for those of you missed out, or were lacking in that new-fangled turntable technology, here's the nice-priced compact disc version of MMIX by former aQ Record Of The Weekers, Megaton Leviathan, those droning Portland doomsters who, while as heavy as their name so inadequately attempts to indicate (it's a quote from a Judas Priest lyric, we now realize), are surprisingly somnolently mesmeric too!
Actually, before being a cd or an lp, this was a tape, their original 2009 demo, five tracks, around 34 minutes of doooOOOOOooooom. The first two tracks, "Water Wealth Hell On Earth" and "Guns And LSD" both were later rerecorded for their cd debut, Water Wealth Hell On Earth, that we made ROTW, while the other 3, "Repeating Patterns Of Love", "Time Fades", and "Turlock", all appeared redone on their 2011 demo cassette as well. But in any case, if you don't have those demos, or the previous vinyl version of MMIX, you haven't heard these exact recordings, and anyone who loved Water Wealth Hell On Earth as much as we did will want this for the three 'new' songs not found on there at all.
As we've previously stated, ML's doom is a special sort of "soft doom", as much spacey slowcore shoegaze as it is anything else, uniquely so even on these, their earliest recordings.
MPEG Stream: "Guns And LSD"
MPEG Stream: "Repeating Patterns Of Love"
MPEG Stream: "Turlock"

album cover MEGATON LEVIATHAN MMIX (Volatile Rock) lp 13.98
At last, for those of you whose turntables are built sturdily enough to withstand the massive heaviness, here's some VINYL from former AQ Record Of The Weekers, Megaton Leviathan, those droning Portland doomsters who, while as heavy as their name so inadequately attempts to indicate, are surprisingly somnolently mesmeric too!
Released on their own label, it's a limited lp pressing of their original 2009 demo tape, five tracks, around 34 minutes of doooOOOOOooooom. The first two tracks, "Water Wealth Hell On Earth" and "Guns And LSD" both were later rerecorded for their cd debut that we made ROTW, while the other 3, "Repeating Patterns Of Love", "Time Fades", and "Turlock", all appeared redone on their 2011 demo cassette as well. So, no new songs, but if you don't have the original demo, you haven't heard these versions before, and in any case this is the only way to weigh your turntable down with their doom, as we said... though as we also have said, ML's doom is a special sort of "soft doom", as much spacey slowcore shoegaze as it is anything else, uniquely so even on these, their debut recordings.

album cover MEGATON LEVIATHAN Past 21 Beyond The Arctic Cell (Seventh Rule) lp 13.98
NOW ON VINYL!! We had a cassette of this not long ago, straight from the band, now Seventh Rule has done the vinyl deed! Here's more or less what we said before:
Finally! New music from these aQ faves, Megaton Leviathan Northwestern masters of psychedelic doom, or doomgaze, or, well not sure what we should call it now. When we made their Water Wealth Hell On Earth album an aQuarius Record Of The Week a few years ago, their sound was definitely doom, like doom with MANY oooooo's, but even then it was blurry and washed out and super psychedelic, and at times, barely even metal. Which is where this new one lands for sure. It's definitely heavy, but it's more spacey, and droney and dreamy, two epic songs per side, the first more of a slowcore shoegaze blissout, slow, but not a doomy crawl, just sort of mesmerizingly hypnotically midtempo, the guitars warm and billowy, the vocals whispery and washed out, almost like another layer of drone, the whole thing a dreamy dirge that really could go on forever. Gorgeously tranced out psych-doom bliss of the highest order. There are strings too, courtesy of Amber Asylum's Kris Force, which just adds to the epicness and spaciousness, fans of Godspeed and all who sail with her, if you've yet to discover Megaton Leviathan, now is the time, and this is the record, er, tape. Soaring, slow building musical majesty. Henry Barnes from Amps For Christ contributes sitar and 'oscillations', again, adding to the trancey raga-like mesmer of the songs.
The B side is a bit more doomy, but only a bit, the heavy downtuned churn is blurred into extended chordal streaks, and hazy black ambience, the sound on the B side hews closer to the minimal dub-doom of OM, fans of that band will flip for these guys too, the same sort of lumbering, minimal, metallic crush, but here, wreathed in swirls of effects, constantly shifting atmospheres and textures, laced with minor key melancholic melodies, pulsing, undulating until the momentum begins to ebb, leaving just a field of abstract chug, clouds of cymbal shimmer, only then to blossom into something even heavier, a murky death march plod, the bass and guitar impossibly distorted, the drums a rib cage rattling crush, locked into Gore-like minimal-metal mesmer, before exploding again, into some serious psych-doom drift, replete with FX heavy guitars and angelic female vocals.
The tape finishes off with maybe the oddest of the bunch, a sort of slowcore psych folk ballad, all clean guitars and crooned vocals, still plenty murky and druggy, and HEAVY, even sans metallic heft - although, ironically enough, that track is a cover of "Here Come The Tears" by Judas Priest, from Sin After Sin!! Cool.
Also - if you buy this, you'll find this very review on the back cover, ha! (That's how much we like ML, and vice versa!)
MPEG Stream: "Past 21"
MPEG Stream: "The Foolish Man"

album cover MEGATON LEVIATHAN Past 21 Beyond The Arctic Cell (Volatile Rock) cassette 9.98
Finally! New music from these aQ faves, Megaton Leviathan Northwestern masters of psychedelic doom, or doomgaze, or, well not sure what we should call it now. When we made their Water Wealth Hell On Earth album an aQuarius Record Of The Week, their sound was definitely doom, like doom with MANY oooooo's, but even then it was blurry and washed out and super psychedelic, and at times, barely even metal. Which is where this new one lands for sure. It's definitely heavy, but it's more spacey, and droney and dreamy, two epic songs per side, the first more of a slowcore shoegaze blissout, slow, but not a doomy crawl, just sort of mesmerizingly hypnotically midtempo, the guitars warm and billowy, the vocals whispery and washed out, almost like another layer of drone, the whole thing a dreamy dirge that really could go on forever. Gorgeously tranced out psych-doom bliss of the highest order. There are strings too, courtesy of Amber Asylum's Kris Force, which just adds to the epicness and spaciousness, fans of Godspeed and all who sail with her, if you've yet to discover Megaton Leviathan, now is the time, and this is the record, er, tape. Soaring, slow building musical majesty. Henry Barnes from Amps For Christ contributes sitar and 'oscillations', again, adding to the trancey raga-like mesmer of the songs.
The B side is a bit more doomy, but only a bit, the heavy downtuned churn is blurred into extended chordal streaks, and hazy black ambience, the sound on the B side hews closer to the minimal dub-doom of OM, fans of that band will flip for these guys too, the same sort of lumbering, minimal, metallic crush, but here, wreathed in swirls of effects, constantly shifting atmospheres and textures, laced with minor key melancholic melodies, pulsing, undulating until the momentum begins to ebb, leaving just a field of abstract chug, clouds of cymbal shimmer, only then to blossom into something even heavier, a murky death march plod, the bass and guitar impossibly distorted, the drums a rib cage rattling crush, locked into Gore-like minimal-metal mesmer, before exploding again, into some serious psych-doom drift, replete with FX heavy guitars and angelic female vocals.
The tape finishes off with maybe the oddest of the bunch, a sort of slowcore psych folk ballad, all clean guitars and crooned vocals, still plenty murky and druggy, and HEAVY, even sans metallic heft. Only on tape for now, but rumors of more formats in the future. For now, this is extremely limited, nice full color printed J-cards and green cases, sadly, no download.

album cover MEGATON LEVIATHAN Repeating Patterns Of Love (Demo 2011) (Feretro) cassette 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We all went a little crazy for the debut from Portland doomlords Megaton Leviathan, whose particular brand of doom was on the poppy, melodic, washed out and dreamy side of the doom spectrum. So much so that we felt obligated to come up with a new term for their sound, 'soft doom', when we made their cd a Record Of The Week. And we still can't get enough of these guys' woozy, spacey slowcore laced, drone flecked soft doom. So we were psyched to discover a brand new cassette, their newest demo, a teaser for their forthcoming full length, and if anything, the 'softness' of their doom has been transformed into something more like spaciness this time around. At least on the opening track, that sounds like Hawkwind crossed with Spacemen 3 and slowed down to a plodding, nodding dirge, hazy squalls of wah guitar, sung/spoken vocals, everything drenched in effects, shards of vocals, slivers of guitars, sent spinning into space trailing streaks of echo and reverb and delay, a sprawling drug rock space drone epic, that rivals most of the other bands out there who set their controls for space rock. In the case of Megaton Leviathan, it somehow sounds more organic, like their quest for slo-mo soft doom heaviness just somehow ended up here.
And as the record plays on, it becomes evident that the first track was no fluke, the doom almost entirely replaced by drugged out space rock and psychedelic slowcore, sure it's still dark and heavy, and slow and dirgey and okay, a bit doomy, but it's way less 'doom' and way more washed out, woozy, lysergic, hazy, gauzy, hypno-dronerock, repetitive, and cyclical, and hypnotic, the production simultaneously lush and lo-fi, the distortion cranked way up, but instead of making it heavy, it makes the sounds crumble and wash out and crystallize, making the overall sound seem that much more warm and rough and organic, especially when the band slips into slow spaciness, all low slung bass, melodic guitar echoes, and big drums, lumbering and loose, the sort of thing Three Mile Pilot were masters of in the old days, loads of space, all held together by sinewy basslines and krauty rhythms, and then the guitars come back in, and again, we're well past doom, the sound lifting free of the surface, and drifting heavenward, somehow mixing Hawkwind, Codeine, Low, Spacemen 3, Loop, a little doom, lots of drugs, and even more effects, into the sort of thing that should have fans of the current crop of space rockers (Wooden Shjips, Carlton Melton, White Hills, Moon Duo, Heads, Lumerians, White Noise Sound) losing their shit.
LIMITED TO 200 COPIES. Each one hand numbered, and record on swank reflective gold cassettes.

album cover MEGATON LEVIATHAN Water Wealth Hell On Earth (Feretro) cd 11.98
It's hard to know what to expect from a band with a name like Megaton Leviathan. You might guess heavy. Probably loud. And you'd be right on both counts, but you probably wouldn't guess that these guys play some sort of super melodic, poppy, and very pretty doom. Or sort of doom. Soft doom? We sure as heck didn't.
But that's pretty much what ML are all about. Even categorizing them as doom doesn't do them justice. The tempos are slow, the mood is doomy, but unlike the typical downtuned sludgery and lumbering slo-mo pummel of most doom combos, these guys infuse their dirges with soaring shimmering clean guitars, the vocals are clean, not howled or grunted, but crooned, bathed in reverb, and draped over the almost ethereal sounding heaviness.
The drums are strange, big and boomy, but they perfectly suit the Nadja-like doom-gaze, the washed out blissy reverbed doom pop, the hazy, gauze-y, space-y doom flecked psychedelia these guys so effortlessly conjure up.
The 19 minute opener is split into two parts, the first half, is a gorgeous dirgey creep, with a melancholy main melody, swirling synth textures, and those moody crooned vox, all stretched out into a glorious bit of space doom dream pop haze, the effects swallowing the instruments up and sending them spinning into the cosmos, woozy, and dreamy and mesmerizing and strangely emotional with some of the best most beautiful hooks you'll ever hear in a 'doom' band.
The second half almost sounds like a dub version of the first, the riffs are stripped away, leaving a glistening filed of layered vocal mantras and electronic effects, the drums spare and abstract, the sound thick and lush and distorted, but blurred and free and swirly and psychedelic, some sort of alien spacedoom ur-drone, the perfect balance for the more riffy bliss of the first half.
After another short track (and by short we mean almost 6 minutes), which is another dirgey crawl, through fields of cloudy effects and smeared electronics, sounding like a modern space doom Codeine, all pretty and melancholy but still dark and heavy, comes the 33+ minute closer, "A Slow Death In D Minor", the whole first half of which sounds like SUNNO))) covering Tangerine Dream, thick downtuned glacial thrum, underpinning, swirling kosmische synths and jangly shimmering clean guitar chords. This could go on forever, and practically does, until about 18 minutes later, the drums come in, and pound out a strange skeletal beat, atop the still drifting buzz and shimmer, buried vocals and muted melodies churn just below the surface, until finally, the sound grows more and more melodic, and what sound like strings surface, and the track is transformed into some sort of chamber doom, until eventually, just the strings are left, to soar dramatically over a barely there layer of crackle and hum, before slipping into silence.
This could definitely be our new favorite doom record, if it didn't feel so wrong to and reductive to call Megaton Leviathan doom. But it's definitely a new favorite, for fans of all things dark and heavy and dreamy and melodic, droney and drifty and pretty and poppy and trance inducing.
MPEG Stream: "Water Wealth Hell On Earth - Part I"
MPEG Stream: "A Slow Death In D Minor"

album cover MEGAWEAPON Dropsouts (Zum) cd-r 4.98
Megaweapon is Mr. DJ George Chen (of Zum Magazine / indie music label right here in the Bay Area) and a few of his Oakland cohorts from Boxleitner and K.I.T. Together they're makin' 'tape music'. Dropsouts is a coarsely ground and blended 4-track recording of noise-alicious distorted scraping, looping and churning. A brief but notable track is the second - a scant thirty seven seconds of what sounds like a chat between two homemade foghorns. 25 minutes total. Limited 'pressing' of 75.
MPEG Stream: "track 2"
MPEG Stream: "track 5"

album cover MEHRPOUYA, ABBASS Mehrpouya Sitar (Persianna) cd 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Long overdue reissue of this lost psychedelic Indian funk gem from one of Iran's top sitarists, his only record, recorded sometime in the seventies, and a holy grail ever since. The liner notes claim this is one of the rarest and most in demand albums from Iran, and it's easy to hear why. Imagine your favorite jams from the Ethiopiques series, WITH SITAR and FLUTE, and we're talking total psych funk groove nirvana.
Heavy and fuzzy and druggy and a little bit space-y these mostly untitled jams totally destroy, we can only imagine the sort of joyous meltdown any crate digger lucky enough to snag one of these must have experienced, the drums are fierce, powerful, organs swirl, flutes soar and flutter, and all over the tracks that sitar buzzes gloriously. Some of the songs are a bit folkier and more pastoral, sounding like some seventies acid folk record only with sitar and haunting Eastern melodies. But it's the stomping funk workouts that seal the deal, especially the 11 minute funk rock epic "African Jumbo" (one of only two songs here with titles), that sounds straight out of some seventies sitcom, or like it was purloined by Tarantino for one of his soundtracks, looped and hypnotic, super melodic and catchy as all get out. A few of the tracks feature vocals, deep and dramatic, and those songs slip into Bollywood love scene territory for sure, mysterious and moody, in fact the last few songs tend toward ballad territory, until the record closer, a bonus track taken from a super rare tape, that is murky and heavy with strings and wah guitar, total Indian blaxploitation soundtrack groove, that slips from sexy strut, to dreamy croon, to cinematic soar and back again. Amazing stuff. Fans of the Ethiopiques series and the funkier Sublime Frequencies releases will definitely dig...
MPEG Stream: "1"
MPEG Stream: "2"
MPEG Stream: "African Jumbo"

album cover MEHRPOUYA, ABBASS Soul Raga (Pharaway Sounds) 2cd 25.00
We were pretty obsessed with this record when it was first reissued back in 2009, a lost psychedelic Indian funk gem from one of Iran's top sitarists, his only record, recorded sometime in the seventies, and a holy grail ever since. Known as one of the rarest and most in demand albums from Iran EVER, finally hearing it for ourselves, it wasn't hard to hear why. Imagine your favorite jams from the Ethiopiques series, WITH SITAR and FLUTE, and we're talking total psych funk groove nirvana. The other version is out of print, but fear not, now the fine folks at Pharaway Sounds (who seem to have also undertaken a long overdue Erkin Koray reissue campaign, among other tantalizing releases) have fleshed that original out even further, including that original rare record in its entirety, and a whole bunch of bonus tracks from equally rare 45's!!!
Heavy and fuzzy and druggy and a little bit space-y, these far out jams totally destroy, we can only imagine the sort of joyous meltdown any crate digger lucky enough to snag one of these must have experienced, the drums are fierce, powerful, organs swirl, flutes soar and flutter, and all over the tracks that sitar buzzes gloriously. Some of the songs are a bit folkier and more pastoral, sounding like some seventies acid folk record only with sitar and haunting Eastern melodies. But it's the stomping funk workouts that seal the deal, especially the 11 minute funk rock epic "African Jumbo", which sounds straight out of some seventies sitcom, or like it was purloined by Tarantino for one of his soundtracks, looped and hypnotic, super melodic and catchy as all get out. A few of the tracks feature vocals, deep and dramatic, and those songs slip into Bollywood love scene territory for sure, mysterious and moody, in fact a few songs tend toward full on ballad territory, until inevitably along comes another blast of murky and heavy Indian sitar-funk, rife with strings or wah guitar, often slipping into total Indian blaxploitation soundtrack grooves, that slip from sexy strut, to dreamy croon, to cinematic soar and back again. Amazing stuff. Fans of the Ethiopiques series and the funkier Sublime Frequencies releases will definitely dig. And even folks who already have that other reissue, if you're anything like us, you'll probably wanna buy this one now too!!
MPEG Stream: "1"
MPEG Stream: "2"
MPEG Stream: "African Jumbo"

album cover MEHRPOUYA, ABBASS Soul Raga (Pharaway Sounds) 3lp 42.00
We were pretty obsessed with this record when it was first reissued back in 2009, a lost psychedelic Indian funk gem from one of Iran's top sitarists, his only record, recorded sometime in the seventies, and a holy grail ever since. Known as one of the rarest and most in demand albums from Iran EVER, finally hearing it for ourselves, it wasn't hard to hear why. Imagine your favorite jams from the Ethiopiques series, WITH SITAR and FLUTE, and we're talking total psych funk groove nirvana. The other version is out of print, but fear not, now the fine folks at Pharaway Sounds (who seem to have also undertaken a long overdue Erkin Koray reissue campaign, among other tantalizing releases) have fleshed that original out even further, including that original rare record in its entirety, and a whole bunch of bonus tracks from equally rare 45's!!!
Heavy and fuzzy and druggy and a little bit space-y, these far out jams totally destroy, we can only imagine the sort of joyous meltdown any crate digger lucky enough to snag one of these must have experienced, the drums are fierce, powerful, organs swirl, flutes soar and flutter, and all over the tracks that sitar buzzes gloriously. Some of the songs are a bit folkier and more pastoral, sounding like some seventies acid folk record only with sitar and haunting Eastern melodies. But it's the stomping funk workouts that seal the deal, especially the 11 minute funk rock epic "African Jumbo", which sounds straight out of some seventies sitcom, or like it was purloined by Tarantino for one of his soundtracks, looped and hypnotic, super melodic and catchy as all get out. A few of the tracks feature vocals, deep and dramatic, and those songs slip into Bollywood love scene territory for sure, mysterious and moody, in fact a few songs tend toward full on ballad territory, until inevitably along comes another blast of murky and heavy Indian sitar-funk, rife with strings or wah guitar, often slipping into total Indian blaxploitation soundtrack grooves, that slip from sexy strut, to dreamy croon, to cinematic soar and back again. Amazing stuff. Fans of the Ethiopiques series and the funkier Sublime Frequencies releases will definitely dig. And even folks who already have that other reissue, if you're anything like us, you'll probably wanna buy this one now too!!
MPEG Stream: "1"
MPEG Stream: "2"
MPEG Stream: "African Jumbo"

album cover MEIRINO, FRANCISCO Notebook (Techniques Of Self-Destruction) (Misanthropic Agenda) cd 12.98
Over the past five years (or so), the work of Francisco Meirino has moved ever forward by leaps and bounds. Once the man discovered what could be done with an EMF detector, his aesthetic world exploded from that of a guttural noise-monger to that of an exemplary composer of muscular electro-acoustics. In sonorizing the signals from his EMF detector, Meirino gives voice to the electrical field in any given space. Parapsychologists and ghost hunters have used these devices as citations pointing to their claims of hauntings, poltergeist activity, and residual energies from psychic distress. Not surprisingly, Meirino did engage in the realm of the paranormal by working with ghost hunter Michael Esposito on an album mapped out of EVP recordings sourced by Meirino and researched by Esposito. Audio bleedthrough, spikes of energy, crude stabs of noise, electrified drone, and disruptions of all kind are commonplace within the sonic markmaking for Meirino; and Notebook (Techniques Of Self-Destruction) stands as one of the finest albums in Meirino's catalogue. Aggressive cuts across tape and digital files reveal jagged edges between frequencies and sonorities that Meirno exaggerates and telescopes as if all of his sounds were atomic particles irradiated with x-rays and then smashed against the clinical floor of some Swiss laboratory left to wiggle, glow, and collapse without much concern from the technician doing the smashing. There is a violence to Meirino's work, and it's one that carries over from his youthful days working under the noise moniker Phroq. The violence is actually more impactful given the dynamics of Meirino's techniques and compositional artistry. It's obvious that he's been pursuing a parallel path as that of the Schimpfluch Gruppe (e.g. Rudolf Eb.Er, G*Park, Dave Phillips, and Sudden Infant); and Notebook is a worthy contender to follow in that lineage of transgressive actions and theatrical nihilism.
MPEG Stream: "Le Processus De La Signification"
MPEG Stream: "Weak Recording Of An Embarrassment"
MPEG Stream: " Techniques Of Self-Destruction Part I"

album cover MEIRINO, FRANCISCO Untitled Phenomenas In Concrete (Cave 12) cd 15.98
The Swiss electro-acoustic tactician Francisco Meirino has proven a deft hand in cajoling caustic jolts of static and searing chunks of noises from electro-magnetic sources, growing leaps and bounds from his earliest recordings as Phroq to the intensely dynamic output he's been steadily releasing under his own name over the past couple of years. This album's title refers to the UPIC system developed by Xenakis as a means of drawing on a digitizing tablet which provides vector coordinates to a program controlling particular sound sources, which for Meirino's purposes include snow falling, bones cracking, magnetic field disturbances, and insect noises. As interesting as Xenakis' UPIC system is, it's reassuring that Meirino treats the device as just another tool in his arsenal to direct his own aesthetic and not let the tool itself speak any louder than necessary. Radioactive streams of static electricity and piercing sinewaves ground the scattered tactile events which at times sound more like resonant gongs and small scraps of metal whose trailing decay undulates in rippling patterns that parallel Nurse With Wound's Homotopy To Marie. Throughout the 37 minute piece, Meirino returns to the densely phased, atonal concoctions of sinewaves and static that accelerate and deflate out of pockets of agitated acoustically sourced sources. Where those cracking bones are in the mix is anybody's guess, as he adheres a sharply toxic aura to all of his sounds. Like Dave Phillips and G*Park, he's at the vanguard of contemporary Swiss electro-acoustic malevolence. Limited to 350 copies.
MPEG Stream: "Untitled Phenomenas In Concrete (excerpt 1)"
MPEG Stream: "Untitled Phenomenas In Concrete (excerpt 2)"

album cover MEIRINO, FRANCISCO & MICHAEL ESPOSITO Ghosts Of Case File 142 (Firework Editions) cd 13.98
EVP research is commonplace within the catalog of Firework Editions, a Swedish label run in part by the conceptual artist Leif Elggren. One of Elggren's more infamous projects is the Kingdom of Elgaland-Vargaland which occupies a liminal political space between the boundaries of countries; but within the magisterial constitution, Elgaland-Vargaland annexes the psychic realm of dreams and even goes so far as to abolish death. With this proclamation, the kingdom offers citizenship to ghosts, spirits, and apparitions; and seeks communion with such entities through EVP - Electronic Voice Phenomenon - whereby voices of unknown origin mysteriously appear on the electronic mediums of tape, radio, and digital recorders. EVP researchers like Chicago's Michael Esposito claim these voices to originate from spirits beyond the grave; and there's quite of lot of late night entertainment coming from their spooky if questionable paranormal research. Esposito seems to hold more of a metaphysical and poetic agenda in his work, by reaching out to the sound art community as a crucible for his admittedly unnerving recordings. He's collaborated with the aforementioned Elggren, fellow Elgaland-Vargaland cohort CM von Hausswolff, John Duncan, FM Einheint, and now Francisco Meirino.
Esposito's role in this collaboration with the electro-acoustic artist Francisco Meirino is that of a taxonomist, with Meirino doing most of the heavy lifting on the album. Meirino made a series of field recordings in a former school of anatomy in his native Switzerland; and upon hearing something odd in the recordings, he passed everything onto Esposito, who in turn discovered over 30 incidents of EVP in Meirino's original recordings. Those discovered events became the inspiration and source material for Meirino's composition which blisters with static bursts of noise, caustic flares of electricity, and hissing fields of magnetic disturbances. Amidst these jarring events (which come together as a something not dissimilar to the Hafler Trio, Joe Colley, or G*Park), Meirino cycles through the EVP material in repetitive phrases. It's still not all that easy to hear what Esposito claims to be in these recordings, but the mechanoid repetitions lend to a very cold and disembodied aesthetic which couples perfectly with Meirino's splinterings of electro-acoustic sound. Esposito may have been the inspiration for the album; but it's Meirino who makes it all sound so damn good.
MPEG Stream: "Ghosts Of Case File 142 (excerpt 1)"
MPEG Stream: "Ghosts Of Case File 142 (excerpt 2)"
MPEG Stream: "Ghosts Of Case File 142 (excerpt 3)"

album cover MEIZTER, K. Dark Matters (Old Europa Cafe) cd + 3"cd 23.00

MPEG Stream: "The Last Hurrah"
MPEG Stream: "Internal Features Of A Dead Body"
MPEG Stream: "Sidelights On The Life Of Death"

album cover MEKONS Fear and Whiskey (Quarterstick) cd 14.98
With well over two dozen albums, singles, eps, and compilations to their name, Yorkshire's Mekons have been around so long you can divide their career into distinct stages. In my opinion, prime Mekons territory begins well into their timeline, with the release of 1985's Fear and Whiskey, which was the first time they added a li'l country twang to their ragged punk rock sound. This period would continue throughout the late '80s (meaning you should definitely also pick up their Rock 'n Roll and So Good It Hurts albums if you see 'em). With Jon Langford's whiskey-soaked voice, the tinny meandering guitar, sweet fiddle, foot-stomping drums, and a general drunken honky tonk vibe. So excellent! If you've never heard the band before, this is a fine place to start. Pogues fans will also *totally* appreciate this!
RealAudio clip: "Chivalry"
RealAudio clip: "Abernant 1984/85"

MEKONS I Have Been To Heaven And Back (Quarterstick) cd 13.98

MEKONS Journey To The End Of The Night (Quarterstick) cd 14.98
The latest from critica faves/ underground heroes, the Mekons. More drunken and bedraggled indie rock twang, a kind of 'British Americana' with touches of '80s southern alt-rock (like "Green"-era R.E.M.). Nice.

album cover MEKONS Oooh! (Quarterstick) cd 14.98
The Mekons have been around for 25 years now. In that time, they morphed from punk rockers to country twangers, putting out one of the first "alt.country" albums ("Fear & Whiskey") in 1985, and continuing through today to release this very nice collection of songs. While sweet country lamentation is the primary component of "Oooh! Out Of Our Heads," their collectivist songwriting also makes room for the influence of down home gospel, eastern tinged violins, Irish reels, relevant although not didactic political commentary, and a bit of anarchic punk approach. A more than apt silver anniversary celebration.
RealAudio clip: "Thee Oide Trip To Jerusalem"
RealAudio clip: "Take His Name In Vain"

MEKONS Punk Rock (1/4 Stick) cd 14.98

MEKONS United (Quarterstick) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally released as a companion piece to the Mekons' art book "United," this album features several reinterpretations of previously issued Mekons songs which had been sampled, mangled, and mashed into something new.

MEKURIA, GETATCHEW & THE EX & FRIENDS Y'Anbessaw Tezeta (Terp) 2cd 17.98

album cover MEKURYA, GETATCHEW Ethiopiques Vol. 14 : (The Negus of Ethiopian Sax) (Buda Musique) cd 15.98
I'm sure that, by now, we're way passed that point that divides the completists with those that are content with two or three volumes of this series. And yet, though speaking partially from a completist's viewpoint, volume 14 might be one that anyone who's enjoyed previous Ethiopiques releases to take note of. Volume 14 is a re-release of a 1970 Philips Ethiopia recording of GŽtatchw Mkurya. Mkurya, a saxophonist, is apparently considered the Albert Ayler of Ethiopia. But before y'all non-free jazz aficionados get scared off by thoughts of atonal scree, you can rest assured that there's not a lick of that here. Probably what was most likely intended by such a comparison was either Ayler's propensity for using folk melodies in his works, or maybe even... marches. The cornerstone of Mkurya's style is derived from a strictly vocal style associated with war known as "shellela". Apparently Mkurya got the idea of transcribing this singing style to saxophone. Brash and insistent as it is, it's really nothing like even the tamest "sheets of sound" from Coltrane's pre-free jazz days. Entirely instrumental, the music of GŽtatchw Mkurya is, while familiar in the scope of Ethiopian music we've come to know and love, also much different than all that's preceded it. It probably most resembles Ethiopiques Volume Four in respect to their both lacking in vocals, but there the similarities stop. The band is stripped down to organ, guitar, bass and drums and accompaniment usually consists of a steady, uptempo ostinato over which Mkurya then plays his rapid and rococo melodic improvisations (often alternating with the squealing farfisa-like organ). Also included as a bonus track for this CD issue is a late fifties rarity from Mkurya. Yet again, we highly recommend this newest Ethiopiques release for both sometimes fans and -- it goes without saying I suppose -- completists as well.
MPEG Stream: "Yegenet Muziqa"
MPEG Stream: "Shellela"

album cover MEKURYA, GETATCHEW & THE EX Moa Anbessa (Terp) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
At long last, back in stock (to go with the Mississippi vinyl version, reviewed elsewhere this list):
A wild live blowout from legendary Ethiopian saxophonist Getatchew Mekuria, jamming with Dutch avant rockers The Ex and other like minded friends. It's time to once again get your Ethiopian groove on...
But with a twist. The twist being The Ex, everyone's favorite Dutch avant rockers who have always had a thing for world music, so much so that members of the Ex are directly involved in the running of Terp. So it makes sense that given the opportunity, they would jump at the chance to jam with the legendary Getatchew Mekuria. So here we have it, what sounds like one of the wildest musical parties ever! Oh how we would have killed to be there. Must have been a stone cold blast, but at least we have this here recording to ease our pain...
The record seems to be split right down the middle, half the songs are Ethiopian classics, given a bit of an angular post punk vibe, due in no small part to the fact that the band playing them is in fact the Ex, and the other half, the ones with vocals, sound like Ethiopian flavored Ex songs... We lean more toward the former, but both are pretty great.
Imagine your favorite Ethiopiques record, but way more bass heavy, a fuzzy distorted throb, along with jangly angular guitars, all underneath that oh so recognizable sax, wailing and soaring, practically singing, emotional and gorgeous. A few tracks are groovy and smokey and sultry, sounding like they could have come straight off of Ethiopiques 4, and even the all time Ethiopian groove classic "Musicawi Silt" here gets a sort of funkgroove makeover, with percussive guitar clang, blooping bass, the song was already funky, but in a different way, the new version is a little more tightly wound, but in a good way, you could maybe call it Ethiopian postpunkgroove or something. And there's also an amazing solo jam "Tezeta", with Mekuria just making the sax sing, an extension of his being, going from full on skronk, to melancholy drift, oozing emotion and passion. The crowd reaction afterwards says it all. The rest of the record is packed with the above mentioned Ethiopian Ex style jams, which are awesome and wild and are definitely kinetic and ebullient, but the vocals are definitely an acquired taste...
As with all Terp stuff, tons of photos and extensive liner notes...
MPEG Stream: "Musicawi Silt"
MPEG Stream: "Aynamaye Nesh"
MPEG Stream: "Tezeta"

album cover MEKURYA, GETATCHEW & THE EX Moa Anbessa (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!!
This big time aQ fave, originally a cd on Terp, now released on vinyl thanks to the kind folks at Mississippi!
A wild live blowout from legendary Ethiopian saxophonist Getatchew Mekuria, jamming with Dutch avant rockers The Ex and other like minded friends. It's time to once again get your Ethiopian groove on...
But with a twist. The twist being The Ex, everyone's favorite Dutch avant rockers who have always had a thing for world music, so much so that members of the Ex are directly involved in the running of Terp. So it makes sense that given the opportunity, they would jump at the chance to jam with the legendary Getatchew Mekuria. So here we have it, what sounds like one of the wildest musical parties ever! Oh how we would have killed to be there. Must have been a stone cold blast, but at least we have this here recording to ease our pain...
The record seems to be split right down the middle, half the songs are Ethiopian classics, given a bit of an angular post punk vibe, due in no small part to the fact that the band playing them is in fact the Ex, and the other half, the ones with vocals, sound like Ethiopian flavored Ex songs... We lean more toward the former, but both are pretty great.
Imagine your favorite Ethiopiques record, but way more bass heavy, a fuzzy distorted throb, along with jangly angular guitars, all underneath that oh so recognizable sax, wailing and soaring, practically singing, emotional and gorgeous. A few tracks are groovy and smokey and sultry, sounding like they could have come straight off of Ethiopiques 4, and even the all time Ethiopian groove classic "Musicawi Silt" here gets a sort of funkgroove makeover, with percussive guitar clang, blooping bass, the song was already funky, but in a different way, the new version is a little more tightly wound, but in a good way, you could maybe call it Ethiopian postpunkgroove or something. And there's also an amazing solo jam "Tezeta", with Mekuria just making the sax sing, an extension of his being, going from full on skronk, to melancholy drift, oozing emotion and passion. The crowd reaction afterwards says it all. The rest of the record is packed with the above mentioned Ethiopian Ex style jams, which are awesome and wild and are definitely kinetic and ebullient, but the vocals are definitely an acquired taste...
MPEG Stream: "Musicawi Silt"
MPEG Stream: "Aynamaye Nesh"
MPEG Stream: "Tezeta"

album cover MELANKOLI Wind (Khrysanthoney) cd 9.98
The Khrysanthoney label returns after a bit of a break, with a barrage of new releases. Including this, the debut full length from Russian depressive black metal one man band Melankoli, whose sound is a perfect fit for Khrysanthoney, melding the downtuned dirge and melancholic creep of depressive black metal, with something much more lush and cinematic. The nearly 20 minute opener begins with lush synth swirls, strange field recordings, tinkling chimes, dramatic pianos, swirling FX, it almost sounds like M83, or some strange sci-fi soundtrack, the drums come in gradually, a spare, echo drenched pound, a deep dramatic spoken vocal, over a shimmery swirl of piano, total haunting shoegaze slo-mo blissout, swirling harmony vocals, wreathed in the sound of wintery winds, until finally, the guitars come cascading in, and the harsh vokills, but even then, they're paired with the more dreamy, dramatic sounds of the first few minutes, lilting and lovely, anguished and aching, epic and majestic, at times, the sound does grow dense and blackened, seriously heavy, but just as quickly, those moments dissipate, leaving soft synth swirls, or weirdly processed sprawls of electronic flecked drift, the programmed drums transformed into something much more trippy, before once again returning to the brooding, moody, cinematic churn, sprawling like the score for some end of the world epic. And while nothing else on the record is nearly as grandiose, the other four, shorter tracks here conjure up similarly stunning sonic moments, from the whispery electronic intro to "Embrace Of Winter", which runs throughout the whole song, giving it a weird electronic gloom pop, goth wave vibe, to the moody minimal blackened slowcore of "Coma", which should have Alcest / Amesouers fans in heaven, to the synth soaked sprawl of "Through The Shining Stars", which true to its title, sounds like the score to some super psychedelic sci-fi epic, images of huge expanses of space, of endless starfields, super melodic and darkly emotional, peppered with minimal percussion, and lilting electronic melodies, again, hard not to hear a little M83 (maybe M83's recent score for the movie Oblivion?).
Melankoli finishes things off with a Death Aura cover, a weirdly epic, murky, moody death march dirge, the sounds blurred and washed out, the vocals a buried-in-the-mix demonic rasp, the melodies minor key and melancholic, a beautifully brooding bit of black buzz loveliness.
LIMITED TO 250 COPIES!!!
MPEG Stream: "Wind"
MPEG Stream: "Embrace Of Winter"
MPEG Stream: "Coma"

album cover MELCHIOR, DAN Assemblage Blues (Siltbreeze) lp 14.98
Our only real exposure to Dan Melchior, frontman of the Broke Revue and sometime collaborator with Billy Childish and Holly Golightly, was on a recent split with local garage poppers the Fresh & Onlys, and we were blown away, describing his side of the split as "awesomely super distorted garage pop, like Elvis Costello, all jammed up and slathered in crumbling hiss and grit, the vocals delivered in a thick English accent, the drums blown out, effects all over the place, everything buried beneath a patina of blurred buzz..." which pretty much describes Melchior's Siltbreeze record as well, but if anything, all the blown out weirdness and heavily effected and damaged aspects we dug so much on that 7", have been cranked WAY up here. Noisier, more lo-fi, way more chaotic and confusional, the proper songs that do surface are slathered in distortion and FX, and transformed into some sort of outsider lo-fi avant garage psych weirdness.
"Atomizer" is some sort of no-fi distorto new wave, the whole song driven by a churning muddied electronic pulse, the vocals distorted and WAY up in the mix, robotic and clinical, but crumbling around the edges, pelted by jagged shards of blown out guitar, and squalls of cascading psychnoise, and the lyrics, twisted and appropriately baffling. "Bewildered And Wild" begins all folky and strummy, until the vocals come in, all processed and effected, making it sound like some alien blues, everything smeared with grit and grime and hiss, total interplanetary back porch moon blues weirdness, rife with the occasional super distorted swell of low end buzz. "Bread Bin Wailing (Moonlight Crow)" is all muted backwards warble, and ultra thick metallic bass buzz, echoey vocals, smears of psychedelic leads, and so it goes, the whole record some sort of drug addled bedroom blues, filtered through NZ noise rock, eighties cold wave, outsider loner zoner psych, and spit out in all its filthy fractured fucked up glory! Think Suicide crossed with Chrome crossed with the Shadow Ring crossed with Robyn Hitchcock crossed with Alastair Galbraith crossed Wreck Small Speakers on Expensive Stereos. Indeed.
Comes with a download coupon too...
MPEG Stream: "Atomizer"
MPEG Stream: "Bewildered and Wild"
MPEG Stream: "Dugan"

album cover MELCHIOR, DAN C.C.D.E. Music ( Little Big Chief ) lp 17.98
This might be one of the weirdest (and coolest) records we've heard from Dan Melchior, which is saying a lot, considering how twisted and cool most of his records are, but this one just might take the cake, seeing as what is essentially a full lp, is really only three or four 'proper' songs, filled out by some seriously twisted sonic weirdness, which in some cases we dig even more than the songs themselves.
The record opens with buzzing synths and garbled processed vox, a lurching distorto creep, all murky and warbly, which soon adds some acoustic guitar strum, and some weird samples, the sound constantly on the verge of blossoming into a 'real' song, but it's not until track three, that a 'proper' song coalesces from sonic murk, and even then, it's still pretty fucked up, skeletal programmed drums, jagged guitars, distorted bass chug, echo drenched vocals, a seriously lo-fi dirge, the vocals getting deep and dramatic, the song culminating in some wild, tripped out murk guitar shred. After that there's some minimal hushed shimmer, a sort of ambient interlude that leads directly into another weird dirgey jam, this one a bit more propulsive, but still plenty muddy and tranced out, psychedelic and trippy, laced with some awesomely twisted backwards vocals.
The B side opens with some abstract, psychedelic drift, distant chordal shimmer peppered with weird synth blurts, which bleeds into some creepy minimal drone/thrum, sounding like whipping wind over distant barely there riffage, which erupts into another song, this one cool fuzzed out drum machine driven gloom pop, heavy guitar buzz, droney, noisy and super hypnotic. There's a brief crumbly lo-fi ballad, all Faxed Head production, dreaminess beneath squelch and glitch and hiss and hum, before the final jam, a detuned Beefheartian creep, angular and atonal, super noisy, ultra murky, the whole thing eventually devolving into some super cool, and seriously demented free form sample laced drift. Wow. So fucked up, and twisted and dementedly amazing!

album cover MELCHIOR, DAN Excerpts (& Half Speeds) (Kye) lp 17.98
It may have taken us a while to catch on to the twisted garage rock genius that is Dan Melchior, but over the last little while, we've been digging everything we've heard, and while this record is not a proper album, so much as a cobbled together collection of experiments and sketches, it somehow holds together as some kind of strange Guided By Voices style chunk of micro-jams, albeit here, many of them consist of nothing but looped and layered voices or field recorded acoustic guitar. But all the tracks here, no matter how abstract or seemingly tossed off are pretty damn cool, whether it's the aforementioned vocal experiments, or sweet lo-fi piano ballads with strange foot-step percussion and a backdrop of running water, or stripped down bedroom folk with strange hummed harmonies, or dirgey distorted almost-Appalachia, warm swirls of acoustic guitars, minimal strums over mysterious field recordings or garbled into wild noisy tape experiments. And amidst all these fragments, do lurk a handful of gorgeous gems, both sides end in said fashion, the A side with a dense brooding, slow build dirge, the B side with a haunting bit of pretty reverbed piano over a swirl of strange stuttering electronics. Cool stuff.
LIMITED TO 450 COPIES!!!

album cover MELCHIOR, DAN Ghost In The Supermarket (Moniker) lp 14.98
Yet another Record Store Day release, that we managed to get some extra copies of, so all our beloved, non-local customers could have a shot at snagging themselves a copy. This one from garage rock weirdo/legend Dan Melchior, a 5 song 45rpm 12" pressed up on white vinyl, that displays Melchior's poppier side, one we've got glimpses of before on other recordings, but barring one track, most of Ghost In The Supermarket is more sort of dark acoustic pop, with warm strum and simple arrangements, the opening title track sets the stage, with some fantastically twisted lo-fi pop, weirdly produced drums, lush acoustic guitars, and super bizarre lyrics, concerning the titular ghost and some Cheez Whiz, but Melchior manages to make the goofiness work, transforming what it lesser hands might have been too jokey, into a gorgeous chunk of low slung, stripped down acoustic pop, complete with a really nice, simple acoustic guitar solo. The second track is the oddball here, and gives us a glimpse of another side of Melchior's sound, one that's more post punky and garagey, angular and slithery, with jagged slashes of guitar, weird processed vox, very eighties sounding, catchy as hell, but also more rough and ragged than the rest of the record.
The B side starts off with some woozy acoustic dirgery, spaced out and droney, darkly hypnotic before drifting into some abstract Appalachian alien folk territory, all plucked melodies, and keening high end shimmer, before slipping into the gorgeous closer, a sweetly sorrowful bit of classic sounding acid folk, all warm strum and shuffling tempo, twisted lyrics again (this time about Star Trek), laced with some rad psychedelic backwards guitars. Awesome stuff! And some super bad ass cover art. And again, this was a Record Store Day release, so odds are, once we sell out, we probably won't be able to get more.

MELCHIOR, DAN Hello, I'm Dan Melchior (Shake It) cd 13.98

MELCHIOR, DAN K-85 (Homeless) lp 14.98

album cover MELCHIOR, DAN Red Nylon Valance (SDZ) 7" 10.98
We dug Melchior's most recent full length, Assemblage Blues, like crazy. It was a wild collection of garage pop, and really our first proper exposure to his noisy chaotic outsider songstyle. We played that record to death, so were super psyched to get in this new single, and it's a doozy, much darker and lower key than that record. The A side offers up moody brooding verses driven by a woozy low slung bassline, which explodes into a dizzying psychedelic organ driven chorus, the song super catchy, and maybe one of our favorite Melchior jams yet. The B side is another brooder, that sounds a little bit like a more fractured lo-fi Cardinal if that makes any sense, the same sort of stately pop vibe, but here it's all lush darkly dreamy vocal harmonies over dizzyingly looped guitar figures and has us reassessing what we said about the A side, cuz the B side is also one of our favorite Melchior jams yet. Guess that means this is most definitely recommended!
MPEG Stream: "Red Nylon Valance"

album cover MELCHIOR, DAN Slow Down Tiger (Starlight Furniture Company) lp 14.98
Further down the rabbit hole goes Dan Melchior! Slow Down Tiger is the latest sonic adventure of continuously deconstructed pop for the occasional collaborator with the beloved chanteuse Holly Golightly. That said, for those looking to his lo-fi garage pop quirks, Melchior does have an album on Castle Face due out in the summer of 2014; but we gotta say that he can continue to produce these long-form weirdo collages for as long as he wants! "Tongues" rolls out with an eerie, hypnotic sitar-n-electronics loop that grounds a series of media samples / spoken word snippets from a variety of sources. The fine people down at the Starlight Furniture Company (you should really see their storefront on Mission Street in San Francisco, they really DO sell furniture! really cheap stuff, too!) have mapped out many of the sources including BBC broadcasts about poll tax riots in the UK less than three decades ago, as well as Russian and Chilean poets, obscure film clips, and some cultural lamp-lighters who shine their philosophies of curmudgeonliness and traditional lore on those who care to listen. As Melchior cuts the power on the tape loop machine, a ghostly guitar drift trickles through the shadows, dripping in equal parts with maudlin syrupiness, inky depression, and overdriven spring reverb. The vocal readymades continues to dot this landscape of guitar dronescape as dreamy allusions to those Delia Derbyshire dream-reciting experiments from the early '60s or the delightfully subversive tract of daytime soap collaged by Daniel Steven Crafts some 30 years ago. The flipside "Hospital Poem" is a desolate piece of lo-fi minimalism for chord organ and electronics, evolving into a heartbreaking, loner meditation that in all likelihood takes up the theme of Melchior's wife's cancer and her ongoing struggle with the disease. Great. Great. Great.
MPEG Stream: "Tongues"

album cover MELCHIOR, DAN The Backward Path (Northern Spy) cd 14.98
This latest full length from garage rock iconoclast/legend Dan Melchior is a definite departure from recent releases, in that not only is it the first solo record on which he doesn't play everything, and collaborates with a revolving cast / sort-of back up band, but also, it's much more song based, and somber, due in no doubt to the fact that his wife Letha (who played in the late great Ruby Falls, and is an amazing musician and artist in her own right, not to mention a super rad person!) was diagnosed with cancer several years ago, and the two have been struggling to deal with all the ramifications, from struggling to pay medical bills, to facing the mortality of a loved one. And it call comes through on the Backward Path, with Melchior as the brooding troubadour, the songs darkly melancholic, sweetly melodic, his distinctive croon wrapped in acoustic strum, and wreathed in a lush tapestry of atmospheric ambience, whirring drones, woozy lysergic shimmer, some of the tracks downright psychedelic, others spare and lovely, a stripped down garage pop psych folk that feels timeless, sonically, and emotionally, and of course, the whole record is musical love letter to his wife, which only makes it that much more beautiful and powerful.
The other cool thing, is that the record's proper (love) songs are separated by short interludes, sonic experiments, reminiscent of Melchior's record on Kye, brief abstract tone poems, each a chunk of experimental psychedelic ambience, drifting guitar strums suspended in hazy blurred shimmers, soft swirls of FX, skeletal spirals of muted melody, all of which perfectly balance the songs proper. Way recommended. And of course, you can (and should!) donate to the Letha Rodman Melchior cancer fund: http://melchiorfund.blogspot.com/
MPEG Stream: "Night Comes In"
MPEG Stream: "S.P. 2"
MPEG Stream: "All The Clocks"
MPEG Stream: "I Have Known The Emptiness"
MPEG Stream: "S.P. 5"

album cover MELCHIOR, DAN The Backward Path (Northern Spy) lp 17.98
This latest full length from garage rock iconoclast/legend Dan Melchior is a definite departure from recent releases, in that not only is it the first solo record on which he doesn't play everything, and collaborates with a revolving cast / sort-of back up band, but also, it's much more song based, and somber, due in no doubt to the fact that his wife Letha (who played in the late great Ruby Falls, and is an amazing musician and artist in her own right, not to mention a super rad person!) was diagnosed with cancer several years ago, and the two have been struggling to deal with all the ramifications, from struggling to pay medical bills, to facing the mortality of a loved one. And it call comes through on the Backward Path, with Melchior as the brooding troubadour, the songs darkly melancholic, sweetly melodic, his distinctive croon wrapped in acoustic strum, and wreathed in a lush tapestry of atmospheric ambience, whirring drones, woozy lysergic shimmer, some of the tracks downright psychedelic, others spare and lovely, a stripped down garage pop psych folk that feels timeless, sonically, and emotionally, and of course, the whole record is musical love letter to his wife, which only makes it that much more beautiful and powerful.
The other cool thing, is that the record's proper (love) songs are separated by short interludes, sonic experiments, reminiscent of Melchior's record on Kye, brief abstract tone poems, each a chunk of experimental psychedelic ambience, drifting guitar strums suspended in hazy blurred shimmers, soft swirls of FX, skeletal spirals of muted melody, all of which perfectly balance the songs proper. Way recommended. And of course, you can (and should!) donate to the Letha Rodman Melchior cancer fund: http://melchiorfund.blogspot.com/
MPEG Stream: "Night Comes In"
MPEG Stream: "S.P. 2"
MPEG Stream: "All The Clocks"
MPEG Stream: "I Have Known The Emptiness"
MPEG Stream: "S.P. 5"

album cover MELCHIOR, DAN The Heron (Limited Appeal) lp 13.98
While Dan Melchior is probably best known for his Broke Revue, and for playing with Billy Childish and Holly Golightly, we've been digging his solo records quite a bit, the weirder the better, with the recent C.C.D.E. Music being the weirdest so far, at least until now. The Heron sports a sticker proclaiming this to be "more experimental" and is on a label called Limited Appeal. Couldn't be more appropriate cuz this stuff is pretty far out, freaky and psychedelic, but not like garage rock psychedelic, more sort of tripped out WTF? psychedelic, with much of the record sounding more like the Shadow Ring, with Melchior delivering deadpan spoken word in a thick English accent over all manner of strange noises, freeform fuzz and warped electronics. FX heavy percussion drives much of the record, that slips from tangled glitchy weirdness to space acoustic guitar strum to dirgy noisy psych to crunchy riffy plod, replete with fluttery woodwinds. Melchior's vocals are also sampled and sliced and diced and looped into the background music, adding still more weirdness, and his wife Letha delivers some spoken word as well, their vocals constantly tangled up and morphing back and forth. We're generally not huge fans of spoken word, but the Shadow Ring style vocals kinda sound cool here, especially with all the sonic weirdness going on in the background. There are bits of atmospheric ambience, and collaged textures, and some moments of truly sublime beauty, which do balance the more unhinged audio experiments, and free wheelin' abstract psychedeic freakouts. Stick around for the closer too, with its rad harmonized guitars and minor key melodies, buzzy and psychedelic and really super cool.
LIMITED TO 231 copies, each one stickered and hand numbered. Housed in a diecut jacket, with a printed inner sleeve and printed insert.

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