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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 MOGLASS, THE Kogda Vse Zveri ZhiliKak Dobrye Sosedi (Nexsound) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
For a land as huge as The Ukraine, the amount of exceptional music that makes it half way round the world to Aquairus is proportionally very small, especially when compared to how much we get in from New Zealand and Finland. Thus, we were quite intrigued by the prospects of the Russian ensemble The Moglass who prefer to qualify their music as 'personal folk' -- an anti-genre that is beyond the mutable definitions of post-rock, psychedelia, or space-rock. That said, The Moglass are not without precedents, as this trio (armed with guitars, bass, old Soviet synths, and tons of effects) realizes the pinnacles of Popul Vuh (particularly their Werner Herzog soundtracks) entirely through the haunted drones of guitar feedback. Periodically, they have included several radio transmissions all in Russian, so the exact meaning is unknown to us, but the urgency of some of those broadcasts speaks of traumatic events. These work very similar to Godspeed! You Black Emperor's found sound interludes (e.g. "the car's on fire, and there's no driver at the wheel..."), but the mysteriousness due to the language barrier works to enhance the overall mood of the drone rather than compartmentalize it into leftist rhetoric. Although it's a mere 30 minutes long, "Kogda Vse Zveri Zhili Kak Dobrye Sosedi" (which we learned from their website translates as When All the Animals Lived As Good Neighbours) is a remarkably strong album.
RealAudio clip: "A1"
RealAudio clip: "A3"

album cover MOGLASS, THE Sparrow Juice (Nexsound) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's been a while since we've heard from Ukrainian abstract free folk ensemble The Moglass, who in the past have spun darkly delicate webs of creaking ambience, rumbling disembodied drones, stumbling tribal primitivism, all tangled up in a massive swirl of dreamlike ether.
Thankfully not too much has changed. Incorporating bits of jazz (via subtle sax) and all sorts of found sound and field recordings, The Moglass spread simple guitars out over skeletal frameworks of not-quite-rhythms, glistening sonic sparkle, and moody murk, creating slow swirls of ominous sound. The thing about The Moglass, is that they don't just create noises and sounds, little sonic events that 'happen' and then fade away, their music has a purpose, a drive, a direction, the guitars, and the spare riffs they unleash are propulsive, they carry us forward, pulling us by the ear into a world that sounds simultaneously fascinating and frightening. Bits of intercepted shortwave radio, the sounds of families talking, and children playing, are slowly subsumed by thick low end melodies, warm bowed warbles, glistening with bits of glitch and buzz, sleepy and serene, but always gorgeously melancholy. Maybe more than any of their other records, Sparrow Juice has a bit more twang, a little spaghetti western, a little Morricone, although they do a fantastic job of stripping those sounds down and stretching them out into abstract desertscapes. Elsewhere, music boxes hover weightless above creaks and scrapes, thick swirls of molasses like sound crawl glacier-like, swallowing all the sounds it encounters and building to an almost roar, thick fuzzy sun dappled buzz slithers and shimmers like purloined slabs of some long lost M83 single, and guitars and computers and synthesizers are wrapped into rightly wound knots and allowed to slowly unravel, becoming big billowy clouds of rumbling whir and keening skree. So good.
MPEG Stream: "Obviously Political Lyric"
MPEG Stream: "Revisited With K."
MPEG Stream: "Maya Britanova"

album cover MOGLASS, THE Uhodyaschie Vdal' Telegrafnye Stolby Stanovyatsa Vsyo Men'she i Men'she (Nexsound) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Second missive from this mysterious Ukrainian ensemble exploring the dark and cobwebby corners of free folk, shuffling rhythmic tribalism, space-y dronemusic, and splattery free rock ambience. A dreamy and expansive travelogue of endless soundscapes, glassy sheets of crystalline shimmer, warm and smooth, with melodies woven subtly throughout. Metallic glistenings, tinkling guitars and glitchy crunch struggle to disrupt the ambient dreaminess while occasional machine like rhythms chug tirelessly over atonal melodic clusters and urgently strummed angular guitar chords. Even though the band themselves describe their music as 'personal folk music', the actual sound is much closer to the drone music of AQ faves Jonathan Coleclough, Mirror or Organum, and occasionally the free ambient clatter of the Dead C or Skullflower. Really gorgeous stuff.
MPEG Stream: "Track 2"
MPEG Stream: "Track 4"

album cover MOGOL, LES (MOGOLLAR) Danses et Rythmes de la Turquie (World Psychedelia Ltd.) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Like we said in the 3 Hur-el review, above, the Middle Eastern '60s/'70s psychedelic rock scene is quite a happenin' phenomenon here at Aquarius -- bands from Istanbul blending the "heavy" beat sounds of London, L.A. and San Francisco with their own ethnic musical traditions. So, along with that great 3 Hur-el disc, we're *really* pleased to have just gotten cd copies in stock of a 1971 album by the fantastic Mogollar (or Les Mogol as they were known in France, where this LP was first released). This band has been a super favorite of ours ever since we first heard 'em on the "Love Peace & Poetry: Asian Psychedelia", "Turkish Delights", and "Hava Narghile" compilations. Yep, they appeared on all three of those fab comps, deservedly so as they were not only one of Turkey's biggest pop bands of the time but also one of the best, near as we can tell. They formed in 1967, playing a style of experimental psychedelic rock based on the folk music of the Anatolian region of Turkey. Their unique Anatolian (or Anadolu) "pop" sound is simply a delight, as amply demonstrated by this particular album. It features 13 tracks (none of 'em to be found on the aforementioned comps) that are based on traditional songs -- but for sure the original versions didn't sound like this, so groovy and hip. They employ some standard sixties rock instrumention -- plenty of electric organ getting almost "In-a-gadda-da-vida"-ish at times -- but also really bring the traditional Turkish instruments to the fore, playing ikligs and baglamas and darbukas and kasiks...all kinds of stringed and percussion instruments, often used traditionally but more often just fiercely strummed to great rock 'n' roll heights. Compared to 3 Hur-el's "Hurel Arsivi" this almost-all-instrumental album is folkier *and* jazzier, the electric organ giving some tracks a kind of Martin Denny exotica vibe. Both discs, though, would make great party records. Highly recommended!!
(Windy's new favorite record -- thus proving once again that in her personal canon of favorite all time records, about 90% of them are from 1971-74. And she's delighted to find that the track "Wildflower" was liberally sampled by none other than AQ-fave Amon Tobin for his stellar "Verbal" song... thus proving once again what great taste Tobin has, we says.)
MPEG Stream: "Madimak"
MPEG Stream: "Fairy Chimneys"
MPEG Stream: "Wild Flower"

album cover MOGOLLAR s/t (World Psychedelia Ltd) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Anadolu Pop, yeah! It's no secret that for the Aquarius staff and quite a few of our customers, the rock 'n' folk of hippie-era Turkey holds a BIG attraction. We're way into all the comps and reissues that have come out in recent years documenting how back in the late '60s and early '70s Turkish youth took the Western beat and psychedelic sounds that were current at the time and melded them to traditional Turkish folk forms, with fuzz guitars and ethnic instrumentation like saz and iklig combined into an energetic, 'exotic' and exceedingly infectious hybrid pop music. And perhaps the best example of this Middle Eastern psych-rock is the band Mogollar (aka Les Mogol). We've already freaked out about the one cd of their stuff we've previously been able to stock, the Danses et Rythmes de la Turquie album from 1971. Now, the same Korean reissue label brings us another, their rare self-titled second album (also it seems from '71), and it's just as good! The first track you might recognize from the Asian installment of the Love, Peace, & Poetry series. And one of the bonus tracks is on Hava Narghile compilation, while two are amped-up versions of songs from Danses et Rhythmes. Yep, there's eight utterly kick ass bonus tracks, all from 1970 or '71 singles releases, that are a bit more rocked (and tripped) out than the somewhat folkier instrumentals on the album proper. You can hear more of an Iron Butterfly influence on a few of these...and Byram hears hints of the Beefheart rhythm section circa Mirror Man on "Behind The Dark", one of the couple English-language tracks here. Awesome, essential. As is the whole album. Languid grooves, frenzied fretting, such great atmosphere, just wonderful stuff. The cd booklet includes photos and an informative English-language essay detailing the history of the band, which is great to have (even if it doesn't tell us in what year this was released). Definitely add this to your Turkish psych-pop collection, or start one with this!!
MPEG Stream: "Hicaz Mandira"
MPEG Stream: "Karsiki Yayla"
MPEG Stream: "Behind The Dark"

album cover MOGRAG MAGAZINE Vol. 1 / 2009 (Mograg Garage) magazine 15.00
Mograg Garage is a Japanese DIY art gallery run out of an actual garage in suburban Tokyo. To commemorate their first year of exhibitions, they published this small, but gorgeously detailed and beautifully produced full-color 40 page catalog documenting the artists that exhibited last year.
Eight artists are represented with six writers contributing columns (all translated into English). Their plan is to release a catalog every year. And if they're all like this one, then sign us up for a subscription! The artworks are highly visual, bold and graphic, lots of colorful psychedelic landscape paintings (including one of a giant cave that is also the head of a sabre-toothed tiger), intricate and epic tattoo-like line drawings, pop-surrealism, embroidery of colorful birds, lush photographs, computer-generated collages and graffitti like drawings. Jim Woodring is cited as an influence, and one can see influences of Hayao Miyazaki and Takashi Murakami here too which should give you some idea of the gallery's core aesthetic. A lot of the art looks like what you would see in Juxtapoz magazine (but without that magazine's air of self-importance). The columns are equally strange, in that they're not so much about the artists or artworks (at least not in a way we can directly understand), but about random experiences and points of view. For instance, one column expounds on the art of booger collecting (!), others are more lyrical and poetic, while still others are more informative and practical like the one on how to run your own art and toy gallery. Which is the best advice to take from this, as the folks who run Mograg certainly know what they're doing and how to have fun doing it too. These are VERY LIMITED!! We only got a handful of these from a local Japanese friend and not sure we can get more. Definitely, a unique publication you won't easily find elsewhere!

MOGWAI 4 Satin (Jetset) cd 6.98
Finally reissued on cd. Has 3 tracks and one hidden one which is apparently not available on the UK version, or so our UK customers lament.

album cover MOGWAI A Wrenched Virile Lore (Sub Pop) cd 14.98
Originally released special on vinyl for this year's Black Friday Record Store Day, this new record from Scottish post rockers Mogwai is not in fact a proper album, but is instead a collection of remixes, and the remixers read like a list we would have put together ourselves: Justin K. Broadrick (Jesu, Godflesh, JK Flesh, etc.), Xander Harris, Zombi, Soft Moon, Tim Hecker, Umberto, Robert Hampson (Loop, Main, etc.), Cylob and more!! Which means if you're anything like us, a new Mogwai record would already be a no brainer, but Mogwai remixed by all those folks? Holy cow.
Broadrick starts things off with a remix that essentially transforms Mogwai into Jesu, and we're not complaining, fuzzed out and dreamily bleary, big distorted drums, swirling synths, weird shimmery processed (auto-tuned?) vocals, the M83 vibe looms large for sure, dirgey, and fuzzy and fantastically blissed out. Tim Hecker takes Mogwai's "Rano Pano", adds some grit and strips away some of the extraneous sounds, and creates a warm, warbly, almost Steve Reich-ish sprawl of pulsating repetition. The Soft Moon pours on the distortion, wreathing "San Pedro" is cloud of thick buzz, and dense swirls of synth squelch, turning the original into a crunchy post rock / new wave / noise rock hybrid.
Xander Harris drags "How To Be A Werewolf" into some futuristic soundtrack territory, all pulsing eighties VHS car chase grooves, and skittery programmed rhythms, all over soft chordal swells and sci-fi bleeps and bloops. The Zombi track could essentially BE Zombi, all pulsating synths, ominous minor key melodies, super cheesy eighties synth swells, total retro cinematic synthscapery. Umberto too digs into similar territory, but as you might imagine, he slows it down, and turns it into something much more harrowing and haunting, drifting choir like vocals over spare drum machine pulse, swirls of gauzy synth, all brooding and ominous and sinsterly soundtracky.
We weren't familiar with Klad Hest, but his/their awesomely titled "Mogwai Is My Dick RMX" is like a super charged Autechre remix, skittery IDM, that gradually grows more and more dense and frenzied, the drum progamming going blissfully haywire. Cylob represents the electronica sector too, their take on Mogwai, more electro pop, complete with woozy vocodered vocals, and more retro synths. RM Hubbert is another name we weren't familiar with, his track more like a cover, a blurry tangle of Appalachian guitar, with hushed, whispered vocals, that become hauntingly robotic, which sounds pretty amazing/surreal when paired with the dark brooding guitarscaping.
Finally, Robert Hampson finishes things off with a near 14 minute version of "La Mort Blanche", which over the course of its 14 minutes transforms repeatedly, from murky field recorded ambience, to dreamy washed out, sweetly melodic minimalism, to pulsing, shimmering electronic drift, to synth heavy droned out crunch, to textured glitchy abstractions, to lush soaring loveliness, woozy basslines and swooping backwards guitars, to a final blissful blowout which wraps crunchy swaths of super distorted buzz, around the lilting pastoral main melody. So good!
MPEG Stream: "George Square Thatcher Death Party (Justin K Broadrick Reshape)"
MPEG Stream: "Letters To The Metro (Zombi Remix)"
MPEG Stream: "Rano Pano (Tim Hecker Remix)"
MPEG Stream: "San Pedro (The Soft Moon Remix)"

album cover MOGWAI A Wrenched Virile Lore (Sub Pop) 2lp 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally released special on vinyl for this year's Black Friday Record Store Day, this new record from Scottish post rockers Mogwai is not in fact a proper album, but is instead a collection of remixes, and the remixers read like a list we would have put together ourselves: Justin K. Broadrick (Jesu, Godflesh, JK Flesh, etc.), Xander Harris, Zombi, Soft Moon, Tim Hecker, Umberto, Robert Hampson (Loop, Main, etc.), Cylob and more!! Which means if you're anything like us, a new Mogwai record would already be a no brainer, but Mogwai remixed by all those folks? Holy cow.
Broadrick starts things off with a remix that essentially transforms Mogwai into Jesu, and we're not complaining, fuzzed out and dreamily bleary, big distorted drums, swirling synths, weird shimmery processed (auto-tuned?) vocals, the M83 vibe looms large for sure, dirgey, and fuzzy and fantastically blissed out. Tim Hecker takes Mogwai's "Rano Pano", adds some grit and strips away some of the extraneous sounds, and creates a warm, warbly, almost Steve Reich-ish sprawl of pulsating repetition. The Soft Moon pours on the distortion, wreathing "San Pedro" is cloud of thick buzz, and dense swirls of synth squelch, turning the original into a crunchy post rock / new wave / noise rock hybrid.
Xander Harris drags "How To Be A Werewolf" into some futuristic soundtrack territory, all pulsing eighties VHS car chase grooves, and skittery programmed rhythms, all over soft chordal swells and sci-fi bleeps and bloops. The Zombi track could essentially BE Zombi, all pulsating synths, ominous minor key melodies, super cheesy eighties synth swells, total retro cinematic synthscapery. Umberto too digs into similar territory, but as you might imagine, he slows it down, and turns it into something much more harrowing and haunting, drifting choir like vocals over spare drum machine pulse, swirls of gauzy synth, all brooding and ominous and sinsterly soundtracky.
We weren't familiar with Klad Hest, but his/their awesomely titled "Mogwai Is My Dick RMX" is like a super charged Autechre remix, skittery IDM, that gradually grows more and more dense and frenzied, the drum progamming going blissfully haywire. Cylob represents the electronica sector too, their take on Mogwai, more electro pop, complete with woozy vocodered vocals, and more retro synths. RM Hubbert is another name we weren't familiar with, his track more like a cover, a blurry tangle of Appalachian guitar, with hushed, whispered vocals, that become hauntingly robotic, which sounds pretty amazing/surreal when paired with the dark brooding guitarscaping.
Finally, Robert Hampson finishes things off with a near 14 minute version of "La Mort Blanche", which over the course of its 14 minutes transforms repeatedly, from murky field recorded ambience, to dreamy washed out, sweetly melodic minimalism, to pulsing, shimmering electronic drift, to synth heavy droned out crunch, to textured glitchy abstractions, to lush soaring loveliness, woozy basslines and swooping backwards guitars, to a final blissful blowout which wraps crunchy swaths of super distorted buzz, around the lilting pastoral main melody. So good!
MPEG Stream: "George Square Thatcher Death Party (Justin K Broadrick Reshape)"
MPEG Stream: "Letters To The Metro (Zombi Remix)"
MPEG Stream: "Rano Pano (Tim Hecker Remix)"
MPEG Stream: "San Pedro (The Soft Moon Remix)"

album cover MOGWAI Batcat (Matador) 12" 9.98
12" vinyl teaser for the new full length that drops next week. The title track is from the album, which if you're a Mogwai fan you'll be buying anyway. But the other two cuts here are non-album b-sides. One's got a great title ("Stupid Prick Gets Chased By The Police And Loses His Slut Girlfriend") and the other boasts guest vocals from the legendary Roky Erickson of the Thirteenth Floor Elevators. Though, if we didn't know it was him, we're not sure what we'd think.

MOGWAI Come On Die Young (Matador) cd 10.98
Man, I can't remember the last time I saw such crappy cover art (the Sleater Kinney album comes in a close second in terms of bargain bin art work atrocities). Anyway... the second full studio album is certainly NOT crap, however, don't expect too much of the sonic explosiveness of "Young Team". Lethargic heroin-drenched Slint/Velvets intricate guitar strum acts more as a slow descent into mope rock heaven. All the while a bleak white trash accompaniment of mumbling television broadcasts of football games and talk shows is Mogwai's choice of text while they tune out in their drug addled depression.

MOGWAI Come On Die Young (Matador) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Man, I can't remember the last time I saw such crappy cover art (the Sleater Kinney album comes in a close second in terms of bargain bin art work atrocities). Anyway... the second full studio album is certainly NOT crap, however, don't expect too much of the sonic explosiveness of "Young Team". Lethargic heroin-drenched Slint/Velvets intricate guitar strum acts more as a slow descent into mope rock heaven. All the while a bleak white trash accompaniment of mumbling television broadcasts of football games and talk shows is Mogwai's choice of text while they tune out in their drug addled depression.

album cover MOGWAI Earth Division (Sup Pop) cd ep 5.98
The original masters of the loud/quiet/loud, slow build post rock epic, return with a new 4 song ep on Sub Pop, their home for the last few records, and again, the band continue to explore, and push boundaries, having shed the sound they helped define with their seminal classic Young Team, one they found hard to outgrow until recently. But outgrow it they have, and Earth Division might be their most varied, and most UN-Mogwai release yet.
The record opens with the gorgeous piano/string lament "Get To France" (the band haven't lost their knack for inappropriate song titles!), a gorgeous, lush cinematic chunk of chamber music that should have directors worldwide after them to score films, a darkly delicate, haunting bit of loveliness, with a slightly sinister vibe. So perfect. "Hound Of Winter" is up next and is even less Mogwai-y, a n acoustic guitar / harmonica country folk ballad, all minor key and melancholy, with softly crooned vox, the only nod to the loud/soft/loud days of old, is a burst of super dramatic strings, that fades out as quickly as they swooped in, only to return near the song's end, creating yet another fantastic bit of soundtracky string laden dream folk, which most bands would kill for, but we can't help but get the feeling these guys are just dabbling, and somehow dabbling brilliantly.
Our favorite track here though would have to be "Drunk And Crazy", which is a tripped out stretch of noisy, distorted shoegaze soft noise bliss out, buried electronic beats, murky churning riffage, all wreathed in a patina of crumbling buzz and swirling shimmer, only to suddenly dissipate into another gorgeous bit of strings and piano chamber music, only to have the beat and the buzz swoop right back in, this time melded to the chamber music, creating a gorgeous gloriously fuzzy melodic chamber buzz, or something. Whatever it is, it's a shame it only lasts for 5 minutes. The record finishes off with another pretty one, a lovely little melodic guitar figure, drifts beneath lush strings, and over a plaintive piano melody, the only nod to any sort of rock band roots, is when the bass comes in, and add some low end heft, its melody all tangled up with the guitar's, another brief bit of soundtracky prettiness, that again has us thinking these guys are capable of so much more than just writing rock songs. Directors, the line starts here.
MPEG Stream: "Drunk And Crazy"
MPEG Stream: "Get To France"

MOGWAI Earth Division (Sup Pop) 12" 10.98
The original masters of the loud/quiet/loud, slow build post rock epic, return with a new 4 song ep on Sub Pop, their home for the last few records, and again, the band continue to explore, and push boundaries, having shed the sound they helped define with their seminal classic Young Team, one they found hard to outgrow until recently. But outgrow it they have, and Earth Division might be their most varied, and most UN-Mogwai release yet.
The record opens with the gorgeous piano/string lament "Get To France" (the band haven't lost their knack for inappropriate song titles!), a gorgeous, lush cinematic chunk of chamber music that should have directors worldwide after them to score films, a darkly delicate, haunting bit of loveliness, with a slightly sinister vibe. So perfect. "Hound Of Winter" is up next and is even less Mogwai-y, a n acoustic guitar / harmonica country folk ballad, all minor key and melancholy, with softly crooned vox, the only nod to the loud/soft/loud days of old, is a burst of super dramatic strings, that fades out as quickly as they swooped in, only to return near the song's end, creating yet another fantastic bit of soundtracky string laden dream folk, which most bands would kill for, but we can't help but get the feeling these guys are just dabbling, and somehow dabbling brilliantly.
Our favorite track here though would have to be "Drunk And Crazy", which is a tripped out stretch of noisy, distorted shoegaze soft noise bliss out, buried electronic beats, murky churning riffage, all wreathed in a patina of crumbling buzz and swirling shimmer, only to suddenly dissipate into another gorgeous bit of strings and piano chamber music, only to have the beat and the buzz swoop right back in, this time melded to the chamber music, creating a gorgeous gloriously fuzzy melodic chamber buzz, or something. Whatever it is, it's a shame it only lasts for 5 minutes. The record finishes off with another pretty one, a lovely little melodic guitar figure, drifts beneath lush strings, and over a plaintive piano melody, the only nod to any sort of rock band roots, is when the bass comes in, and add some low end heft, its melody all tangled up with the guitar's, another brief bit of soundtracky prettiness, that again has us thinking these guys are capable of so much more than just writing rock songs. Directors, the line starts here.
MPEG Stream: "Drunk And Crazy"
MPEG Stream: "Get To France"

album cover MOGWAI Government Commissions BBC Sessions 1996-2003 (Matador) cd 14.98
You might say that all that you (and we) love about Mogwai is perfectly encapsulated on this disc! The crushing squalls of distortion, the shimmery washes of dreamy ambience, the slow building epics, the tranquil shimmery barely-there pop often complely obliterated by a ferocious onslaught of thick distorted guitars and pounding drums, shoegaze meets metallic crunch meets slowcore meets minimal pop meets ferocious noise rock. The loudest louds, the quietest quiets. Mogwai do their 'thing' (the thing that EVERY post-Slint post-rock band has tried to do for the last decade) better than anybody. For a while there, Mogwai were the next big thing, and then they -were- the big thing, but then, for some reason, interest seemed to wane, and Mogwai were just another band making pretty good records. But that has more to do with fickle indie rockers than the way things were. Mogwai kept putting out amazing records, playing devastating live shows, and perfecting their gorgeously schizophrenic sound. So here's a kick in the pants, a reminder, a trip back to the first time you heard Young Team and thought to yourself, "What the fuck" and then probably moments later thought "This is the greatest thing I have ever heard!". And you know what? It probably was. And listening to these BBC sessions we're tempted to think it just might still be.
MPEG Stream: "R U Still In 2 It"
MPEG Stream: "Cody"
MPEG Stream: "Secret Pint"

album cover MOGWAI Government Commissions BBC Sessions 1996-2003 (Matador) 2lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
You might say that all that you (and we) love about Mogwai is perfectly encapsulated on this disc! The crushing squalls of distortion, the shimmery washes of dreamy ambience, the slow building epics, the tranquil shimmery barely-there pop often complely obliterated by a ferocious onslaught of thick distorted guitars and pounding drums, shoegaze meets metallic crunch meets slowcore meets minimal pop meets ferocious noise rock. The loudest louds, the quietest quiets. Mogwai do their 'thing' (the thing that EVERY post-Slint post-rock band has tried to do for the last decade) better than anybody. For a while there, Mogwai were the next big thing, and then they -were- the big thing, but then, for some reason, interest seemed to wane, and Mogwai were just another band making pretty good records. But that has more to do with fickle indie rockers than the way things were. Mogwai kept putting out amazing records, playing devastating live shows, and perfecting their gorgeously schizophrenic sound. So here's a kick in the pants, a reminder, a trip back to the first time you heard Young Team and thought to yourself, "What the fuck" and then probably moments later thought "This is the greatest thing I have ever heard!". And you know what? It probably was. And listening to these BBC sessions we're tempted to think it just might still be.
MPEG Stream: "R U Still In 2 It"
MPEG Stream: "Cody"
MPEG Stream: "Secret Pint"

album cover MOGWAI Happy Songs For Happy People (Matador) cd 15.98
I haven't really been all that moved by Mogwai since they basically reinvented indie rock / post rock years ago with their seminal Young Team record. On Young Team, Mogwai took the loud/quiet dynamics of Slint and added a My Bloody Valentine wall of guitars and the results were nothing short of breathtaking. Millions of bands who were already trying to sound like Slint now had a new, even less attainable goal. The two records after Young Team, Rock Action and Come On Die Young, were okay, just not as inspired sounding, especially with all of us comparing them to their mighty breakthrough YT. So it's really exciting that this new record is so great! And it sounds totally fresh, even though the sound is so reminiscent of eighties college radio indie rock! The dynamics are gone now (although the tattered remains of their loud/soft past surface once in a while), not surprisingly. Mogwai had obviously been slowly shuffling down some sort of entropic path, not knowing where they'd end up and sort of feeling their way tentatively. Happy Songs is like that, meandering, filled with tension and emotion, that slowly disipates as the songs wind down and run their course. Shimmery and shuffling and summery and hypnotic. Sinister, but only slightly so. Smoky and loping, propulsive but only lazily so. There is an urgency, but it is displayed in Mogwai's restraint now, instead of the more obvious bombast of their early years. Galaxie 500 is the band that comes to mind most, especially when there are vocals, heavily reverbed, over ultra simple guitar lines, achingly plaintive lyrics, and simple spare rhythms. Codeine and Slint are other obvious comparisons. As is Godspeed (with all the random samples). Lugubrious and glacial, lazy and hazy, the perfect wandering the streets on a sweltering summer night music, or driving aimlessly sad and confused music, all minor key and melancholy but with a weird sort of hopefulness under the surface.
MPEG Stream: "Moses? I Amn't"
MPEG Stream: "Hunted By A Freak"
MPEG Stream: "Kids Will Be Skeletons"

MOGWAI Happy Songs For Happy People (Matador) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
I haven't really been all that moved by Mogwai since they basically reinvented indie rock / post rock years ago with their seminal Young Team record. On Young Team, Mogwai took the loud/quiet dynamics of Slint and added a My Bloody Valentine wall of guitars and the results were nothing short of breathtaking. Millions of bands who were already trying to sound like Slint now had a new, even less attainable goal. The two records after Young Team, Rock Action and Come On Die Young, were okay, just not as inspired sounding, especially with all of us comparing them to their mighty breakthrough YT. So it's really exciting that this new record is so great! And it sounds totally fresh, even though the sound is so reminiscent of eighties college radio indie rock! The dynamics are gone now (although the tattered remains of their loud/soft past surface once in a while), not surprisingly. Mogwai had obviously been slowly shuffling down some sort of entropic path, not knowing where they'd end up and sort of feeling their way tentatively. Happy Songs is like that, meandering, filled with tension and emotion, that slowly disipates as the songs wind down and run their course. Shimmery and shuffling and summery and hypnotic. Sinister, but only slightly so. Smoky and loping, propulsive but only lazily so. There is an urgency, but it is displayed in Mogwai's restraint now, instead of the more obvious bombast of their early years. Galaxie 500 is the band that comes to mind most, especially when there are vocals, heavily reverbed, over ultra simple guitar lines, achingly plaintive lyrics, and simple spare rhythms. Codeine and Slint are other obvious comparisons. As is Godspeed (with all the random samples). Lugubrious and glacial, lazy and hazy, the perfect wandering the streets on a sweltering summer night music, or driving aimlessly sad and confused music, all minor key and melancholy but with a weird sort of hopefulness under the surface.

album cover MOGWAI Hardcore Will Never Die, But You Will (Sub Pop) 2lp 19.98
We all love Mogwai. Ever since their 1997 debut Young Team, which still pretty much is the standard for brooding, slow building quiet/loud/quiet/loud post rock, and sure, none of their records since have been as good as Young Team, but the thing is, they've all been pretty damn good, some of them GREAT. Many of them deceivingly good, only to gradually blossom into greatness on repeated listens, which we're beginning to think is the case with this, their latest, and easily their best titled. In fact, we might posit that the new Mogwai has one of the best titles of any record, ever!
C'mon. It's called: Hardcore Will Never Die. But You Will. Kind of surprised some other band (a hardcore band?) hadn't thought of that already, but then somehow it seems more fitting on a band, that's not really at all hardcore. And Mogwai have always had a knack for song titles, which comes in handy when you're essentially an instrumental band, and song titles are thus removed from any sort of lyrical constraints or parameters.
Needless to say, fans of Mogwai are gonna dig this too, unless you absolutely hated the last few, in which case, give the sound samples a go, and see what you think. But was far as we're concerned, this is another winner, from a group, who essentially created a genre, and even with a legion of imitators, have virtually no equal.
The cool thing is that Mogwai no longer feel wedded to the whole slow build quiet/loud thing, sure they indulge once in a while, and yeah, they still do it better than most, and if you see them live, these guys can get as loud as ANY band, but here, they're more about creating gorgeous chunks of indie rock. And on Hardcore, the sound is as varied as ever. Opener "White Noise" is gorgeous, thick with whirring keyboards, and some strange guitar crunch, laced over their meandery post rock, super melodic and sun dappled and really, great. Winding down after only 5 minutes, we really wish it would have gone on for twice as long at least.
"Mexican Grand Prix" is a big surprise, sounding more Like Neu! than Mogwai, with a clipped electronic pulse, electronic drums, warm wheezing organs, and vocals! Whispery and a little distorted, there are some computer voices too, and the drums get all stuttery, it sort of sounds like a darker, heavier Stereolab, but still manages to sound like Mogwai.
Much of the rest of the record is just super hooky, fantastically melodic, crunch guitar driven post rock, sounding like Mogwai for sure, but minus the super stripped down verses and explosive choruses, then there are tracks like "Letters To The Metro" which are all hazy and dreamy, with gorgeous slide guitars, simple stripped down drumming, and prominent piano.
"How To Be A Werewolf" might be the first track to really slip back into the old Mogwai template, but even then, it still sounds great, and original, the guitars are weirdly distorted, wrapped in effects, all draped over some strange bit of distant percussion, while the rest of the track offers up spidery melodies, simple propulsive drumming, and yeah, an eventual guitar heavy coda. "Too Raging To Cheers" does the same, starting off with some minimal piano, letting guitars surface, and grow gradually more distorted, same with the drums, there are even some strings, it's very moody and melancholy, and does explode into a very epic majestic Godspeed like climax.
Finally, the record closes with the awesomely titled "You're Lionel Richie", which is definitely an extended and abstracted version of the Mogwai formula, the sound minimal and shuffling, dark and brooding, eventually slipping into near silence, just some little tendrils of barely there guitar, only to come back in all distorted and buzzy, loping, and midtempo, eventually blossoming into something that sounds almost orchestral, soaring and wailing and seriously sonically transcendent, proving effortlessly, that Mogwai don't NEED to sound like the Mogwai of old, but can whenever they want to, and when they do, it will still totally and completely KILL.
While they last, we have the deluxe double disc version of the cd, which includes a 23 minute bonus track called "Music for a Forgotten Future (The Singing Mountain)", and don't fret vinyl folks, the lp includes a download card which ALSO includes that bonus track, even though it's not on the lp.
MPEG Stream: "White Noise"
MPEG Stream: "Mexican Grand Prix"
MPEG Stream: "You're Lionel Richie"

album cover MOGWAI Hardcore Will Never Die, But You Will (Deluxe) (Sub Pop) 2cd 15.98
We all love Mogwai. Ever since their 1997 debut Young Team, which still pretty much is the standard for brooding, slow building quiet/loud/quiet/loud post rock, and sure, none of their records since have been as good as Young Team, but the thing is, they've all been pretty damn good, some of them GREAT. Many of them deceivingly good, only to gradually blossom into greatness on repeated listens, which we're beginning to think is the case with this, their latest, and easily their best titled. In fact, we might posit that the new Mogwai has one of the best titles of any record, ever!
C'mon. It's called: Hardcore Will Never Die. But You Will. Kind of surprised some other band (a hardcore band?) hadn't thought of that already, but then somehow it seems more fitting on a band, that's not really at all hardcore. And Mogwai have always had a knack for song titles, which comes in handy when you're essentially an instrumental band, and song titles are thus removed from any sort of lyrical constraints or parameters.
Needless to say, fans of Mogwai are gonna dig this too, unless you absolutely hated the last few, in which case, give the sound samples a go, and see what you think. But was far as we're concerned, this is another winner, from a group, who essentially created a genre, and even with a legion of imitators, have virtually no equal.
The cool thing is that Mogwai no longer feel wedded to the whole slow build quiet/loud thing, sure they indulge once in a while, and yeah, they still do it better than most, and if you see them live, these guys can get as loud as ANY band, but here, they're more about creating gorgeous chunks of indie rock. And on Hardcore, the sound is as varied as ever. Opener "White Noise" is gorgeous, thick with whirring keyboards, and some strange guitar crunch, laced over their meandery post rock, super melodic and sun dappled and really, great. Winding down after only 5 minutes, we really wish it would have gone on for twice as long at least.
"Mexican Grand Prix" is a big surprise, sounding more Like Neu! than Mogwai, with a clipped electronic pulse, electronic drums, warm wheezing organs, and vocals! Whispery and a little distorted, there are some computer voices too, and the drums get all stuttery, it sort of sounds like a darker, heavier Stereolab, but still manages to sound like Mogwai.
Much of the rest of the record is just super hooky, fantastically melodic, crunch guitar driven post rock, sounding like Mogwai for sure, but minus the super stripped down verses and explosive choruses, then there are tracks like "Letters To The Metro" which are all hazy and dreamy, with gorgeous slide guitars, simple stripped down drumming, and prominent piano.
"How To Be A Werewolf" might be the first track to really slip back into the old Mogwai template, but even then, it still sounds great, and original, the guitars are weirdly distorted, wrapped in effects, all draped over some strange bit of distant percussion, while the rest of the track offers up spidery melodies, simple propulsive drumming, and yeah, an eventual guitar heavy coda. "Too Raging To Cheers" does the same, starting off with some minimal piano, letting guitars surface, and grow gradually more distorted, same with the drums, there are even some strings, it's very moody and melancholy, and does explode into a very epic majestic Godspeed like climax.
Finally, the record closes with the awesomely titled "You're Lionel Richie", which is definitely an extended and abstracted version of the Mogwai formula, the sound minimal and shuffling, dark and brooding, eventually slipping into near silence, just some little tendrils of barely there guitar, only to come back in all distorted and buzzy, loping, and midtempo, eventually blossoming into something that sounds almost orchestral, soaring and wailing and seriously sonically transcendent, proving effortlessly, that Mogwai don't NEED to sound like the Mogwai of old, but can whenever they want to, and when they do, it will still totally and completely KILL.
While they last, we have the deluxe double disc version of the cd, which includes a 23 minute bonus track called "Music for a Forgotten Future (The Singing Mountain)", and don't fret vinyl folks, the lp includes a download card which ALSO includes that bonus track, even though it's not on the lp.
MPEG Stream: "White Noise"
MPEG Stream: "Mexican Grand Prix"
MPEG Stream: "You're Lionel Richie"

MOGWAI Kicking a Dead Pig/Fear Satan Remixes (Jetset) 2cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We at AQ all agree that the last Mogwai album, Young Team is one of the best things we've come across in a while; they take the slow build, dynamics, and instrumental intensity of Slint and add crashing guitar lyricism. Reason to celebrate: My Bloody Valentine's Kevin Shields, contributes a stunning sixteen-minute distortion-heavy brainmelter (so that's what he's been doing instead of giving us patiently drooling fans another MBV record). And if that isn't enough, there are also remixes by Mu-ziq, Alec Empire, Arab Strap (the Scottish duo whose murkiness calls to mind the Tindersticks more than anyone else), Third Eye Foundation, Kid Loco, and others. Very colorful vinyl.

MOGWAI Kicking a Dead Pig/Fear Satan Remixes (Jetset) 3lp 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We at AQ all agree that the last Mogwai album, Young Team is one of the best things we've come across in a while; they take the slow build, dynamics, and instrumental intensity of Slint and add crashing guitar lyricism. Reason to celebrate: My Bloody Valentine's Kevin Shields, contributes a stunning sixteen-minute distortion-heavy brainmelter (so that's what he's been doing instead of giving us patiently drooling fans another MBV record). And if that isn't enough, there are also remixes by Mu-ziq, Alec Empire, Arab Strap (the Scottish duo whose murkiness calls to mind the Tindersticks more than anyone else), Third Eye Foundation, Kid Loco, and others. Very colorful vinyl.

album cover MOGWAI Mr. Beast (Matador) 2lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
When we first heard Mogwai's Young Team record almost a decade ago, we were knocked on our asses. That was exactly what we had been itching to hear but just didn't know it. Epic near metal post rock, dramatic and ultra dynamic, soft / loud moody indie rock epics. Taking bits and pieces from the Pixies and Slint and other bands that came before but making them into something wholly new and unique. And thus was spawned band after band, from Godspeed to the current crop of metallic post rock to the brooding instrumental indie rock of bands like Explosions In The Sky. All of them owe a massive debt to Mogwai, and Young Team in particular. After Young Team, Mogwai continued to do what they did arguably better than anyone else, each record a subtle variation on the last, one was more consistantly louder, one was softer and dreamier, the next was a "return to the ultra dynamism of Young Team" the next was something completely new and different. Ultimately though, they all sounded like Mogwai, and if there was such thing as a cd that held 12 hours of music, they all could have come from that single 12 hour album. But who was complaining? Not us. We loved the sound of Mogwai, and didn't want them to change, sure we would have dug another Young Team, but it was joy to get a new Mogwai record every time, that was instantly familiar, but had enough new stuff going on that it kept things interesting. And so it went for almost a decade, which brings us to Mr. Beast. And on the one hand, it perfectly keeps with the pattern, it's most definitely Mogwai, sonically there's no doubt about that, but on the other, this is a very weird record. For Mogwai at least. To begin with, the songs are all pretty short, none break the six minute mark, most hover at around four, but the devil is in the details, and you know how the devil always has the best music...
The sound on Mr. Beast is much more dense and polished, some songs are straight up guitar heavy shoegazing rockers, some are haunting lullabies with programmed drums and lap steel guitars. A couple tracks sound almost like Coldplay with balls (and bigger guitars), there's lots of piano, in fact the first song is almost entirely piano driven, as are a couple later on in the record, there are some very Flaming Lips moments, lush pop with BIG drums, some bits of Polvo-like angular indie jangle, even some full on metal riffing, but they all sound like Mogwai. And that's the key. It all sounds so effortless, so perfect. Not in a bad way, in that special way that few bands ever achieve. It's like if Mogwai suddenly decided to do a note for note cover of Brooks And Dunn or Pink or Slayer or anybody, it would STILL sound like Mogwai, or if they decided to only play skiffle or bluegrass or polka, you'd still hear it and immediately know it was Mogwai, and it would be really really good.
It's that effortlessness that makes this record so good. Like their records before Mr. Beast, familiar enough to fit comfortably in the canon, new and weird enough to make us love them all over again.
For a limited time, the cd comes in a deluxe hardcover book version with a bonus DVD, featuring a documentary about the making of Mr. Beast.
MPEG Stream: "Auto Rock"
MPEG Stream: "Glasgow Mega-Snake"

album cover MOGWAI Mr. Beast (Matador) cd + dvd 15.98
When we first heard Mogwai's Young Team record almost a decade ago, we were knocked on our asses. That was exactly what we had been itching to hear but just didn't know it. Epic near metal post rock, dramatic and ultra dynamic, soft / loud moody indie rock epics. Taking bits and pieces from the Pixies and Slint and other bands that came before but making them into something wholly new and unique. And thus was spawned band after band, from Godspeed to the current crop of metallic post rock to the brooding instrumental indie rock of bands like Explosions In The Sky. All of them owe a massive debt to Mogwai, and Young Team in particular. After Young Team, Mogwai continued to do what they did arguably better than anyone else, each record a subtle variation on the last, one was more consistantly louder, one was softer and dreamier, the next was a "return to the ultra dynamism of Young Team" the next was something completely new and different. Ultimately though, they all sounded like Mogwai, and if there was such thing as a cd that held 12 hours of music, they all could have come from that single 12 hour album. But who was complaining? Not us. We loved the sound of Mogwai, and didn't want them to change, sure we would have dug another Young Team, but it was joy to get a new Mogwai record every time, that was instantly familiar, but had enough new stuff going on that it kept things interesting. And so it went for almost a decade, which brings us to Mr. Beast. And on the one hand, it perfectly keeps with the pattern, it's most definitely Mogwai, sonically there's no doubt about that, but on the other, this is a very weird record. For Mogwai at least. To begin with, the songs are all pretty short, none break the six minute mark, most hover at around four, but the devil is in the details, and you know how the devil always has the best music...
The sound on Mr. Beast is much more dense and polished, some songs are straight up guitar heavy shoegazing rockers, some are haunting lullabies with programmed drums and lap steel guitars. A couple tracks sound almost like Coldplay with balls (and bigger guitars), there's lots of piano, in fact the first song is almost entirely piano driven, as are a couple later on in the record, there are some very Flaming Lips moments, lush pop with BIG drums, some bits of Polvo-like angular indie jangle, even some full on metal riffing, but they all sound like Mogwai. And that's the key. It all sounds so effortless, so perfect. Not in a bad way, in that special way that few bands ever achieve. It's like if Mogwai suddenly decided to do a note for note cover of Brooks And Dunn or Pink or Slayer or anybody, it would STILL sound like Mogwai, or if they decided to only play skiffle or bluegrass or polka, you'd still hear it and immediately know it was Mogwai, and it would be really really good.
It's that effortlessness that makes this record so good. Like their records before Mr. Beast, familiar enough to fit comfortably in the canon, new and weird enough to make us love them all over again.
For a limited time, the cd comes in a deluxe hardcover book version with a bonus DVD, featuring a documentary about the making of Mr. Beast.
MPEG Stream: "Auto Rock"
MPEG Stream: "Glasgow Mega-Snake"

album cover MOGWAI My Father My King (Matador) cd ep 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
So the sticker on the front of this new Mogwai e.p. says that this is a companion to their 'Rock Action' record. Not sure what that means. Maybe it means all the loud parts that were missing from 'Rock Action' can be found here. Maybe not. The sticker also describes this 20 minute song as "two parts beautiful serenity and one part death metal". That's a lot to live up to. Unfortunately it doesn't quite manage. Not to say that this isn't good. It is. In fact, it's great. Definitely the best thing they've done since 'Young Team'. But... it sounds exactly like 'Young Team'. Not a bad thing if, like us, you've been missing those beautiful tranquil space scapes and the huge washes of monstrous guitar rock that Mogwai does better than almost anyone else. So if you own 'Young Team' already, you either need this (more of a good thing can't be bad?) or you don't (been there, heard that). If you don't own 'Young Team', pick it up and find out where 50 percent of your favorite new indie rock bands have been stealing their ideas (the other 50 are stealing from Slint presumably).
RealAudio clip: "My Father My King"

MOGWAI No Education (Chemical Underground) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Aural dynamism has always been Mogwai's strong point. This new 3 song EP demonstrates their use of silence vs blistering noise. The first track begins barely audible only to increase its volume through a Louisville style math rock riff into shards of guitar feedback lifting above a potent backbeat. The later tracks continue where they left off with Young Team of beautiful droning mope rock.

MOGWAI No Education (Chemical Underground) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Aural dynamism has always been Mogwai's strong point. This new 3 song EP demonstrates their use of silence vs blistering noise. The first track begins barely audible only to increase its volume through a Louisville style math rock riff into shards of guitar feedback lifting above a potent backbeat. The later tracks continue where they left off with Young Team of beautiful droning mope rock.

album cover MOGWAI Rano Pano (Sub Pop) 7" 4.98
We usually avoid online discussions about the death of the record industry, the rise of the mp3, and all that sort of stuff. We run a record store. We have no illusions about the industry, or the musical landscape. We all have iPods, and we all listen to mp3s and we all download stuff, but the thing is, we love records, we love cds, tapes, but especially the 7". So we got sucked into a discussion about the irrelevance of the 7" single, or more specifically, how 7"s lack the subcultural force they did 15 years ago. And while that may in fact be true, they do still have a force, just maybe a sub-SUB-cultural force. They remain the format of choice for first releases, a cheap way to check out a band you've only heard about (not as cheap as a download, but infinitely more satisfying), we have a handful of customers who ONLY buy 7"s, and we have to say, our love of the single has not really waned over the years. We of course wish they were cheaper, but there's something about 2 songs and a little chunk of vinyl, done right, it's about as sublime as music gets.
Which leads us to this, the latest single from long running post rockers Mogwai, and a Sub Pop single to boot, which holds a special spot in many of our hearts, that black bar across the top, the font, the Sub Pop logo, definitely sending us right back to the classic days of the Sub Pop singles club, and our beloved singles from Mudhoney and Nirvana and Afghan Whigs and the Dwarves and we could go on and on and on. Mogwai's offering features one track from their brand new (and killer) full length Hardcore Will Never Die, But You Will, not an obvious single in the context of the record, but here on a 7", it definitely reveals itself as THEE perfect single, not at all typically Mogwai, more fuzzy and crunchy, with a swoonsome bassline, big distorted guitars, driving and intense, but still a bit jangly, with some cool warbly synth melodies mixed in.
The B side though, which is exclusive to this hear 7", is well worth the price of admission, this one DEFINITELY classic Mogwai, big drums, twangy moody guitars, very mathy, and post rocky, layered melodies and strange chords that sound almost a little like Sonic Youth or Blonde Redhead, the verses quiet, but only compared to the big crunchy crashing distorted drum heavy choruses, the bass getting even more thick and fuzzy, the sound epic and heavy and so good, managing to sound like Young Team era Mogwai, but at the same time, sounding fresh, and not at all out of step with their new, less obviously quiet-loud-quiet-loud sound. Super awesome. And yet another kick ass single. Furthering our belief that we'll never get over our love of these little chunks of vinyl.
Comes with a download code too!

album cover MOGWAI Rave Tapes (Sub Pop) cd 14.98
AT LAST ALSO HERE ON CD! While the title of the new full length from these longtime aQ faves had us secretly hoping for a record of straight up, ACTUAL rave music, the first track quickly reveals that Rave Tapes is in fact simply more of the Mogwai we know and love. So after the brief bit of inevitable no-rave let down disappointment, it's impossible to not get immediately swept up in Mogwai's lush loveliness, the opener a fantastically dreamy sprawl of blissy drifty post rock majesty, hushed, and melancholically brooding, darkly dynamic, expansive and layered. But fear not, this is not just Mogwai by the numbers, or maybe it is, but those numbers have been getting progressively less predictable over the last few albums, just check out "Simon Ferocious" with its buzzing synths, driven by a hypnotic, loping slow-mo, post rock groove, the guitars bordering on metallic, settling eventually into a cool buzzy bit of krauty post rock mesmer. Or the awesomely titled "Remurdered", which is all low slung throb, muted chug and Tortoise-y rhythms, in fact, it sounds a bit like a less jazzy, more skittery electronica flecked, synth heavy komsiche hypno-rock. There's one track with a hilarious sample of anti-Satanic ranting, which is fun the first time, but doesn't have a whole lot of replay value, but that hardly detracts from the rest of the record which slips effortlessly from Godspeed like instrumental epicry, to synthy, almost Circle sounding mathiness, to sweeping moody cinematic drifts, and to murky piano driven balladry, complete with vocals, a haunting bit of slowcore that sounds a bit like Codeine / Low / Galaxie 500, but it is Mogwai, so it eventually erupts into a soaring soft-focus squall of swirling psychedelic beauty.
The final two song salvo, begins with some classic Mogwai, spidery minor key melodies, over chiming harmonics, buzzing bass, shuffling rhythms, slowly building from hushed shimmer to fuzzy muted bombast, before finishing off with the weirdest of the bunch, all programmed drums, vocodered vox, swirling synth wrapped guitars and fields of prismatic shimmer, the whole thing sounding more like Zombi or Umberto, albeit mixed with Mogwai's epic smoldering post rock tendencies, which is just as good as it sounds.
Both the lp and the cd come housed in super striking, retro-futuristic, psychedelically geometric, eye popping, die cut sleeves! LP includes a download code too...
MPEG Stream: "Heard About You Last Night"
MPEG Stream: "Simon Ferocious"
MPEG Stream: "No Medicine For Regret"
MPEG Stream: "The Lord Is Out Of Control"

album cover MOGWAI Rave Tapes (Sub Pop) lp 16.98
While the title of the new full length from these longtime aQ faves had us secretly hoping for a record of straight up, ACTUAL rave music, the first track quickly reveals that Rave Tapes is in fact simply more of the Mogwai we know and love. So after the brief bit of inevitable no-rave let down disappointment, it's impossible to not get immediately swept up in Mogwai's lush loveliness, the opener a fantastically dreamy sprawl of blissy drifty post rock majesty, hushed, and melancholically brooding, darkly dynamic, expansive and layered. But fear not, this is not just Mogwai by the numbers, or maybe it is, but those numbers have been getting progressively less predictable over the last few albums, just check out "Simon Ferocious" with its buzzing synths, driven by a hypnotic, loping slow-mo, post rock groove, the guitars bordering on metallic, settling eventually into a cool buzzy bit of krauty post rock mesmer. Or the awesomely titled "Remurdered", which is all low slung throb, muted chug and Tortoise-y rhythms, in fact, it sounds a bit like a less jazzy, more skittery electronica flecked, synth heavy komsiche hypno-rock. There's one track with a hilarious sample of anti-Satanic ranting, which is fun the first time, but doesn't have a whole lot of replay value, but that hardly detracts from the rest of the record which slips effortlessly from Godspeed like instrumental epicry, to synthy, almost Circle sounding mathiness, to sweeping moody cinematic drifts, and to murky piano driven balladry, complete with vocals, a haunting bit of slowcore that sounds a bit like Codeine / Low / Galaxie 500, but it is Mogwai, so it eventually erupts into a soaring soft-focus squall of swirling psychedelic beauty.
The final two song salvo, begins with some classic Mogwai, spidery minor key melodies, over chiming harmonics, buzzing bass, shuffling rhythms, slowly building from hushed shimmer to fuzzy muted bombast, before finishing off with the weirdest of the bunch, all programmed drums, vocodered vox, swirling synth wrapped guitars and fields of prismatic shimmer, the whole thing sounding more like Zombi or Umberto, albeit mixed with Mogwai's epic smoldering post rock tendencies, which is just as good as it sounds.
Both the lp and the cd come housed in super striking, retro-futuristic, psychedelically geometric, eye popping, die cut sleeves! LP includes a download code too...
(Compact disc folks, FYI, we have a few of the cd, but Sub Pop forgot to ship our order this week so more will be restocked early next week and we'll of course list it next time!)
MPEG Stream: "Heard About You Last Night"
MPEG Stream: "Simon Ferocious"
MPEG Stream: "No Medicine For Regret"
MPEG Stream: "The Lord Is Out Of Control"

album cover MOGWAI Rock Action (Matador) cd 14.98
Let's face it. When Mogwai's 'Young Team' came out, that was it. The final word on the 'quiet/loud moody instrumental indie rock' sound. They had done it. What does a band do then? Where do they take their music? While they were trying to figure that out, Godspeed You Black Emperor stepped in and took Mogwai's sound in a new direction, stretched it out, turnd it into eerie soundtracks and haunting ambience. But for Mogwai, barring some miracle, there was no place to go but down. And down they went. "Come On Die Young' seemed like a half assed attempt at a new direction. And unfortunately the 'new direction' they chose wasn't all that new. A kind of wishy washy, un-dynamic generic slow-core indie rock.
So when we heard the new Mogwai, we were ready to write it off, and we sort of did. It was slow, listless, and not at all like 'Young Team' which I think we had all been secretly hoping it would be.
But once we got over all our non-musical issues, and actually sat down and listened to it. Close, we were singing a different tune. It definitely doesn't sound all that much like Mogwai. And it actually does sound quite a bit like Godspeed (or what I imagined a Godspeed cover band started by the guys in Mogwai and the guys in Teenage Fanclub might sound like) but that's not a bad thing. Much in the way that Godspeed took the Mogwai sound and made it their own, it seems like this time around it's Mogwai's turn to say 'yeah? well watch this' and take their twisted sound back, and twist it even more, into a tranquil and dreamy, beautifully lush and absolutely epic album. A record you can sink right into. Glistening shifting guitar layers and textures, skittery and lazy rhythms, dramatic minor key swells all accompanied by drowsy vocals. A lot more vocals than we expected, but dang if they aren't nice. And it feels like beneath all this grandeur and epic sound, there are actually little hidden nuggets of catchy pop, just obscured enough to keep it interesting.
On their last release it was the horrendous cover art that didn't fit the music, this time it's the title itself that's the culprit (Rock action? Hardly). Ah, but we know those Scottish lads to be a mass of contradictions. Nevertheless, this is a fantastic record. Mesmerizingly beautiful and totally essential.
RealAudio clip: "Take Me Somewhere Nice"
RealAudio clip: "You Don't Know Jesus"

MOGWAI Rock Action (Matador) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Let's face it. When Mogwai's 'Young Team' came out, that was it. The final word on the 'quiet/loud moody instrumental indie rock' sound. They had done it. What does a band do then? Where do they take their music? While they were trying to figure that out, Godspeed You Black Emperor stepped in and took Mogwai's sound in a new direction, stretched it out, turnd it into eerie soundtracks and haunting ambience. But for Mogwai, barring some miracle, there was no place to go but down. And down they went. "Come On Die Young' seemed like a half assed attempt at a new direction. And unfortunately the 'new direction' they chose wasn't all that new. A kind of wishy washy, un-dynamic generic slow-core indie rock.
So when we heard the new Mogwai, we were ready to write it off, and we sort of did. It was slow, listless, and not at all like 'Young Team' which I think we had all been secretly hoping it would be.
But once we got over all our non-musical issues, and actually sat down and listened to it. Close, we were singing a different tune. It definitely doesn't sound all that much like Mogwai. And it actually does sound quite a bit like Godspeed (or what I imagined a Godspeed cover band started by the guys in Mogwai and the guys in Teenage Fanclub might sound like) but that's not a bad thing. Much in the way that Godspeed took the Mogwai sound and made it their own, it seems like this time around it's Mogwai's turn to say 'yeah? well watch this' and take their twisted sound back, and twist it even more, into a tranquil and dreamy, beautifully lush and absolutely epic album. A record you can sink right into. Glistening shifting guitar layers and textures, skittery and lazy rhythms, dramatic minor key swells all accompanied by drowsy vocals. A lot more vocals than we expected, but dang if they aren't nice. And it feels like beneath all this grandeur and epic sound, there are actually little hidden nuggets of catchy pop, just obscured enough to keep it interesting.
On their last release it was the horrendous cover art that didn't fit the music, this time it's the title itself that's the culprit (Rock action? Hardly). Ah, but we know those Scottish lads to be a mass of contradictions. Nevertheless, this is a fantastic record. Mesmerizingly beautiful and totally essential.

album cover MOGWAI Special Moves (Rock Action) cd+dvd 21.00
We love Mogwai. And we probably always will. Their Young Team record still ranks at the very tippy top of the slow burning, slow building, quiet loud quiet LOUD, post rock ouvre, and a million bands since, trying their damnedest to do the same thing, haven't dulled or diminished that love at all. In fact if anything, all it did was enforce how genius these guys really are. And while they're in the unenviable position of having a ridiculously iconic record that all subsequent records are inevitably compared to, when one can ignore that looming sonic spectre, then all of their records rule. Intense, and emotional, epic and majestic, heavy and melodic, soundtracky and cinematic. It really is remarkable listening to Mogwai and then hearing Pelican or Isis or any of the other bands who do something similar, and while Mogwai are maybe not BETTER, they are special, and unique, with a sound that impossibly manages to sound ONLY like them.
Special Moves is a documentary / live concert film, gorgeously shot, featuring selections from throughout their entire career, from big crashing bombastic epics, to brooding moody meanders, their live sound as lush and lovely as their records proper. All black and white, stark, high contrast live footage, interspersed with shots of random people on the streets, rain swept cities, crowd shots, sound checks, empty clubs, blurred lights, close ups of fingers and strings, all very impressionistic, and it all suits the music so perfectly. It includes some bonus live footage, which looks just as good as the movie.
And there's also a soundtrack disc, featuring all the tracks from the movie and then some, more of that epic Mogwai majesty, not necessarily all that different from the recorded versions, but heck, any excuse for more Mogwai is fine by us, and some of the tracks DO get reworked a bit, but if you've been hankering for some smoldering, swelling post rock quiet/loud epicness, this should hit the spot. Also includes a bonus download of 6 more live tracks!
MPEG Stream: "I'm Jim Morrison, I'm Dead"
MPEG Stream: "Mogwai Fear Satan"
MPEG Stream: "Like Heord"

MOGWAI Stanley Kubrick (Matador / Chemikal Underground) cd 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mogwai has grappled with the pressure of following up the utterly brilliant "Young Team" record through two eps and an entire album, choosing to slow burn their sonic ascensions in opposition to the incendiary dynamicism of "Young Team". This has led people to accuse Mogwai of going soft and being boring. While their album "Come on Die Young" certainly disproves these accusations, it has been hard to tell as to whether "Stanley Kubrick" will follow in its predecesors' successes. Slow lugubrious riffs, snippets of not-quite-jazz brass, and their pervading drugged out melancholia are of course the soup de jour for Mogwai.
Just so you know, two of the tracks on the cd are from the previously released "No Education" ep, which was mysteriously dubbed 'controversial' on the disc's sticker.

album cover MOGWAI The Hawk Is Howling (Matador) cd 13.98
IIt must be pretty frustrating being in Mogwai, 'cause no matter what you do, no matter how far you push and stretch your sound, people just want to hear Young Team. Not that we can blame them - see the Young Team review elsewhere on the aQ site, and observe us gushing appropriately over the record that probably is single handedly responsible for about half of the indie rock made today. But you know, that probably happens to every successful band. Can you imagine if you had gone to see My Bloody Valentine on their recent reunion tour and they didn't play -anything- off of Loveless, just new songs? We went to see Dio once a while back, and all we wanted to hear was old stuff (of course) but instead he played his newly released concept record all the way through. More power to him but geeze. Still, we do understand, no matter how awesome a song is, no one wants to be playing it forever. Think about the Stones playing "Satisfaction". How long have they been playing that song? 40 years? Sheesh!
Anyway, in most fans' eyes, Mogwai can do no wrong, and even if they continue to NOT make Young Team part 2, they do continue to make awesome records. Their grasp of dynamics, and their ability to make an extended instrumental not only interesting but rocking and catchy as well, far surpasses most of the bands who want to be them, and very little has changed on The Hawk Is Howling. While the record starts off with the stately and serene (and awesomely titled "I'm Jim Morrison, I'm Dead"), the follow up "Batcat" finds the band unleashing some serious riffage, and some cool and strange guitar filigree. It's a one part song (maybe two) but boy is it a good part, and it gets looped and twisted, the band building and building, much like the more metal Godspeed they always seemed to be. Epic and crunchy and heavy and so good we probably wouldn't mind if the song was twice (or three times, or four times...) as along.
The next few tracks find the band mellowing back out a bit, letting their songs sprawl and spread out organically, a dreamy, laid back post rock, with no particular place to go, and with Mogwai it's all about the journey, not the destination anyway.
"The Sun Smells Too Loud" is a definite twist on the Mogwai formula, lots of synths and keyboards, and a slow build, slow burn, that gets bigger and louder, without necessarily getting heavier. The main hook, the guitar figure repeated again and again will stick in your head like crazy, the perfect substitute for vocals, if you were even missing them. "I Love You, I'm Going To Blow Up Your School" is classic Mogwai, again harkening back toy Young Team, all loping strum and shuffling rhythms, glistening melodies, lots of texture and ambience, until about the last minute when the band erupts into a super intense psychedelic freakout, still grounded by the melancholy melody that runs through the whole song. There's plenty more drifting and meandering dreamily before closer "The Precipice", which begins soft and breathless, before morphing into something a bit more ominous, the guitars a tad more crunchy, and finally a killer two minute outro, that features gorgeous spidery guitar lines, pounding drums, and gorgeous tangled minor key melodies.
You want Young Team? Probably best to just get over it. Go listen to Young Team. Heck we might just go listen to Young Team again. But really, at this point we're way more interested in seeing where the sounds of Mogwai take us.
There are two versions of the cd, one is the regular edition, the other, WHILE THEY LAST, is slightly more expensive and comes with a dvd, which features the creepy and haunting video for "Batcat", a cool animated fan made video for the same song, and a short, very arty, and quite beautiful documentary about the band.
MPEG Stream: "I'm Jim Morrison, I'm Dead"
MPEG Stream: "Batcat"
MPEG Stream: "I Love You, I'm Going To Blow Up Your School"

album cover MOGWAI The Hawk Is Howling (Matador) 2lp 25.00
Now here, in stock again at last, on vinyl too... It must be pretty frustating being in Mogwai, no matter what you do, no matter how far you push and stretch your sound, people just want to hear Young Team. Not that we can blame them, see the Young Team review elsewhere on the aQ site, and observe us gushing appropriately over the record that probably is single handedly responsible for about half of the indie rock made today. But you know, that probably happens to every band. Can you imagine if you had gone to see My Bloody Valentine on their recent reunion tour and they didn't play -anything- off of Loveless, just new songs. We went to see Dio once a while bck, and all we wanted to hear was old stuff (of course) but instead he played his newly released concept record all the way through.
We do understand, no matter how awesome a song is, no one wants to beplaying it forever. Think about the Stones playing "Satisfaction". How long have they been playing that song? 40 years? Sheesh!
Anyway, in most fans' eyes, Mogwai can do no wrong, and even if they continue to NOT make Young Team mach 2, they do continue to make awesome records. Their grasp of dynamics, and their ability to make an extended instrumental not only interesting but rocking and catchy as well, far surpasses most of the bands who want to be them, and very little has changed on The Hawk Is Howling. While the record starts off with the stately and serene (and awesomely titled "I'm Jim Morrison, I'm Dead"), the follow up "Batcat" finds the band unleashing some serious riffage, and some cool and strange guitar filigree. It's a one part song (maybe two) but boy is it a good part, and it gets looped and twisted, the band building and building, much like the more metal Godspeed they always seemed to be. Epic and crunchy and heavy and so good we probably wouldn't mind if the song was twice (or three times, or four times...) as along.
The next few tracks find the band mellowing back out a bit, letting their songs sprawl and spread out organically, a dreamy, laid back post rock, with no particular place to go, and with Mogwai it's all about the journey, not the destination anyway.
"The Sun Smells Too Loud" is a definite twist on the Mogwai formula, lots of synths and keyboards, and a slow build, slow burn, that gets bigger and louder, without necessarily getting heavier. The main hook, the guitar figure repeated again and again will stick in your head like crazy, the perfect substitute for vocals, if you were even missing them. "I Love You, I'm Going To Blow Up Your School" is classic Mogwai, again harkening back toy Young Team, all loping strum and shuffling rhythms, glistening melodies, lots of texture and ambience, until about the last minute when the band erupts into a super intense psychedelic freakout, still grounded by the melancholy melody that runs through the whole song. There's plenty more drifting and meandering dreamily before closer "The Precipice", which begins soft and breathless, before morphing into something a bit more ominous, the guitars a tad more crunchy, and finally a killer two minute outro, that features gorgeous spidery guitar lines, pounding drums, and gorgeous tangled minor key melodies.
You want Young Team? Probably best to just get over it. Go listen to Young Team. Heck we might just go listen to Young Team again. But really, at this point we're way more interested in seeing where the sounds of Mogwai take us.
MPEG Stream: "I'm Jim Morrison, I'm Dead"
MPEG Stream: "Batcat"
MPEG Stream: "I Love You, I'm Going To Blow Up Your School"

album cover MOGWAI The Hawk Is Howling (Deluxe Edition) (Matador) cd+dvd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It must be pretty frustrating being in Mogwai, 'cause no matter what you do, no matter how far you push and stretch your sound, people just want to hear Young Team. Not that we can blame them - see the Young Team review elsewhere on the aQ site, and observe us gushing appropriately over the record that probably is single handedly responsible for about half of the indie rock made today. But you know, that probably happens to every successful band. Can you imagine if you had gone to see My Bloody Valentine on their recent reunion tour and they didn't play -anything- off of Loveless, just new songs? We went to see Dio once a while back, and all we wanted to hear was old stuff (of course) but instead he played his newly released concept record all the way through. More power to him but geeze. Still, we do understand, no matter how awesome a song is, no one wants to be playing it forever. Think about the Stones playing "Satisfaction". How long have they been playing that song? 40 years? Sheesh!
Anyway, in most fans' eyes, Mogwai can do no wrong, and even if they continue to NOT make Young Team part 2, they do continue to make awesome records. Their grasp of dynamics, and their ability to make an extended instrumental not only interesting but rocking and catchy as well, far surpasses most of the bands who want to be them, and very little has changed on The Hawk Is Howling. While the record starts off with the stately and serene (and awesomely titled "I'm Jim Morrison, I'm Dead"), the follow up "Batcat" finds the band unleashing some serious riffage, and some cool and strange guitar filigree. It's a one part song (maybe two) but boy is it a good part, and it gets looped and twisted, the band building and building, much like the more metal Godspeed they always seemed to be. Epic and crunchy and heavy and so good we probably wouldn't mind if the song was twice (or three times, or four times...) as along.
The next few tracks find the band mellowing back out a bit, letting their songs sprawl and spread out organically, a dreamy, laid back post rock, with no particular place to go, and with Mogwai it's all about the journey, not the destination anyway.
"The Sun Smells Too Loud" is a definite twist on the Mogwai formula, lots of synths and keyboards, and a slow build, slow burn, that gets bigger and louder, without necessarily getting heavier. The main hook, the guitar figure repeated again and again will stick in your head like crazy, the perfect substitute for vocals, if you were even missing them. "I Love You, I'm Going To Blow Up Your School" is classic Mogwai, again harkening back toy Young Team, all loping strum and shuffling rhythms, glistening melodies, lots of texture and ambience, until about the last minute when the band erupts into a super intense psychedelic freakout, still grounded by the melancholy melody that runs through the whole song. There's plenty more drifting and meandering dreamily before closer "The Precipice", which begins soft and breathless, before morphing into something a bit more ominous, the guitars a tad more crunchy, and finally a killer two minute outro, that features gorgeous spidery guitar lines, pounding drums, and gorgeous tangled minor key melodies.
You want Young Team? Probably best to just get over it. Go listen to Young Team. Heck we might just go listen to Young Team again. But really, at this point we're way more interested in seeing where the sounds of Mogwai take us.
There are two versions of the cd, one is the regular edition, the other, WHILE THEY LAST, is slightly more expensive and comes with a dvd, which features the creepy and haunting video for "Batcat", a cool animated fan made video for the same song, and a short, very arty, and quite beautiful documentary about the band.
MPEG Stream: "I'm Jim Morrison, I'm Dead"
MPEG Stream: "Batcat"
MPEG Stream: "I Love You, I'm Going To Blow Up Your School"

album cover MOGWAI Young Team (Chemikal Underground) cd 16.98
This is it! The one. The record that launched a MILLION other records. Half the bands we love and freak out about wouldn't even exist if it weren't for THIS RECORD. Or if they did, they sure as heck wouldn't sound the way they do. Sure there was Spiderland. And the theory that everyone who heard Spiderland started a band. And the Pixies. Same thing. And let's not forget Nirvana. Between Slint, Nirvana and the Pixies, the template for angsty loud/soft indie rock was pretty much defined FOREVER. Until Young Team that is. Mogwai most definitely owed a huge debt to the above mentioned big three, but there was just something special about Young Team. The ultimate brooding post rock stumble into massive epic metallic crush record we had ever heard. This is heavy, but oh so pretty, dark and romantic, but also creepy and seriously ominous sounding. Soft super blissed-out meandering almost-ambient soundscapes, dark brooding passages of near silence, eventually shattered into a million pieces by bursts of frenzied, rhythmic noise a la Godflesh, crushing and metallic and machinelike, but always ready to drift and fade back into soft swooning tranquility. But even the loud heavy parts are strangely melodic and ridiculously catchy. This record is so fucking great. Even now, a decade after it was first released, and after we've heard about a million bands do their own versions of Young Team. Maybe the best way to really drive home how massive and amazing and incredibly influential this record is, would be to list a handful of bands who would probably not exist, at least not in their present forms, if it weren't for this record. No disrespect to any of these groups AT ALL (we love them every single one of them) but you gotta give credit where credit is due... the sons of Mogwai include Godspeed! You Black Emperor, Isis, Timeout Drawer, Snowblood, the Ocean, Magyar Posse, Gregor Samsa, Aereogramme, This Is Your Captain Speaking, Explosions In The Sky, Sigur Ros, Pelican, Mono, Grails, Tarentel, Jimmy Cake, Switchblade, Minsk, Conifer, Tides, Eden Maine, Rosetta, Red Sparrowes, Indian, Baroness, Cult Of Luna, Mouth Of The Architect and we could go on and on. So if you love any or all of the above mentioned bands, and how could you not, and you've somehow never heard Young Team, you are in for it in a big beautiful way! Now's your chance. Don't blow it. You will not be sorry. As for the rest of you, who for one reason or another just haven't listened to Young Team in years, lent it lost it or whatever, now is the time to revisit one of indie rock's most epochal releases, you just may very well have forgotten how devastatingly fantastic this record is! Finally available again (as an import), after being out of print in the State for years and years!!!
MPEG Stream: "Yes! I Am A Long Way From Home"
MPEG Stream: "Like Herod"
MPEG Stream: "Mogwai Fear Satan"

album cover MOGWAI Young Team (Chemikal Underground) 2cd 14.98
Long before every band in the world had quite verses and loud choruses, before every band listed Godspeed You Black Emperor as an influence, there was Mogwai. And yeah, they owed their very existence to Slint and the Pixies, but unlike many of the bands that would follow, they wrapped up all that Pixie-dust and all of those Slintisms into something brooding and epic and at the time we first laid ears on Young Team, like -almost- nothing we had ever heard before. For being a seminal post rock classic, this record has spent much of its time out of print and unavailable. Finally, it's available again, this time housed in a swank slipcover and with a whole extra disc, featuring a handful of tracks from comps and singles, including one previously unreleased, and a bunch of killer live tracks. Folks who already love this record, are just the sort of folks (like us mind you) that will almost for sure have to buy this again for the bonus stuff, but if you somehow managed to make it all the way to 2008 without owning a copy of Young Team, this is your lucky day.
What's the big deal about Young Team, yeah, Mogwai, heard 'em, they have a bunch of records out right? Yeah, and they're all great, but this one. THIS one, THIS is it! THE one. The record that launched a MILLION other records. Half the bands we love and freak out about wouldn't even exist if it weren't for THIS RECORD. Or if they did, they sure as heck wouldn't sound the way they do. Sure there was Spiderland. And the theory that everyone who heard Spiderland started a band. And the Pixies. Same thing. And let's not forget Nirvana. Between Slint, Nirvana and the Pixies, the template for angsty loud/soft indie rock was pretty much defined FOREVER. Until Young Team that is. Mogwai most definitely owed a huge debt to the above mentioned big three, but there was just something special about Young Team. The ultimate brooding post rock stumble into massive epic metallic crush record we had ever heard. This is heavy, but oh so pretty, dark and romantic, but also creepy and seriously ominous sounding. Soft super blissed-out meandering almost-ambient soundscapes, dark brooding passages of near silence, eventually shattered into a million pieces by bursts of frenzied, rhythmic noise a la Godflesh, crushing and metallic and machinelike, but always ready to drift and fade back into soft swooning tranquility. But even the loud heavy parts are strangely melodic and ridiculously catchy. This record is so fucking great. Even now, more than a decade after it was first released, and after we've heard more than enough bands do their own versions of Young Team. Maybe the best way to really drive home how massive and amazing and incredibly influential this record is, would be to list a handful of bands who most likely owe their entire existence to this record. No disrespect to any of these groups AT ALL (we love them every single one of them) but you gotta give credit where credit is due... the sons of Mogwai include Godspeed! You Black Emperor, Isis, Timeout Drawer, Snowblood, the Ocean, Magyar Posse, Gregor Samsa, Aereogramme, This Is Your Captain Speaking, Explosions In The Sky, Sigur Ros, Pelican, Mono, Grails, Tarentel, Jimmy Cake, Switchblade, Minsk, Conifer, Tides, Eden Maine, Rosetta, Red Sparrowes, Indian, Baroness, Cult Of Luna, Mouth Of The Architect and we could go on and on. So if you love any or all of the above mentioned bands, and how could you not, and yet you've somehow never heard Young Team, you are in for it in a big beautiful way! The return of one of indie rock's most epochal releases, back from the grave to remind us all just how devastatingly fantastic this record is!
The bonus disc features four extra tracks, one unreleased, seemingly a trifle, super short, but in its 3 minutes it manages to evoke some serious moodiness, and has us wishing it was way longer. A second, previously released, clocks in at less than 2 minutes, and is culled from some obscure comp, but again, it's a gloriously bleak moodscape. The third bonus track is more of an actual song, with skittery electronic sounding drums, and washed out minor key strum, all very dark and drone-y, and then there's Mogwai's gorgeous cover of Spacemen 3's "Honey", paying homage to another band that obviously influenced their sound, their version is not quite as druggy as the original, but bathes the vocals in reverb, adds glockenspiel and chimes, and turns it into something almost choral. The live stuff is raw and urgent and intense, AND loud, listening to "Mogwai Fear Satan" live is almost like being there, the drums a frenzy of crashes and endless fills, roiling beneath dense clouds of druggy FX drenched clouds of soaring guitar, truly transcendent.
File this next to Spiderland and Surfer Rosa and a handful of other epochal indie rock touchstones. Needless to say, ridiculously recommended and essential.
MPEG Stream: "Yes! I Am A Long Way From Home"
MPEG Stream: "Like Herod"
MPEG Stream: "Mogwai Fear Satan"

album cover MOHA! Norwegianism (Rune Grammofon) cd 16.98
Second Rune Grammofon album from this extreme improv duo from Norway! It makes sense that they'd have an exclamation point as part of their name, as their music is indeed punctuated with glitchy outbursts, zaps of loud guitar/drums/electronics. Meanwhile, "MoHa" simply references their names: Morten J. Olsen and Anders Hana, both of whom are members of Ultralyd as well. We compared their first disc of hyperactive skree to some of Mick Barr's stuff, and to the most nutty bits from their labelmates Supersilent. Now we can add that shortly after our first listen to Norwegianism, we put on a classic avant-garde electro-acoustic album from 1970 by Luciano Berio, and after a few minutes got confused and thought we were still listening to MoHa!, when the Berio got into a particularly crinkly and chaotic passage of electronic bleepage. We like it best, though, when MoHa! pace themselves, give the music space to breathe, maybe even settle into some broken-down rhythm for a while (which are the parts that remind us of Supersilent), as on the track "Home Two".
We guess they may have titled this album Norwegianism 'cause they recorded it in Geneva and mixed it in Berlin, and felt that they were bringing some Norwegian noise to those locales. Also it could be in recognition of the fact that they get monetary support from the Arts Council Norway -- apparently Norwegian taxpayers are a lot more musically open-minded than the typical US citizen!
MPEG Stream: "Gay One"
MPEG Stream: "Home Two"

album cover MOHA! Norwegianism (Rune Grammofon) lp 17.98
NOW ON VINYL!
Second Rune Grammofon album from this extreme improv duo from Norway! It makes sense that they'd have an exclamation point as part of their name, as their music is indeed punctuated with glitchy outbursts, zaps of loud guitar/drums/electronics. Meanwhile, "MoHa" simply references their names: Morten J. Olsen and Anders Hana, both of whom are members of Ultralyd as well. We compared their first disc of hyperactive skree to some of Mick Barr's stuff, and to the most nutty bits from their labelmates Supersilent. Now we can add that shortly after our first listen to Norwegianism, we put on a classic avant-garde electro-acoustic album from 1970 by Luciano Berio, and after a few minutes got confused and thought we were still listening to MoHa!, when the Berio got into a particularly crinkly and chaotic passage of electronic bleepage. We like it best, though, when MoHa! pace themselves, give the music space to breathe, maybe even settle into some broken-down rhythm for a while (which are the parts that remind us of Supersilent), as on the track "Home Two".
We guess they may have titled this album Norwegianism 'cause they recorded it in Geneva and mixed it in Berlin, and felt that they were bringing some Norwegian noise to those locales. Also it could be in recognition of the fact that they get monetary support from the Arts Council Norway -- apparently Norwegian taxpayers are a lot more musically open-minded than the typical US citizen!
MPEG Stream: "Gay One"
MPEG Stream: "Home Two"

album cover MOHA! One-Way Ticket To Candyland (Rune Grammofon) cd 17.98
As always (this is their 3rd album), the exclamation point in this Norwegian industrial-skronk duo's name is quite appropriate. They definitely provide some bang for your buck, if you're into this extreme style of choppy, panicked trash-compactor "jazz", wherein sizzling electronics collide with machine-like percussion in a satisfyingly spastic frenzy. Electric guitar, keyboard, drummachine, drums, and something called "supercollider3" (a software program?) are deployed for maximum density and intensity, sounding something like a bunch of John Zorn types trapped in an exploding Radio Shack.
The album title One-Way Ticket To Candyland only makes us think that these guys have already splurged on the sugary treats, certainly seeming a bit hyperactively agitated by -something- in their quirky, chaotic music making. Yet the weird thing is, despite their jitters, they have such a knack for getting all the little pulsating puzzle pieces of their only seemingly messy compositions/improvisations to fit together remarkably well, turning this way and that like tiny, precision cogs in a well designed machine. All their herky-jerky blurting turns out to be exactly according to spec.
Knowing this, they almost get sassy, in that there's a bit of smartass punkrock 'tude to their (instrumental) song titles, from "The Shitman" to "Oh My God It's Rave". Shades of Don Cab!
MPEG Stream: "It Burns Twice"
MPEG Stream: "Prog-O-Rama"

MOHA! One-Way Ticket To Candyland (Rune Grammofon) lp 18.98
As always (this is their 3rd album), the exclamation point in this Norwegian industrial-skronk duo's name is quite appropriate. They definitely provide some bang for your buck, if you're into this extreme style of choppy, panicked trash-compactor "jazz", wherein sizzling electronics collide with machine-like percussion in a satisfyingly spastic frenzy. Electric guitar, keyboard, drummachine, drums, and something called "supercollider3" (a software program?) are deployed for maximum density and intensity, sounding something like a bunch of John Zorn types trapped in an exploding Radio Shack.
The album title One-Way Ticket To Candyland only makes us think that these guys have already splurged on the sugary treats, certainly seeming a bit hyperactively agitated by -something- in their quirky, chaotic music making. Yet the weird thing is, despite their jitters, they have such a knack for getting all the little pulsating puzzle pieces of their only seemingly messy compositions/improvisations to fit together remarkably well, turning this way and that like tiny, precision cogs in a well designed machine. All their herky-jerky blurting turns out to be exactly according to spec.
Knowing this, they almost get sassy, in that there's a bit of smartass punkrock 'tude to their (instrumental) song titles, from "The Shitman" to "Oh My God It's Rave". Shades of Don Cab!
MPEG Stream: "It Burns Twice"
MPEG Stream: "Prog-O-Rama"

album cover MOHA! Raus Aus Stavanger (Rune Grammofon) cd 16.98
Ultra intense, precision electric guitar / drums / electronics improv from this noisy Norwegian duo, appropriately recorded at some place called "Athletic Sound". The exclamation point that's part of their name is also quite apt!
This is crazed stuff, on the jazz side perhaps owing something to pioneer skronk guitarists like Sharrock and Takayanagi, but sounding not so much like jazz, or even guitar (it sounds more like a malfunctioning raygun). All this abstract glitchy distortion, processed percussion, and scrabbling, shredding skree really reminds us a lot of the likes of Phantomsmasher or (especially) Mick Barr's Orthrelm. Or maybe their countrymen Supersilent having a violent seizure? To some, this is will be utter earhole punishment, but we also know a lot of you will love it!
MPEG Stream: "B1"
MPEG Stream: "C8"

album cover MOHAMMAD Roto Vildblomma (Antifrost) cd 14.98
We recently reviewed an lp on the Pan label from Mohammad, a Greek trio specializing in long form acoustic drone music. It was a stunning collection of modern minimalism created from just cello, contrabass and oscillators, the group conjuring up a rib cage rattling thrum in the form of huge organic expanses of low end sound, we still have a few of those limited lps left, anyone into dronemusic, from the modern minimalism of Phill Niblock, to the crushing dronedirgedrone of SUNNO)), should absolutely grab one before they're gone (& we also have ONE copy of a super limited triple lp Mohammad box set, check the instock not yet reviewed section!). We dug that Pan lp so much, that we got in touch with the band to get copies of this, their first cd release, and like the lp, it's incredible. But unlike that lp, it's much more rooted in classical music, slightly less abstract, with the opening track sounding a bit like some haunting chamber music, albeit all lower register, but it's so haunting, and stately, and strangely majestic. The tones rumble and reverberate, melodies play out in slow motion, a funereal threnody that creeps and drifts until the final few minutes when the sound seems to blossom into something much more psychedelic.
The rest of the record is equally fantastic, "Skora" is even more minimal, nearly inaudible sans headphones, but strap some on, and you're submerged in a strange subterranean sound world, a sort of ultra spare slowcore drift, softly undulating barely there tones, that seem to grow more gristly as the track progresses. Deep foghorn moans wreathed in crunchy swirls of soft focus static, and near the end, the sound suddenly gets LOWER and BASSIER, not sure how it's possible, but suddenly, your speakers are on the verge of blowing, the bones in your ears vibrating at an alarming rate. Amazing.
"Lamane Kradoj" is still even MORE minimal yet, reminding us of those old Restgeraeusch records, which were sourced from the industrial noises in an office, the whir of the air conditioning, the rumble of the elevator down the hall, this is just a barely there field of low end static, that doesn't really build until the last minute or too, where it coalesces into the sound of some strange churning machine. "Lentzen Tranen" is like an acoustic version of that Nurse With Wound creaking ship record, all groans and rumbles, the sound of being in some rickety structure, which reacts to all of the vibrations outside, cars whizzing past, buses, subtle shifts in the earth's tectonic plates, all somehow woven into a gorgeously hypnotic thrum.
And finally, the closer, sort of bookending the record, with a dark jazzy creep, starting out as a barely there drift, but soon morphing into some haunting doomjazz, the cello laying down woozy melodies over contrabass rumbles, and distant oscillator hum, jaunty by comparison, a truly strange coda, to a wonderfully mysterious drone record...
MPEG Stream: "Vildblomma"
MPEG Stream: "Letzen Tranen"
MPEG Stream: "Luminus Vuori"

album cover MOHAMMAD Som Sakrifis (Pan) lp 29.00
Record number three from this Greek trio, but the first one we've managed to stock, and holy moly were we blown away. Mohammad specialize in long-form drone works, focusing on the low LOW end - drone lovers be warned, this will blow your mind. Anyone can coax rumbles and buzz from a guitar leaned against an amp, but these guys, utilizing just cello, contrabass and some oscillators, conjure up a sprawling expanse of ribcage rattling, soul stirring thrum, a breathtaking acoustic dronemusic, lush and organic, resonant and expansive. Super shorthand would be to say these guys sound like an acoustic SUNNO))), but their sound retains much more melody and nuance, sounding almost folky at times, near symphonic at others, and occasionally liturgical. The reverberant buzz of vibrating strings, slow shifting overtones, a dirgey doom folk by way of La Monte Young, slowed down to the point of near stasis, but still rife with texture and dynamics. The fact that these sounds are acoustic, give the sound a very organic feel, the sound or resonating wood is tough to simulate, and at high volumes, the music here is near transcendent, the sounds extremely physical in their heft, primal and powerful, but also intimate and emotional. It's a soundtracky atmospheric ambience, but fused to a mutated strain of modern minimalism, with the vibe of something ritualistic and timeless. It's impossible not to imagine these sounds being performed by some cloaked court musicians, in some mysterious black castle, hundreds, if not thousands of years ago. It's also hard to not imagine these guys teaming up with Russian drone vocalists Phurpa, for what would have to be the heaviest, droniest, acoustic performance EVER.
This will no doubt make lots of our year end lists, and it's only April. Dark and heavy enough for folks into extreme drones, but mysterious and musical enough to appeal to modern minimalists, and really anyone into mysterious sounds and dark dreaminess.
Like all Pan releases, the packaging is fantastic, a printed heavy stock matte sleeve, housed in a heavy plastic PVC jacket, screen printed in silver metallic ink, super striking!

album cover MOHAMMAD Spiriti (Antifrost) cd 14.98
We first discovered this Greek trio via their mind blowing Som Sakrifis lp on Pan, which was the first time we'd heard these guys, their unorthodox instrumentation (cello, contrabass and oscillators) creating stunning longform modern minimalist dronemusic. We sold tons of that lp, and then tons more of their Roto Vildblomma cd, and at the time managed to get just a few of a deluxe triple lp box set called Spiriti. Well that boxset (which is still available, we can order you one, just ask, it's pricey, and comes direct from Greece so might be a while, but it's worth it), was equally stunning, and was just reissued on cd, so now that it's available at a more reasonable price, we figured the aQ dronelords and droneladies out there, might want more Mohammad, cuz we sure did.
Not nearly as ultra-minimal as the other two records, Spiriti opens with what essentially sounds like ultra doom played on string instruments, SUNNO))) for string quartet (or duo in this case), moaning chords, slow motion thrum, buzz and rumble, slow shifting overtones, rib cage rattling low end, as we're listening to this first track for the fourth or fifth time, we're thinking it's already worth the price of admission. Ominous and haunting, moody and brooding and seriously sinister, but also strangely lovely. The rest of the first movement (the first lp in the box) expands on that sort of string-drone dirgery, woozy chords, melodies that blur and bleed into each other, incredibly heavy, the sound of those vibrating strings and the reverberating instruments totally mesmerizing, and near physical in the way the soundwaves seems to envelop your whole body.
The second movement (lp) finds the band delving back into the more minimal sounds that made up much of the other two records, hushed rumbles, distant shimmers, and near silence, ultra minimalism, at times sounding a bit like the recent record of the week from Will Over Matter melted down into its very sonic essence, the second movement, slipping from that hushed Teutonic rumble, to more moaning strings, and back again, the stringed instruments offering a strangely melodic counterpoint to the barely there low end passages, like Kornos Quartet jamming with Francisco Lopez!
Finally, movement three (originally the 3rd lp in the box), unfurls a rumbling, roiling sprawl of chordal churn, cinematic and sinister, tense and intense, which eventually devolves into another stretch if industrial whir, a field of hiss and hum that's more physical than sonic, only to be augmented by grinding synth swells, and deep low end pulsations, before finally finishing off with another stretch of buzzing string-ed chamber doom. So goddamn good. And absolutely recommended for drone fanatics, and fans of modern avant minimalism.
MPEG Stream: "Malad Van: Nerporinial Kakaowa"
MPEG Stream: "Yap Divose Tectonica: Ulvi Borzadas"
MPEG Stream: "Dis Koraci: Grad"
MPEG Stream: "Dis Koraci: Kumara"

album cover MOHAMMED, MOHAMMED 'JIMMY' Hulgizey - In Concert (Terp) cd 17.98
We joked in some past reviews that Dutch experimental world music label Terp must be paying our salaries considering how much love we give their releases, but c'mon, you've heard them! You've bought them! LOTS of them! And like us you've played them all to death. Every single one is amazing, so exciting musically, so emotionally resonant, some of the most unique and moving music we've EVER heard. And as if to drive the point home, we have not one, but TWO new releases from Terp on this week's list, one, a live disc from legendary Ethiopian saxophonist Getatchew Mekuria, jamming with The Ex and friends, and this, a sadly posthumous live release from blind Ethiopian vocalist Mohammed 'Jimmy' Mohammed.
We raved about Mohammed's other release on Terp, the completely mind blowing Takkabel! And as we mentioned before, his life story is just as dramatic and intense and emotional as his music. He became blind as a child, an apparent curse after his parents had him baptized against the warnings of a local fortune teller (God wanted him to be Muslim), spent years homeless on the streets, eventually rescued and cared for, enrolled in a school for the blind, where money was raised to help restore his sight, but the money was stolen, and his eyesight never restored, eventually becoming a nightclub singer renowned for his interpretations of songs by legendary vocalist Tlahoun Gessesse (who you probably remember from several volumes of the Ethiopiques series).
But whereas much of Takkabel! was tangled and angular and complex, recalling Aavikko weirdly enough, with guest drumming from improv legend Han Bennink, this live disc is much more laid back and dark, a very personal sounding and intimate recording, the band spreading out a lush tapestry of sound over which Mohammed weaves his magical moods. His voice is divine and as powerful as it is subtle, distincitive and expressive, soaring and dancing nimbly across impossible melodies, the interplay between the vocals and the instruments is divine. The guitar like krar unfurling simple melodic fragments, the percussion simple and propulsive, a simple spare framework for Mohammed to explore as he sees fit, his vocals wild and acrobatic, intense and passionate, so mysterious sounding, but also utterly warm and inviting.
The last two lengthy tracks are the most reminiscent of Takkabel!, with the addition of sax, the rhythms a bit more off kilter and danceable, the whole sound a bit more funky and groovy, VERY Ethiopiques sounding. Hard to imagine the crowd in attendance not dancing wildly in the aisles...
The proceeds from sales of this cd will go toward a just-founded Jimmy Fund, created to care for his wife and his children, one of whom was born right after his death.
MPEG Stream: "Sethed Seketelat"
MPEG Stream: "Mela Mela"
MPEG Stream: "Eywat Setenategagn"

album cover MOHAMMED, MOHAMMED 'JIMMY' Takkabel! (Terp) cd 17.98
It must seem like we're on the Terp payroll or something by now, this being the second record they've put out that's received record of the week honors here at aQ. And the fourth or fifth that we've raved about. And to be totally honest, the Terp releases that ended up -not- being records of the week, could very well have under different circumstances, as they are equally as amazing. What can we say, everything Terp has put out so far has totally and completely blown us away! The live Konono record, the gorgeous Lanaya record and this newest release from blind Ethiopian vocalist Mohammed 'Jimmy' Mohammed. His story is just as amazing as his voice and the music he makes. After becoming blind as a child, supposedly as a curse for his parents' decision to ignore the warnings of a fortune teller and baptize him, as God had willed him to be a Muslim, Mohammed ran away and spent several years on the streets, homeless, begging for food, finding solace in the songs of legendary vocalist Tlahoun Gessesse (immortalized in several volumes of the amazing Ethiopiques series) who not only sang beautifully, but whose songs addressed the plight of the poor and suffering. Mohammed was eventually discovered and cared for, enrolled in a school for the blind and raised by a kind hearted surrogate father. After money was raised to help restore his sight, he was heartbroken to discover the funds were stolen and his eyesight was never to be restored. Mohammed spent a brief stint in the national theater before becoming a nightclub singer, where he became more and more popular. Mohammed mostly sings Tlahoun Gessesse's pop songs from the '60s / '70s, being as those are the songs that most affected him throughout his life, but it's his voice and the unique arrangements that make him so special.
He appeared briefly on Ethiopiques 2 but this is his first proper full length. The first track here is a mindblower. The music is so squiggly and complex, so dense and tangled, angular but so lovely, our first thought was that it sort of sounded sort of like the maniacal casio exotica of Aavikko. Part of it might be the fact that Mohammed's band is augmented on that track by legendary European free jazz drummer Han Bennink, and Massimo Pupillo from Italian drone jazz combo Zu. SO amazing. There are plenty of immediately recognizable melodies and distinctly Ethiopian elements, but the way it is played is so strange and lovely. But it's Jimmy's vocals, high and clear, swooping into an impossible falsetto and back again, warm and rich and so gorgeous, that makes this so magical. Bennink drums on a handful of the other tracks as well (he apparently told Jimmy that the reason they clicked so perfectly was because, he said "I'm blind as well when I play with them") but even when it's just Jimmy and his band, the sound is still totally unique and so very special. Little delicate curlicues of electric krar (5 string harp), shuffling skittery drumming, smooth slithery riffs, warm smooth sax from Ethiopian legend Getatchew Mekurya, all weaving a rich intricate tangle of classic Ethiopian melody and irresistibly groovy rhythms, above which Jimmy just soars, so totally emotional and intense, so passionate and absolutely breathtaking.
MPEG Stream: "Aykedashem Lebe"
MPEG Stream: "Sethed Seketelat"

album cover MOHAVE TRIANGLES Eternal Light Of The Desert Plateaus (Hooker Vision) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Altered state exploration and bedroom mysticism is on tap from North Carolina's Robert Thompson, who's taken up the moniker Mohave Triangles. Thompson has crafted the standard fair torrent of cassette releases, now offering his wares through the shambolic cottage industry label Hooker Vision out of rural Georgia. This tape opens with a spoken word segment from a Native American shaman explaining a recurrent prophecy about a messenger arriving at the end of a cycle of time. With accompanying ambience, the piece closely resembles the beginning of Godspeed! You Black Emperor's F#A# lp. But instead of orchestrated rock crescendo, Thompson zones out a very hypnotic piece of murky ambience, one that would harken back to classic Zoviet France or perhaps Basinski's shortwave compositions, through the hazy mirage of slowly repeating, constantly shimmering sounds. Elsewhere, he picks up the guitar, dialed into plenty of looping patterns, delays, and effects, skewing the Mark McGuire sound towards a freeform approach to avant-trance dronescaping. Limited to 100 copies!

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