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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.


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 17.98
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"

MOHAMMAD Spiriti (Antifrost) 3lp 55.00

album cover MOHAMMAD Zo Rel Do (Antifrost) cd 14.98
We've been obsessed with this Greek trio since we first heard their Som Sakrifis lp on Pan, a gorgeous collection of ultra low end minimalism, haunting, rib cage rattling drones, and ritualistic bass tone soundscapes, so much so that ever since, we've done our best to track down every single thing we could find.
This new one is the first in a three part trilogy, and finds the Mohammad trio, employing cello, contrabass and electronics to once again craft a stunning landscape of hushed sound, but unlike much of the music on those other releases, which took the instruments and transformed them into nearly unrecognizable sounds, blurred into softly undulating layers, and slow moving tectonic shimmers, the sounds here are much more organic, in fact, for the bulk of the record, Mohammad sound like a proper string section, albeit all VERY low strings.
The record starts with a field recording, voices, whipping wind, children laughing and playing, fluttering flutes, which quickly segues into a thick field of buzzing strings, but mysteriously arranged into something much more percussive and abrasive, the strings more scraped than bowed, the sounds percussive and rhythmic, haunting and sinister. The electronic component this time around is also subtle, adding texture more than anything else, the scraping strings, warm and reverberant, the melodies mournful and melancholic, often blurring into long form tones, and unfurling clouds of subtle overtones, with some of the tracks inserting long stretches of near silence, creating an even more mysterious low end landscape, and conversely, some of the tracks build to near cacophonous levels, the sound nearly psychedelic, before settling once again, into something melancholic and moody, the second to last track, maybe the most achingly beautiful of the bunch, before the closer, which bookends the record with what sounds like a nighttime field recording of crickets, mysterious and lovely.
Fantastic as always, and while this is in constant rotation around the shop, we find ourselves already looking forward to the 2nd and 3rd parts of the trilogy...
MPEG Stream: "Urso Nesto"
MPEG Stream: "Grabe"
MPEG Stream: "Kabilar Mace"
MPEG Stream: "Samarina"

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!

album cover MOHN s/t (Kompakt) cd 16.98
We're a bit crazy about Wolfgang Voigt around here, especially in his guise as Gas, whose small body of work perfectly embodies what we now have come to know as Pop Ambient, the four Gas records ranking as most aQ-ers FAVORITE electronic records ever, records which also managed to make almost every one we know, whether they liked 'techno' or not, OBSESSIVE about techno music, albeit a very specific, very un-techno sounding variant. And in fact the Kompakt label, which Voigt runs, has pretty much redefined minimal techno, and like Gas, helped convince techno haters, that they didn't in fact hate techno, they just hadn't heard the right techno.
Mohn is a new duo consisting of Voigt, and his long time collaborator Jorg Burger (The Modernist), who have recorded together in the past as Burger/Ink and Burger/Voigt, but where those records were more beat driven, and yeah, more techno, this Mohn record is something else altogether, a swirling heady mix of cinematic drones, of soundtracky ambience and haunting beat driven atmospheres, the beats here less dancefloor driven and more part of the duo's sonic palette, as they strive to conjure up some other futuristic soundworld that to our ears sounds like a mix of the dystopian future worlds of Blade Runner and Escape From New York, with the more clinical alternate futures of Logan's Run and Gattica, the record's opener setting the scene with a dense sprawling drone, woven together from deep pulsations, and crumbling distorted buzz, a blurred chordal shimmer smeared into a hazy ambience, that is at once darkly mysterious and hauntingly ominous,. The track is flecked with strange swooping electronics, and hushed barely there beats, slowly building to something majestic and sinister and downright menacing.
The vibe switches dramatically though as the second track introduces strange looped and layered almost operatic vocal snippets, over a skittery skeletal shuffle, and woozy blooping melodies, the first half nearly ambient, the second a twisted bit of super abstract ping ponging digidub, that again, is less about propulsion and groove that texture and timbre, and like that first track, it's evocative of some otherworld and similarly strangely cinematic. "Ambientot" begins as a sort of electronic slowcore, creeping and slithering, the main 'groove' wreathed in lush swirls of faux strings and swoonsome synths, that to these ears make this sound like it could be "Love Theme from Mohn", a hauntingly romantic shuffling drift, rife with strange melodies and mesmerizing (often backwards) effects. "Saturn" finds the duo drifting into Carpenter / Goblin territory, a sort of pulsing eighties VHS synthscape, which the duo quickly and deftly transform into something much more mysterious, deep doomy pulses, swirling swaths of fluttery effects, softly shimmery synths, the whole thing gradually transforming, sounding in fact a bit like an electronic/synth take on the brooding slowbuild jazz of the Necks.
The rest of the record continues to paint a sonic picture of this imaginary future, taking much more recognizable minimal electro-dub, and wreathing it in a woozy shuffling rhythm, and a thick fog of smeared synth and blurred FX, or unfurling lush gaseous expanses of hiss and hum, billowing dreamily over muted melodies, and ever shifting textures, wedding crackly buzz to Tangerine Dream like synthscapery, and wrapping it in a prismatic haze of softly roiling electronic percussion and sublimated effects. "Mohn" strangely enough might be the most 'techno' of the bunch, but even here, the sound is smeared into an almost aqueous dronescape, the beats seeming to hang weightless, drifting to and fro, as if driven by some strange tidal influence, all the while the background blossoming like a time lapse filmstrip, growing ever so much more washed out and ethereal, before finally finishing off with a dreamy, but strangely convoluted chunk of Pop Ambience, the sounds all hushed and hazy, dreamy and drifty, but the arrangement, stuttery and glitchy, the lurching stop/starts, giving the amorphous soundscape a strange sort of non-rhythm, which makes it all the more compelling, and strangely mesmerizing.
So gorgeous. Absolutely recommended for fans of all the Pop Ambient collections, as well as the Gas records, but really, anyone into dark electronic soundscapes and mysterious cinematic minimalism will easily fall under Mohn's spell.
MPEG Stream: "Einrauschen"
MPEG Stream: "Schwarzer Schwan"
MPEG Stream: "Wiegenlined"

album cover MOHN s/t (Kompakt) 2lp 29.00
We're a bit crazy about Wolfgang Voigt around here, especially in his guise as Gas, whose small body of work perfectly embodies what we now have come to know as Pop Ambient, the four Gas records ranking as most aQ-ers FAVORITE electronic records ever, records which also managed to make almost every one we know, whether they liked 'techno' or not, OBSESSIVE about techno music, albeit a very specific, very un-techno sounding variant. And in fact the Kompakt label, which Voigt runs, has pretty much redefined minimal techno, and like Gas, helped convince techno haters, that they didn't in fact hate techno, they just hadn't heard the right techno.
Mohn is a new duo consisting of Voigt, and his long time collaborator Jorg Burger (The Modernist), who have recorded together in the past as Burger/Ink and Burger/Voigt, but where those records were more beat driven, and yeah, more techno, this Mohn record is something else altogether, a swirling heady mix of cinematic drones, of soundtracky ambience and haunting beat driven atmospheres, the beats here less dancefloor driven and more part of the duo's sonic palette, as they strive to conjure up some other futuristic soundworld that to our ears sounds like a mix of the dystopian future worlds of Blade Runner and Escape From New York, with the more clinical alternate futures of Logan's Run and Gattica, the record's opener setting the scene with a dense sprawling drone, woven together from deep pulsations, and crumbling distorted buzz, a blurred chordal shimmer smeared into a hazy ambience, that is at once darkly mysterious and hauntingly ominous,. The track is flecked with strange swooping electronics, and hushed barely there beats, slowly building to something majestic and sinister and downright menacing.
The vibe switches dramatically though as the second track introduces strange looped and layered almost operatic vocal snippets, over a skittery skeletal shuffle, and woozy blooping melodies, the first half nearly ambient, the second a twisted bit of super abstract ping ponging digidub, that again, is less about propulsion and groove that texture and timbre, and like that first track, it's evocative of some otherworld and similarly strangely cinematic. "Ambientot" begins as a sort of electronic slowcore, creeping and slithering, the main 'groove' wreathed in lush swirls of faux strings and swoonsome synths, that to these ears make this sound like it could be "Love Theme from Mohn", a hauntingly romantic shuffling drift, rife with strange melodies and mesmerizing (often backwards) effects. "Saturn" finds the duo drifting into Carpenter / Goblin territory, a sort of pulsing eighties VHS synthscape, which the duo quickly and deftly transform into something much more mysterious, deep doomy pulses, swirling swaths of fluttery effects, softly shimmery synths, the whole thing gradually transforming, sounding in fact a bit like an electronic/synth take on the brooding slowbuild jazz of the Necks.
The rest of the record continues to paint a sonic picture of this imaginary future, taking much more recognizable minimal electro-dub, and wreathing it in a woozy shuffling rhythm, and a thick fog of smeared synth and blurred FX, or unfurling lush gaseous expanses of hiss and hum, billowing dreamily over muted melodies, and ever shifting textures, wedding crackly buzz to Tangerine Dream like synthscapery, and wrapping it in a prismatic haze of softly roiling electronic percussion and sublimated effects. "Mohn" strangely enough might be the most 'techno' of the bunch, but even here, the sound is smeared into an almost aqueous dronescape, the beats seeming to hang weightless, drifting to and fro, as if driven by some strange tidal influence, all the while the background blossoming like a time lapse filmstrip, growing ever so much more washed out and ethereal, before finally finishing off with a dreamy, but strangely convoluted chunk of Pop Ambience, the sounds all hushed and hazy, dreamy and drifty, but the arrangement, stuttery and glitchy, the lurching stop/starts, giving the amorphous soundscape a strange sort of non-rhythm, which makes it all the more compelling, and strangely mesmerizing.
So gorgeous. Absolutely recommended for fans of all the Pop Ambient collections, as well as the Gas records, but really, anyone into dark electronic soundscapes and mysterious cinematic minimalism will easily fall under Mohn's spell.
MPEG Stream: "Einrauschen"
MPEG Stream: "Schwarzer Schwan"
MPEG Stream: "Wiegenlined"

album cover MOHNE, ACHIM And It Could Have Been Dead... (The Tapeworm) cassette 8.98
One of two new cassettes on this week's list from UK cassette label The Tapeworm, the other a weird bit of haunting minimal living room ambient electronica slowcore from Old Apparatus, and this collection of tape experiments from multimedia artist/musician Achim Mohne, whose sounds sources are almost as interesting and baffling as what he does with those sources, a 1982 instructional tape for a Blaupunkt tape player, that overlaps various instructions in different languages, as well as adding blasts of white noise, overlapping the various different styles of music offered as samples, and messing with the tape speed. A serious blast of Plunderphonia for sure.
Then there's a track that uses as its source a 1999 performance for disassembled VCR's, video monitors, glue, medical gloves and rubbing alcohol, with Mohne cutting up the tapes, taping them back together, and manipulating them over the VCR's playback heads, the result is a dark, woozy assemblage of hiss and warble, whirs and disembodied voices, snippets of music and dialogue, deep rumbling tones and plenty of glitch and thrum and buzz, it sounds a bit like something you'd hear on Raster-Noton, albeit a bit more collaged, homebrewed and lo-fi. Another track is a live performance for multiple turntables and cassette recorders, and finds Mohne mixing a dizzying onslaught of different musics and sounds, from pop to noise, from metal to classical, all chopped up and looped and layered, almost like a skipping Negativland cd, or some sort of John Oswald / Philip Jeck DJ set.
There are a couple tracks that employ handheld recorders, one that uses recordings of fairy tales, another that's a sort of twisted Jeck style tape player / turntable mash up, those all murky and muted and droned out and atmospheric, and then prepare yourself for the final jam, a super short ultra dense blast of tape noise, that's actually the beginnings and ends of the first 34 releases on The Tapeworm label! Cool twisted stuff, that ends up being surprisingly haunting and beautiful much of the time. And features an awesome (and awesomely creepy) cover drawing of some character called Pooman, in a drawing called "The Tapewyrm Will Drive Out Any Stuck Up Turd With Fragrant Sound!" Indeed!

album cover MOHO ...He Visto La Cruz Al Reves (Thorne) cd+dvd 17.98
By way of Madrid Spain comes Moho (mold in Espanol), a three piece juggernaut of dirt head rock fury so ferocious they give seasoned rockers like High On Fire, Electric Wizard, EyeHateGod & Grief a serious run for the (drug) money.
"....He Visto La Cruz Al Reves" (loosely translates to "I Have Seen The Cross Of The Misfortune" or better yet "I Have Seen The Cross Inverted!") is a furious groovy sludge rock jam, a stoned stumble through the garden at midnight.
Many of the songs start with big fat riffs, slowly building into some serious sludgy groove, drifting way off, gradually working up to a loping midtempo, before dragging it back down into the murk.
Moho are fully capable of kicking it up a notch too, but on this release (their second outing), Moho tend to lay way back "in the pocket" and just bludgeon your blissed-out melon over and over again in a "let's-beat-these-instruments-to-death-till-they-are-destroyed -over-and-over-again!!!" kind of way, and at the same time, a furious throat-full-of-rocks vocalist is howling wildly right in your ear - in Spanish no less - so don't fight it, just GIVE IN to the supreme Hessian power of Moho!
Comes with a DVD chock full of live footage of the band in small venues, "passing the pipe" and rocking out at a house party. They definitely look like they are a fun band to see play live...
A great hard to pin down metal outfit you should most definitely check out!
MPEG Stream: "Semana Santa"
MPEG Stream: "El Duela"

album cover MOHOLY-NAGY Like Mirage (Temporary Residence Ltd.) cd 13.98
The former core trio of post rock combo Tarentel (Jefre Cantu-Ledesma, Danny Paul Grody and Trevor Montgomery) have been on a roll lately, releasing tons of solo, side projects and collaborative efforts! Danny and Trevor are both in The Drift and synth duo Believer, which both have new releases out or coming soon. Danny has got a new solo album on Students of Decay that'll be here shortly. Trevor has been on the last two Date Palms records and released the Isidore Ducasse lp with Jefre, and Jefre has released recently a solo album on Type and a record with his other outfit, The Alps on Mexican Summer. Hardest working local musicians? Maybe so now that the three of them have reunited together in this new outfit, Moholy-Nagy (rhymes with mirage, hence the title of the album, Like Mirage). Named after the Bauhaus artist and professor whose photogram experiments and industrial design aesthetic have made him known as one of the fathers of Light Art, the band have made a gorgeous record of light-searching cosmic excursions utilizing synths, piano, pastoral guitar and drum machine. Dreamy and drifting but also focused and grounded, Like Mirage hones the strongest sensibilities of each member into something truly collaborative. And though cosmically charged music has been the modus operandi of all three members through most of their side and solo projects and labels, Like Mirage manages to sound completely distinctive from their other projects which is a strong indicator of the masterful musicianship each one brings to the table. Beautiful stuff!
MPEG Stream: "Tears Of The Prophet"
MPEG Stream: "Brute Neighbors"
MPEG Stream: "Sunday Brunch"

album cover MOHOLY-NAGY Like Mirage (Temporary Residence Ltd.) lp 15.98
The former core trio of post rock combo Tarentel (Jefre Cantu-Ledesma, Danny Paul Grody and Trevor Montgomery) have been on a roll lately, releasing tons of solo, side projects and collaborative efforts! Danny and Trevor are both in The Drift and synth duo Believer, which both have new releases out or coming soon. Danny has got a new solo album on Students of Decay that'll be here shortly. Trevor has been on the last two Date Palms records and released the Isidore Ducasse lp with Jefre, and Jefre has released recently a solo album on Type and a record with his other outfit, The Alps on Mexican Summer. Hardest working local musicians? Maybe so now that the three of them have reunited together in this new outfit, Moholy-Nagy (rhymes with mirage, hence the title of the album, Like Mirage). Named after the Bauhaus artist and professor whose photogram experiments and industrial design aesthetic have made him known as one of the fathers of Light Art, the band have made a gorgeous record of light-searching cosmic excursions utilizing synths, piano, pastoral guitar and drum machine. Dreamy and drifting but also focused and grounded, Like Mirage hones the strongest sensibilities of each member into something truly collaborative. And though cosmically charged music has been the modus operandi of all three members through most of their side and solo projects and labels, Like Mirage manages to sound completely distinctive from their other projects which is a strong indicator of the masterful musicianship each one brings to the table. Beautiful stuff!
MPEG Stream: "Tears Of The Prophet"
MPEG Stream: "Brute Neighbors"
MPEG Stream: "Sunday Brunch"

album cover MOIN Murphy (Blackest Ever Black) 12" 15.98
This is not at all what we were expecting, but holy shit, is it cool. Moin is actually a side project / offshoot of Raime, whose gorgeously murky and bleak exercise in creeping, claustrophobic, electronic minimalism, Quarter Turns Over A Living Line, was a HUGE favorite around here, but as Moin, that sound gets recast as something less electronic, and more, well, sort of noise rock, for lack of a better descriptor. If it's at all possible, and judging from this, it most certainly is, Moin is like a weird noise rock version of Raime, the programmed beats, replaced by dense, motorik, muscly drumming, the various loops and layers transformed into spidery minor key guitar melodies, the vibe propulsive, hypnotic, tranced out, and still very very dark. Imagine an even more stripped down Laddio Bollocko, the 'band' locked into seemingly simple hypno-rock grooves, and just churning out totally mesmerizing, shadowy heaviness. Opener "Murphy" almost sounds like a Sling outtake, fused with a little Rapeman, with some Godspeed ambience mixed in. And if that sounds like impossible band math, well, we would have thought so too. "Stacie" (all the tracks have people names, a la the first Slint record too, hmm), is much more stripped down and low slung, arranged more like an electronic track, brooding and slow building, more about the vibe, and the mood, and the rhythm, and the texture, the guitars crumbling and crunchy, but spare and sparse, melancholic and haunting. And finally "Clancy" lays down a mathy stuttery beat, beneath sheets of feedback, before the main riff rolls in, another strange sample layered over the top, the guitars jagged and percussive, very Albini-esque for sure, but even more restrained and textural, all with a sort of post punk / industrial feel, and like the other two tracks, totally trancey, minimal noise rock nirvana!
MPEG Stream: "Murphy"
MPEG Stream: "Clancy"

MOIRA SCAR Scarred For Life (Resipiscent) lp 15.98

album cover MOIRA SCAR Slink to Intensity (self-released) cd 9.98
Do you like your rock 'n' roll a little, um, weird? Moira Scar, the catchily jarring new project from Roxy and LuLu of Floating Corpses infamy, touch all the right nerves with their first self-titled release. The opening number, "Salley Meander", sounds like The Crystal Stilts if Brad Hargett sang in falsetto. "You Make Me Scream" channels The Cramps pretty heavily and is complimented by some free-floating psychedelic synths and horns. "Blood Moon" finishes off the first side nicely with more horns, a cacophony of horns, in fact, one that brings to mind the jazzier moments of The Nation of Ulysses or Veronica Lipgloss and the Evil Eyes. By far the best track on the record, "Gnu Groove (Wildebeest Wiggle)", opens up the second side. Roxy's vocals flow from falsetto to baritone to passionate screaming all within about ten seconds, riding the wave of jangly guitars and a simple but effective drum beat. Not to mention the awesomely anticlimactic guitar solo..... This record, clocking in at just under 23 minutes, will have you flipping back to side A just after side B spins to a close. Highly recommended!
MPEG Stream: "Salley Meander"
MPEG Stream: "Blood Moon"
MPEG Stream: "Gnu Groove (wildebeest wiggle)"

album cover MOIRA SCAR Slink to Intensity (self-released) lp 13.98
Do you like your rock 'n' roll a little, um, weird? Moira Scar, the catchily jarring new project from Roxy and LuLu of Floating Corpses infamy, touch all the right nerves with their first self-titled release. The opening number, "Salley Meander", sounds like The Crystal Stilts if Brad Hargett sang in falsetto. "You Make Me Scream" channels The Cramps pretty heavily and is complimented by some free-floating psychedelic synths and horns. "Blood Moon" finishes off the first side nicely with more horns, a cacophony of horns, in fact, one that brings to mind the jazzier moments of The Nation of Ulysses or Veronica Lipgloss and the Evil Eyes. By far the best track on the record, "Gnu Groove (Wildebeest Wiggle)", opens up the second side. Roxy's vocals flow from falsetto to baritone to passionate screaming all within about ten seconds, riding the wave of jangly guitars and a simple but effective drum beat. Not to mention the awesomely anticlimactic guitar solo..... This record, clocking in at just under 23 minutes, will have you flipping back to side A just after side B spins to a close. Highly recommended!
MPEG Stream: "Salley Meander"
MPEG Stream: "Blood Moon"
MPEG Stream: "Gnu Groove (wildebeest wiggle)"

album cover MOISTBOYZ III (Ipecac) cd 17.98
Record number three (duh) from this WEEN sideproject and their first for Mike Patton's Ipecac label. Just like their other two. BIG DUMB COCK RAWK!! With a pinch of metal. A sick mix of AC/DC, the Dwarves, ZZ Top, Antiseen, Judas Priest and Loverboy. Or something like that.
And featuring inspired WEEN-ish lyrics like:
"Smelly like a cheesy meal
Got some poopy on your heels
Monkey on the gag reel
Tell me how you really feel
Driving down your burger brains
Standing in the pissy rain"
Weird and stupid and rocking and pretty fun(ny).
RealAudio clip: "Shitheel"

MOJAVE 3 Excuses For Travellers (4AD) cd 23.00
Import version. As with their last album, this won't see US release for many months (September, we're told).

album cover MOJAVE 3 Puzzles Like You (4AD) cd 13.98
Mojave 3 goes bubblegum? Well not exactly, but kind of. This is for sure the brightest, most upbeat, fun in the sun record Neil Halstead and co. have ever made. Initially we were a bit boggled by this turn of events -- it's such a disarming contrast to his past Mojave 3 and Slowdive recordings -- but we've found Puzzles' perky charms pretty hard to resist. Whereas 2003's dreamily hushed Spoon And Rafter was an absolutely perfect album for staying inside, sitting by the window on a drizzly day with a hot cup of cocoa, Puzzles Like You beckons you to frolick in the flowerbed.
MPEG Stream: "Puzzles Like You"
MPEG Stream: "You Said It Before"

album cover MOJAVE 3 Puzzles Like You (4AD) lp 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mojave 3 goes bubblegum? Well not exactly, but kind of. This is for sure the brightest, most upbeat, fun in the sun record Neil Halstead and co. have ever made. Initially we were a bit boggled by this turn of events -- it's such a disarming contrast to his past Mojave 3 and Slowdive recordings -- but we've found Puzzles' perky charms pretty hard to resist. Whereas 2003's dreamily hushed Spoon And Rafter was an absolutely perfect album for staying inside, sitting by the window on a drizzly day with a hot cup of cocoa, Puzzles Like You beckons you to frolick in the flowerbed.
MPEG Stream: "Puzzles Like You"
MPEG Stream: "You Said It Before"

album cover MOJAVE 3 Spoon and Rafter (Matador) cd 14.98
Beautiful! Truly, Neil Halstead and co. are shining models of quality and consistency. Album number four starts off on the right foot with the languid nine minute long "Bluebird Of Happiness", and carrying on from there delivers more of the same gorgeously hushed, delicate pop for which Mojave 3 are not nearly well enough known and loved. Each of the songs on Spoon And Rafter is a luminous, glistening treasure. If you're prone to song-triggered weeping sessions, be forewarned that this band has the crushingly bittersweet goods to gently pull those heartstrings 'til they break. That said, Mojave 3 can also pep things up to a perfect driving-along-the-beach tempo ("Billoddity"), slow things down to the most spartan, wistful balladry ("Hard To Miss You"), and then take a stroll beneath the willows ("Tinkers Blues"). Very recommended!
MPEG Stream: "Billoddity"
MPEG Stream: "Bluebird Of Happiness"
MPEG Stream: "Tinkers Blues"

album cover MOJO April 2010 magazine 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Always a great read, and lots of it, 146 pages this ish. Peter Gabriel is on the cover, also inside you'll find stuff on everyone from the 13th Floor Elevators to Courtney Love to Serge Gainsbourg to Judy Collins to the Eels... plus all the usual reviews, news, etc. And also you get a free compilation cd devoted to "Dream Pop" featuring tracks by Cocteau Twins, Sigur Ros, Panda Bear, Felt, Mercury Rev, Cluster & Eno, Beach House, Galaxie 500, etc. Nice.

album cover MOJO August 2009 magazine+cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The UK magazine for music both classic and indie is back with another big issue. On the cover, Mojo's "band of the year", Fleet Foxes. Also they honour a bunch of other of their faves, including Yoko Ono, ZZ Top, and Johnny Marr. Then there's stuff on Tinariwen, TV On The Radio, Blur, and a rare interview with Bob Dylan. And there's more, the usual ton of reviews and news and stuff. Also there's a look back at the Rolling Stones' famous 1969 Hyde Park concert. AND as always there's a cd (in jewel case!) stuck to the cover, this time a comp called New Harvest of "modern North American song" including tracks by Fleet Foxes, Bill Callahan, The Dodos, Iron & Wine, and others.

album cover MOJO August 2010 magazine + cd 9.99
The Boss is on the cover, as is a bonus cd comp of some of Springsteen's favorite songs (by the likes of Calexico, Neko Case, Jimmy Reed, Alan Vega, and others). Also, inside: Joanna Newsom, Devo, Ozzy, Ian Hunter, and lots more including the usual news, reviews, etc. that makes this British magazine a must for most music fans...

album cover MOJO December 2009 magazine + cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Pink Floyd's Roger Waters is on the cover, providing an exclusive interview about The Wall, on that album's 30th anniversary. The cover-mounted bonus cd is part one of a two-disc Wall covers collection (disc 2 next ish), the track-by-track rerecording of the entire thing by (on this disc) such diverse bands as Papercuts, Ulver, and Astra!
Ok, don't care about The Wall? Well there's also stuff about / interviews with U2, Woody Guthrie, Gene Simmons of KISS, Norah Jones, Mott The Hoople, The Specials, and more. Plus all the usual columns and reviews and whatnot.

album cover MOJO February 2009 magazine 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Latest issue of one of our favorite mags, one we read cover to cover, even if on first glance the contents don't seem that interesting. Every issue we just glance at some article, and end up engrossed and read the whole thing.
This month MOTOWN! The 100 greatest tracks as selected by various other musicians: Iggy Pop, the MC5, Johnny Marr, the Clash, and more.
Plus, Todd Rundgren, Franz Ferdinand, Mitch Mitchell, as well as loads of reviews and columns and whatveer else they can pack in there.
Plus includes a cd packed with rad Motown hits and rarities.

album cover MOJO February 2010 magazine + cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Jimmy Page is the cover star. Inside, everything from Shane Macgowan to Midlake to Slayer! (The latter article specifically being about their signature speed metal album Reign In Blood). Plus there's the usual ton of reviews and news and "this month back then" features... Also this issue, Mojo's 2010 releases preview.
Oh, and there's a free cd on the cover, compiled by The Amorphous Androgynous (the psychedelic DJ alter ego of members of FSOL), a pretty killer mix including cuts by Comus, Can, Shogun Kunitoki, Can, July, Dungen, Jean-Claude Vannier, and others.

album cover MOJO issue #179 October 2008 magazine + cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's not just more metal magazines that we have started stocking. At long last, we're also now regularly gonna be carrying the mighty MOJO magazine. Another British publication (why are so many of our favorite music mags from England? The Wire, Terrorizer, Classic Rock...). Mojo, as you may know, covers the pop/rock scene from the past to the present, usually delving into rock history (the '60s, '70s, '80s...) while also covering all the latest, hippest indie rock sensations. For the music lover/AQ customer who's not just only into floorcore cd-rs and black metal cassettes and drone vinyl, it's gonna have plenty of stuff you'll want to read about, in fascinating depth.
This October issue: Queen on the cover (they have a new album, with Paul Rodgers replacing the late Freddie Mercury, though we're a little nervous to hear it). Inside: Dave Gilmour, The Last Shadow Puppets, The Fugs, Bon Iver, and more. Reviews, news, all that good stuff. 154 big colorful pages of it. Plus, there's a cover-mounted cd (in a jewel case!) featuring exclusive cover versions of songs from the Beatles' White Album.

album cover MOJO January 2010 magazine + cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Part two of Mojo's celebration of the 30th anniversary of Pink Floyd's The Wall, with an interview about the movie version with director Sir Alan Parker and animator Gerald Scarfe, and (glued to the cover in a jewel case) a second disc of re-recordings, track-by-track, of The Wall by a bunch of cool folks including Diagonal, Peter Broderick, Crippled Black Phoenix, The Soundcarriers, and others.
Also this ish: A 15 page section about Mojo's Top 50 albums etc. of 2009 (#1 album = Animal Collective), cover star Dave Grohl, Tom Petty, Sting, SUNNO))), Brian May, news, reviews, charts, and plenty more. Always lots to read in any issue of Mojo!

album cover MOJO July 2010 magazine + cd 9.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Special 200th issue of this always enlightening and interesting (and 154 pages thick) UK music mag. Guest-edited by cover star Tom Waits! Inside, they bring out the big guns: Johnny Cash, White Stripes, Led Zeppelin, The Beatles, U2, Radiohead, Bob Dylan, Harry Belafonte, Nirvana, Arctic Monkeys, and more!! Lots more. Including the usual free cd stuck to the cover, compiled and sequenced by Mr. Waits.

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