MIXMASTER MIKE Anti-Theft Device (Asphodel) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. The sexy mustachioed Invisible Skratch Pikl, and now Beastie Boys DJ, breaks out with this excellent full length. As Oliver Wang rightly points out in the SF Bay Guardian, this record is worlds apart from the recent Shiggerfragger Skratch Piklz cd, which featured multi-turntable improvisations. Anti-Theft Device is more tightly composed, never lets up for a second -- it's clear that the Mix Master worked really hard on this record... and has come up with a full on car-stereo-worthy beatbox classic. Refreshingly free of "filler", and most of us here think it is much better than the Beastie Boys record. Lastly, the CD booklet folds out into a mini-poster.
MIXMASTER MIKE Bangzilla (Scratch Recordings) cd 15.98
Maybe I haven't had enough coffee today or my cold is blocking these beatz from my brain, but San Francisco native Mix Master Mike (see also Invisibl Skratch Piklz; see also Beastie Boys) bringz it hard with his newest releaze, Bangzilla. MMM's technique is maztered here and with no MC diztraction, hiz mixez are of a near-vomituz rate. But iz it awezome? Indeedz.
"Bangzilla" MPEG Stream:
MIXMASTER MIKE Eye Of The Cyklops (Asphodel) cdep 6.98
Beastie Boys' DJ and Scratch Pikl MMM is back on wheels of steel with this four-track ep.
MIXMASTER MIKE Return Of The Cyklops (Asphodel) cd 13.98
Beastie Boys' DJ and Scratch Pikl MMM returns with the follow-up to his cdep Eye Of The Cyclops.
MIXMASTER MIKE Suprize Packidge (Asphodel) 12" 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. One of the very best, dynamic and exciting pieces from Mike's recent Anti Theft Device album, "Suprize Packidge" utilizes a cool sample from "The Taking of Pelham 123", and is here presented in its original form plus a remix by the ubiquitous Automator (we mean that in a nice way, Dan). Also included are three other pieces, at a very budget price for the cd format. You can't go wrong.
MIXMASTER MIKE Suprize Packidge (Asphodel) cdep 3.98
One of the very best, dynamic and exciting pieces from Mike's recent Anti Theft Device album, "Suprize Packidge" utilizes a cool sample from "The Taking of Pelham 123", and is here presented in its original form plus a remix by The Ubiquitous Automator (we mean that in a nice way, Dan). Also included are three other pieces, at a very budget price for the cd format. You can't go wrong.
MIXMASTER MIKE Valuemeal 12 Inch Combo Deluxe (Asphodel) 12" 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. 3 turntablist pieces from the sexiest Skratch Pikl.
MIXMASTER MIKE Wrists of Fury (ISP Vision) videotape 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. There's a disembodied cartoon wrist on cover.
MIZUTANI, KIMIO A Path Through Haze (Bamboo) cd 17.98
Yay, the '70s Japanese psych rock reissues continue! Years ago this one was available on cd as a fancy expensive Japanese import, but that's been gone for ages so it's nice to have this new reish. A Path Through Haze (great title, eh?) is the mostly instrumental 1971 solo album from acid guitarist Mizutani, a fixture of the scene as a session axe, you'll find him supplying the fuzzed out leads on such records as Love Live Life +1's Love Will Make A Better You and People's Ceremony - Buddha Meets Rock. With this, he stepped out on his own with what proved to be his only album as leader. It's an ambitious affair, employing not only an all-star cast of his heavy friends from the psych scene, but also both string quartet and woodwind quartets. Also prominent on this record is the Hammond organ, piano, and Moog synth of Masahiko Satoh, who did his own album also entitled A Path Through Haze somewhat later. Confusing, eh? "A Path Through Haze" is also a song on both albums, it seems it's a Satoh composition. Here that song starts off with gentle keyboard shimmer, before Mizutani gets his licks in about halfway through, amidst much spaceiness of effects. And that's sorta how it goes with this record, lots of pretty keyboards, yes, plenty of nice moody melody, but Mizutani (usually) eventually unleashes the fuzz, particularly on rockier/riffier numbers like the Hendrix-y "One For Janis". The "chamber rock" restraint characteristic of some of this record only lasts so long, the likes of "Tell Me What You Saw" being a bit of a freak-out, with mathy prog rock rippage galore. And its Satoh's synth that goes nuts some of the time too. This one didn't make the top 50 in Julian Cope's Japrocksampler, by the way... in fact, he actually bags on this one a bit, but WE like it, so there. Cope also didn't like Foodbrain either. While we'll agree that we'd have been happy to hear Mizutani wail away here even more than he does, it's still a beautiful album, and even its most stonery sit-com soundtrack fusion moments have a certain charm.
"A Path Through Haze" MPEG Stream:
"Turning Point" MPEG Stream:
"One For Janis"
MIZUTANI, KIMIO A Path Through Haze (Bamboo) lp 24.00
Now, reissued on vinyl! Yay, the '70s Japanese psych rock reissues continue! Years ago this one was available on cd as a fancy expensive Japanese import, but that's been gone for ages so it's nice to have this new reish. A Path Through Haze (great title, eh?) is the mostly instrumental 1971 solo album from acid guitarist Mizutani, a fixture of the scene as a session axe, you'll find him supplying the fuzzed out leads on such records as Love Live Life +1's Love Will Make A Better You and People's Ceremony - Buddha Meets Rock. With this, he stepped out on his own with what proved to be his only album as leader. It's an ambitious affair, employing not only an all-star cast of his heavy friends from the psych scene, but also both string quartet and woodwind quartets. Also prominent on this record is the Hammond organ, piano, and Moog synth of Masahiko Satoh, who did his own album also entitled A Path Through Haze somewhat later. Confusing, eh? "A Path Through Haze" is also a song on both albums, it seems it's a Satoh composition. Here that song starts off with gentle keyboard shimmer, before Mizutani gets his licks in about halfway through, amidst much spaceiness of effects. And that's sorta how it goes with this record, lots of pretty keyboards, yes, plenty of nice moody melody, but Mizutani (usually) eventually unleashes the fuzz, particularly on rockier/riffier numbers like the Hendrix-y "One For Janis". The "chamber rock" restraint characteristic of some of this record only lasts so long, the likes of "Tell Me What You Saw" being a bit of a freak-out, with mathy prog rock rippage galore. And its Satoh's synth that goes nuts some of the time too. This one didn't make the top 50 in Julian Cope's Japrocksampler, by the way... in fact, he actually bags on this one a bit, but WE like it, so there. Cope also didn't like Foodbrain either. While we'll agree that we'd have been happy to hear Mizutani wail away here even more than he does, it's still a beautiful album, and even its most stonery sit-com soundtrack fusion moments have a certain charm.
"A Path Through Haze" MPEG Stream:
"Turning Point" MPEG Stream:
"One For Janis"
MIZUTANI, KIYOSHI Scenery Of The Border: Environments And Folklore Of The Tanzawa Mountains (And / OAR) 2cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. A few years back, Kiyoshi Mizutani ventured into the Tanzawa mountain range located to the southwest of Tokyo in order to document the sounds of that very isolated region. In the liner notes to this album, Mizutani explains that this region enjoys a complex history with centuries worth of military endeavors and legends including one tragedy which Mizutani alludes to about "the losing army's princess." Needless to say, the mountains may have been of strategic importance to any number of rival factions; but by now, their remoteness and desolation harbors only a small population. He focuses his attention upon three aspects of those mountains: the natural (which is the dominant voice of the Tanzawan environment), the ceremonial folklore of the people, and the residual noise of the man-made. Mizutani's love of bird sounds was evident on one of his early sound works simply entitled Bird Songs; and the spirited chatter of many a bird dots Mizutani's field recordings. Crickets, cicadas, and plenty of insect choruses also feature into Scenery Of The Border, as does a broad range of watery recordings from quiet drips from a misty rain to the immersive white noise of waterfalls. The few recordings that feature a human presence are of restrained Shinto and Buddhist ceremonies, which Mizutani mentions have rarely been heard outside of that region. It's these ritualistic stompings and hushed bits of chanting that stand amongst the highlights of this incredible field recording document.
"Hail At Mt. Tanzawa" MPEG Stream:
"Million Times Invocation Of Yozuku" MPEG Stream:
"Blue And White Flycatcher At Shiomizu Pass"
MIZUTANI, KYOSHI Bird Songs (Ground Fault ) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. During the '80s, Kyoshi Mizutani was a member of Merzbow with Masami Akita - the man who's name is often synonymous with Merzbow, in spite of the many individuals who have helped with his ongoing Merzbow project. For this album, Mizutani presents six different and mostly untreated field recordings with tenuous connections to bird songs. The first track features the most overt manipulation of the field recorings with Mizutani sampling and modulating the tweeting song of an Indian Tree Pipit. Mizutani's raw recordings also feature the strange call of a Ground Thrush in the midnight rain and the squawking of several ducks as the airplanes fly overhead their bird sanctuary. There's also a track in which Mizutani records a duet between himself spartanly playing a thumbpiano and the calls of a number of birds in the forest. While he's captured some nice sounds, his microphone is not quite as finely tuned as the ones used by Bernie Krause or Chris Watson.
MJ GUIDER Green Plastic (Constellation Tatsu) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
MLEHST Cunt Trouble (Monorail Trespassing) cassette 5.98
Yes, yes, yes, that is a very problematic title to a very good noise album. Mlehst has long been one of the stalwarts of the British noise community, releasing tons of micro-edition works in fits and starts since 1993. There's long been an unseemly psycho-sexual nature to the titles and artwork from Mlehst, who had cited that these references had much more to do with the surreal strangeness of sexual perversions rather than any prurient interest in them (pun very much intended); but it's hard to look the other way when it comes to an album with such a misogynistic declaration. Noise is inherently aggressive, but it is not inherently transgressive or inherently macho. There's no justification that we can offer to a title like Mlehst's Cunt Trouble; but we can say that the sounds within could have easily been lifted from the slippery controlled feedback drones that Arcane Device or Ryoji Ikeda had created circa 1992, albeit filtered through the sewer-stained gunk of some cassette left to fester in Mlehst's shed for a decade or so. It's actually very much akin to the recent Kleistwahr album that we listed recently, as a series of dense, psychically-charged, industrial-drone mantras flecked with diamond bright shimmers of shoegazing glassiness that then turn into a leaden-grey fog of rumble and crunch. The recordings do not deserve such a title. It's much better than that!
"A Pretorite Am I" MPEG Stream:
"Payment In Kind"
MNE-MIC Gulf Stream (Alchemy) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. Japanese noisicians Mayuko Hino (she of dripping candlewax on her naked body performance fame in her other band, CCCC) and Ranko Onishi (dunno much about her) here collaborate as Mne-Mic. Their album "Gulf Stream" is dominated by muffled blasts of synth-generated white noise, with distortion laden theremin warbles and distant screams. But their more subtle work with contact mic-ed buckets of water and Onishi's "fogphone" (which from the back photo appears to be smoke bellows) is even more effective in creating a jarring dislocation between the slashing noise and the brief interludes of silence. Scary, powerful stuff, culminating in the ultra drone-howl of the final, 16-minute track "A Sigh of Clam".
MNEM Hypstatic Ground (Drone Records) 7" 6.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. Drone Records -- run by Stefan Knappe of Troum and Maeror Tri -- exclusively produces seven inches mostly by emerging artists who specialize in expressive drone work (hence the label name). While there is something to be said for Drone's dedication to unknown artists, the work that comes from the ongoing series tends to be some of the best work from each of the artists' respective catalogues. This definitely includes more familiar names such as Reynols (with their infamous '10,000 Chicken Symphony'), Francisco Lopez, Spear, and Osso Exotico; but also lesser known artists such as Klood and Tarkatak. Drone tends to make small runs of these singles (usually about 250 copies and with handmade covers) and they always go fast. Mnem's "Hypstatic Ground" is another fine entry from the ongoing Drone series. It appears that Mnem is a couple of Finnish guys who have been tinkering around with the mechanisms of old reel-to-reel tape machines, to build warbling compositions of collaged creaks, clatterings, and buzzes with all sorts of slow descents into rumbling noise and infernal rhythmic grindings. If Philip Jeck ever wanted to make a piece that was seething and angry and subtly brutal, it would probably sound like this. Limited to 250 copies.
MNORTHAM :coyot: (Erewhon) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. Aeolian harps are relatively simple devices made from of a couple planks of wood and a taut wire, which are placed in relation to a wind source to transform the speed, force, and directionality of the air itself into an extended drone. David Kenny's Aeolian String Ensemble and Douglas Quin's Antarctica recordings (using ice instead of wood and wire) are previous examples we've mentioned of the amazing sounds that an aeolian harp can generate. Portland sound artist Mnortham received a commission to install a series of aeolian harps in an abandoned bunker found on an island off the coast of Finland. (Cool!) ":coyot:" is a collection of the transmuted sounds from the recordings that Mnortham made within that bunker, as well as from various field recordings culled from the exploration of the island's landscape. While the lengthy essay contributed by Giancarlo Toniutti offers a complex thesis on the relation of these recordings to the sky / wind / air mythologies of a number of ancient Nordic races, Mnortham's recordings succeed through their beautifully droning simplicity, much like Francisco Lopez or Jonathan Coleclough.
"Effects On Atmospheric Pressure On Air-Born Particles"
MNORTHAM Automnal 2003 (And / OAR) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. As of spring 2007, the nomadic lifestyle of Michael Northam may land the American born sound artist in New Delhi where he might manage a media arts facility or he might take up the humble calling of a gardener in the south of France, where he could find plenty of inspiration for his ecologically tinged compositions. The excitement, fear, and instability of not really knowing where housing might come from has been the existence for Mr. Northam for many years now, and he's always managed to build an impressively cohesive body of work through composition, performance, and exhibition. The Automnal 2003 disc was originally a self-published CD-R which Northam gave to his friends and colleagues as a testament to the benefits, joys, trials, and failures to his chosen lifestyle. During the 24 months between August 2001 and the autumn of 2003, Northam picked up and moved his studio 13 times across Europe and North America; and the three extended tracks on Automnal represent three particular places along that journey. The first track opens with a glassy drone of sustained string vibration which sound remarkably like the more pastoral tones of Phill Niblock. Aquatic rumblings and fluttering patterns emerge as complementary elements to the Northam's droning infinitude that aptly fits Northam's geographical subject, a glacier on the Switzerland / France border. The second track is my (Jim's) favorite piece that Northam has created to date. With a gaping low-end drone beautifully stacked with what seem to be choral harmonics built from the environmental recordings of crickets near a stream, Northam offers a breaktaking, nocturnal piece of activated ambience much like Zoviet France's Shadow Thief Of The Sun or Gas' Konigsforst minus the motorik rhythm, of course. For the finale of Automnal 2003, Northam presents a sinewy vibrational hypnosis that's quite similar in frequency to the first track, yet he manages to dislocate the bleary ambience with a subcutaneous stream of crackle and static. A wonderful record!
"Weave" MPEG Stream:
"Creek" MPEG Stream:
MNORTHAM Go (Ferns) 3" cd 9.98
This 3" CD from the always impressive sound artist mnortham (nee Michael Northam) was conceived as a tribute to his father who was a race car driver from 1949 until 1965. In those days, Northam's father strapped himself into what was quite literally a rocket of a car, as it was little more than a aerodynamic cylindrical frame, a beast of an engine, four wheels, and barely enough room to cram in the driver. While the sound artist Northam didn't have any archival recordings of the race car driver Northam as source material, mnortham did venture to the Terre Haute Raceway back in the summer of 2005. From the field recordings of that event, mnortham concocts a surprisingly elegant collage of cyclical tumblings and aerating sonic masses reflecting the centripetal forces of the human body when put under such rigorous conditions. As volatile and aggressive as the soundfield of raceways can be (one can look no further than the Santa Pod collection of racetrack recordings released by Ash International a few years back), mnortham has wholly avoided the Merzbowian noise precepts. While cacophonous in the truest sense of the word, Go is a certainly not a noise composition instead adhering to the signature aggregate sound of compounding and compacting layers of sound into a vulcanized, elliptical drone mass aiming for the elation from speed and acceleration over the testosterone implied by the roar of an engine. Very well done.
MNORTHAM Memoirs of Four Discarded Objects (Edition ... ) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
MNORTHAM Molecular Knot Phase One (Cloud Of Static ) cd ep 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. Sound piled upon sound piled upon sound and piled on more sound is the signature of Michael Northam's process in his installations and compositions. Far from the irritating collisions of sound in Merzbow, Northam softens, rounds, and blurs his dense collages into a shadowy minimalism; and the Molecular Knot Phase One is an excellent example of Northam's methods. He began this short 20 minute composition with source material he produced with Seth Nehil, whereby the two gently struck a variety of zithers and found objects. Northam then extracted tiny sounds (hence the title) from that source material, stretched and compounded them into timbral drones, then densely collaged those sounds into the eerie mass found on Molecular Knot Phase One. Very nicely done.
"Molecular Knot Phase One"
MNORTHAM Porous (Cloud Of Static) cd 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. The expatriate American sound artist Michael Northam has been wandering across Europe for many years now, finding himself in various residency programs where he has built an impressive body of installations, collaborations, and recordings from densely superimposed sounds that result in gorgeous swarms of magnetic vibrations and droning minimalism. For better or for worse, Northam has consistently released his work on small labels in small editions, meaning that we've not been able to dedicate as much to his work as we would like. Porous is one of those, released on the Cloudmirror label, which Northam had a hand in establishing. This lengthy, two-part composition is a reworking of a 24 channel installation Northam produced for the Klangturm in St. Polten, Austria back in September of 2001. Northam typically begins with acoustic instruments or phenomenon; and Porous is no different, as he collects tiny sounds from plucked pine cones, rustled leaves, and scribblings from other found objects. Slowly, he builds these textural sounds into quiet thrashings of muffled events that begin to echo and fold on top of each other into a thick droning mass. A very nice record, Porous ends up sounding not too far from the best work of Francisco Lopez, Andrew Chalk, Ellen Fullman, and Loren Chasse.
"Porous 1" MPEG Stream:
MNORTHAM / JGRZINICH The Stomach of the Sky (Staalplaat) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. MNortham (who has previously been sighted on the fantastic Ora album Anagram and in recent collaboration with Francisco Lopez) and JGrzinich are sound artists investigating the properties of various organic acoustic forms, making use of long wire devices, found materials, assembled devices, aeolian wind harps, and a field recordings. Culled from years of collaborative recordings, The Stomach Of The Sky begins with extended rumble of densely layered sounds -- very much like the latest Lopez field recording work. Then the duo introduces a delicate metallic drones / scrapes / gurgles which could come from the Organum / Andrew Chalk school of bowed cymbals and gongs or from a processed field recording of water running through copper pipes. Either way, it's a beautiful magnetic tone.
MOAB Ab Ovo (Kemado) lp 21.00
MOAN Think About Forgotten Days ( Lightning) cd 14.98
The dronier, gentler (but not necessarily quiet!) side of Japanese garage rock maniac Shinji Masuko (DMBQ, Boredoms) is revealed here via the guitarist's new project, Moan, a duo with vocalist/keyboardist/bassist Makiko Toba (Water Fei). Waves of shoegazing distortion push needles way into the red on opening epic "The Murmur Of The Zodiac Voices", and it's a beautiful thing. Over 26 minutes of drifting, droning psychedelic soundscapey guitar graced with floating female vocals. It's obvious why they called themselves Moan. Parts sound like Boris at their most blissed out, other passages could be the heavy psych guitar explorations of Ulaan Khol. With that massive track alone, the disc is already well worth the price of admission, but the murmuring continues on the lovely slowcore song "No No I", Moan dialing down the volume, getting moodier and even more melodic, before Shinji unleashes some searing distorted guitar like he's having a Tokyo Flashback or something in the second half of the song. The remaining two tracks on the disc, the folky "Soda Song" (Shinji using effects, we assume, to create an effervescent "soda" sound that bubbles along in the background) and the equally-effervescent-even-without-soda-sounds "My Noctiluca Town" are also both individually interesting and pretty and mesmeric. Quite recommended, all in all. We'd often thought that 'Moan' would be a good name for a funereal doom project, but with a record this fantastic (if non-funereal) we don't mind that Shinji & Makiko snagged it.
"The Murmur Of The Zodiac Voices (excerpt 1)" MPEG Stream:
"The Murmur Of The Zodiac Voices (excerpt 2)" MPEG Stream:
MOBY 18 (V2) cd 17.98
I'm sure Moby is a nice enough guy but come on, does he warrant the hype? Not really. He may bring in as many different guest vocalists as he likes, including a gospel choir, the harmonizing indie duo Azure Ray, MC Lyte, Sinead O'Connor, assorted soul divas etc, but his methods remain so formulaic: forefront the voices and behind them throw in as many predictable sounds as possible, including orchestral strings, dramatic keyboards, and really really really frickin' boring rhythm tracks. A six year old could poop out more interesting beats than Monsieur Moby. This is "electronica" dumbed down for maximum lowest common denominator appeal. Even the promising return of MC Lyte is ruined. This is the sort of unbelievably bad stuff that gets you on the cover of SPIN and the NY Times Magazine. Very disappointing!
"We Are All Made of Stars" RealAudio clip:
MOBY 18 B Sides + DVD (V2) cd + dvd 16.98
MOBY Hotel (V2) 2cd 16.98
MOBY Last Night (Mute Records) cd 13.98
MOCHIPET Combat (Violent Turd) cd 10.98
More spliced up. Ultra damaged, completely fucked, ADD-core electronic mayhem. Pop references galore get dropped unceramoniously in the glitchcore blender and spit back out in million frames per second sonic collage of spastic drill and bass and hyperspeed plunderphonics. Silly and funny and irritatingly brilliant. Fans of Venetian Snares, Speedranch, V/VM, People Like Us, Kid 606 open wide!
"Mochi Vs. Soulseek" MPEG Stream:
"Wang Chung Vs. The Real Wang"
MOCK s/t (Agonia Records) cd 16.98
MOCKASIN, CONNAN Caramel (Mexican Summer) lp 22.00
MOCKET Pro Forma (Kill Rock Stars) cd 10.98
Mocket's new wave/indie rock fusion of off kilter chords, alien synth sounds, and Factory inspired guitars has filled out with the inclusion of Rachel and Radio of The Need adding a bigger bass sound, turntable tricks, and kick ass production.
MOCKET Pro Forma (Kill Rock Stars) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. Mocket's new wave/indie rock fusion of off kilter chords, alien synth sounds, and Factory inspired guitars has filled out with the inclusion of Rachel and Radio of The Need adding a bigger bass sound, turntable tricks, and kick ass production.
MOCTAR, MDOU Afelan (Sahel Sounds) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
MOD FUCK EXPLOSION A Film by Jon Moritsugu (Apathy Productions) dvd 14.98
We've been assured by the man himself that slowly but surely badboy indie filmmaker Jon Moritsugu's acclaimed cult films (including his most recent totally rad pair, Fame Whore and Scum Rock) will become available on dvd. Well, looks like 1994's Mod Fuck Explosion is the first to come out of the gate. If you dig ultra raw and trashy cult films then you're surely already well familiar with Moritsugu, and if you're not already acquainted... well, here's your chance to give him your undivided attention. A totally punk flick.
MOD TALES #1 (self-released) zine 4.98
MODEL 500 Starlight (Echospace) cd 16.98
MODELL, ROD Incense & Black Light (Plop) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. We kinda went nuts for the recent Echospace record, The Coldest Season. So much so that we made it our record of the week. And judging by the response, most aQ customers dug it just as much as we did. Which makes sense really. A modern take on that old Chain Reaction sound we all love so much. Heroin House, or whatever you want to call it, muddy murky atmospheres wrapped around deep throbbing four on the floor pulses, smeared and blurred, the sound gloriously washed out and dreamlike. Super spaced out abstract dub, beats drifting in wide open expanses of FX and electronic glitch and shimmer. Dance music for those of us who loathe the dancefloor and instead lurk in the shadows. The rhythm is probably still gonna get you, but it's going to creep up on you slowly and wrap you in its inky black embrace, and pull you into the swirling fuzzy abyss. Incense & Black Light is the new record from Rod Modell, one half of Echospace, and while everything we loved about the Echospace record is here in full effect, it's even noisier and buzzier and grittier, which can only mean we might even like it more… The opening track is super dense and heavy, a swirling cloud of crumbling distortion, a bassline that almost sounds like some muted metal riff, but completely abstracted and disembodied, a rhythm buried beneath layers of grit and grime, the track peppered with jagged blasts of glitch and hiss, the whole thing looped into something, that despite all of it's harshness and density, is almost groovy. The second track begins with some Pole like dub throb, drifting on a layer of gristly hiss, those big echoey crunches pulsing and fading into the mist, beneath it all a throbbing bassline and some muted percussion, sounding like a rougher more raw Echospace. After that the record drifts into much less noisy territory, dipping its toes into some Kompakt like minimalism, still dubby and dreamy, but a bit more skittery, and not nearly as dark and dense. After three songs of gauzy late night Kompakt style minimal techno, the record dips back into the darkness, a slowly shifting smear of pixilated digital crunch, long blurred waves of prickly buzz, all woven into a gorgeously gauzy sheet of sound, that seems to billow in some midnight breeze, laced with crackles and hiss, almost completely devoid of any rhythm. Almost. The next two tracks crank the dub factor, dialing back the noise a bit, but keeping the effects distorted and the beats crunchy, a sort of Kraftwerk groove pulled apart into some alien dub, hovering over a sea of whirring hum and buried buzz, the melody clipped and bouncing from beat to beat before fading into the roiling ambient murk. Finally, the last two tracks finish things off, the way they started, with some sort of damaged dub, via Tim Hecker or Christian Fennesz, the second to last a gorgeous dubby driftscape, the beats barely holding together, the sound of lapping waves another layer of hiss and buzz, the whole dub drifting into its constituent parts, so druggy and dreamy and blissed out, while the last is glimmering shimmering effulgence, sun dappled sparkles stretched into slow whirring slabs of soft fuzzy thrum, like someone took a single measure of the blissiest Orb song, and stretched it out to 5 minutes, the chords pulled apart exposing the notes within, the notes pulled apart, crumbling to pieces, just blurry shadows, all woven into some slow slippery sonic stream, gauzy, buzzy, warm and dreamlike. If you loved that Echospace record, but wondered what it would have sounded like if it was mixed by Fennesz, or recorded by Tim Hecker, or spun in a DJ set by Philip Jeck (and who among us didn't?), then this just might be exactly what you're looking for.
"Aloeswood" MPEG Stream:
"Hotel Chez Moi" MPEG Stream:
"Body Sonic" MPEG Stream:
MODELL, ROD Kettle Point (Echochord) 12" 11.98
MODERAT s/t (Bpitch Control) cd 15.98
What do you get when you put Modeselktor and Apparat together....Moderat! The debut collaboration between these German electronic heavyweights finds them joining forces to create some heavy duty electronic pleasures. Pulling from so many different elements of electronic music for their own special form of German techno that satisfies so nicely. There are a couple tracks with guest vocalists that we weren't digging too much, as they come off a bit forced and slick, but the majority of this record is chock full of sounds and beats for electronic heads to get down with.
"A New Error" MPEG Stream:
MODERN CHARMS s/t (Clue #2 Records) lp 14.98
From right here in SF comes this kick ass debut of fuzzy, jangly, shoegazey, noisy, bliss pop, from a group called Modern Charms, who sound like they've been studying their nineties indie rock songbooks, in particular, the Swirlies, My Bloody Valentine, Curve, Lush, Slowdive, and really, if that reads like a list of your favorite bands, then Modern Charms are gonna knock your pop-gaze socks off. A few seconds into the first track, "When We Get There" should be all it takes, muted minor key riff, chiming harmonics, angelic ethereal female vox, softly swirling guitar textures, all blurred and smeared into epic billows of chordal swirl, and shot through with shards of feedback, and wild burst of noisy psychedelia, Modern Charms have the sound DOWN, in fact, if you told us this was actually some lost shoegaze gem from the nineties, we'd totally buy it. The music is pitch perfect, right down to the production, and while much of MC's sound is wispy and washed out, the band display plenty of musical muscle as well, with big crunchy riffs, and some seriously noisy psychedelic shoegaze freakouts. But the icing on this retro pop cake has to be the super distinctive voice of vocalist Inna Kurikova, whose gorgeous vocals drift ethereally through thick swaths of noise guitar, and wrap themselves languidly around moody, brooding jangle. And it's not just the sound, the songs too, plenty of subtle hookiness, catchy choruses, the group deftly transforming simple jangle pop into something much more epic and expansive, heady and hypnotic.
"When We Get There" MPEG Stream:
"Someday" MPEG Stream:
MODERN NORDEUROPAISCHE DORFMUSIK Westberliner Stadtmusik 1969 I-IV (Leiterwagon) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. 77 minutes of free-improv "psychedelic scorch" put to tape in 1969 by this trio of West Berliners: Norbert Eisbrenner, Werner Goetz, and Sven-Ake Johansson. Johansson (his solo work the subject of a recent Unheard Music Series reissue) played drums on Peter Brotzmann's legendary "Machine Gun" album, recorded around the same time as this disc. MND isn't going to punish you with quite the intensity of "Machine Gun" but it's a nice slice of free-jazz meets early-krautrock experimentation, presenting a sparse sound-field composed of spastic, Sharrock-like guitar squiggle, percussive hits, bass rumble, and lovely horn-shriek, either building into noise-storms or fading back into tense silences. For FMP/Incus fans surely! Packaged in a cardboard sleeve, with liner notes only in German.
"track 3, excerpt 1" RealAudio clip:
"track 3, excerpt 2"
MODERN ROCK MAGAZINE #8 zine 2.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY. More smart and thoughtful writing from Tim Ellsion with notable contribution from Alan Licht writing about the White Album. Tim puts the reviews into categories, like Rock, Old School, Post-Indi-Rock, and what he calls New Postmodernism (The Starlite Desperation, Gogogoairheart, etc).
MODERN SHIT Modern Shit: The Stories Told By Record Covers (Alga Marghen) book+cd 70.00
MODERN SOUND QUARTET Otinku (EM Records) cd 21.00
What's the latest obsession of our friends at Japan's weirdest, most wonderful reissues label, EM Records? Last summer, they brought us a special series of sixties surf music soundtracks, and we can thank EM for the essential selection of "singing saw" recordings stocked at Aquarius... as well as much else in the vein of incredibly strange or at least unusual music. Now, EM is excited about...the steel drums! Or, as EM more correctly calls 'em, steel pans. Now, steel pans, to us, aren't quite as thrilling as musical saws, though we'll admit that it's cool that these tuned percussion instruments are made from cast-off 55 gallon oil drums. They've got an interesting history and all, but steel pan and calypso music isn't really our thing... overexposure to the touristy, cheesy use of the instrument doesn't help. What's next, EM celebrates the pan flute? But, at least on the two steel pan oriented albums that EM has recently rescued and reissued, the steel pan sound is pretty sweet, and totally jazzed up. Afro-Caribbean jazz-funk laced with the percussive melodic chiming sound of the steel pan is what you'll hear on this album by the Modern Sound Quintet, recorded in Stockholm, Sweden (of all places) in 1971. But the band wasn't Swedish -- leader Rudy Smith came from Trinidad, birthplace of the steel pan, and the other musicians in the group hailed from Trinidad, Ghana, Barbados, and Surinam. Smith was the pannist in the group, which also featured drum kit, congas, bass and piano. They cook up some funky originals as well as putting their own unique steel pan spin on such standards as Milt Jackson's "Bag's Groove", Joe Zawinul's "Mercy, Mercy, Mercy", and Herbie Mann's "Memphis Underground". Perhaps in this context the steel pan does sound a bit like that more ordinary jazz instrument, the vibes, but of course with more of a tropical island flavor. No doubt there's some grooves here that some crate-digging DJ's would be happy to have unearthed on vinyl, now they'll know to look for this. And while we won't pretend this is the most amazing thing EM has ever released, it's kinda neat if you are at all into obscure jazz-funk exotica. Pretty charming really. This is the one to get, and if you love it then check out EM's other related steel pan release, a reissue of 1984's Still Around by the Rudy Smith Quartet. Oh and of course this boasts EM's usual deluxe gatefold sleeve packaging job, with informative, illustrated liner notes in both Japanese and English.
"Otinku" MPEG Stream:
"Flower In The Rain"
MODESELEKTOR Boogybytes Vol.3 (Bpitch) cd 15.98
MODESELEKTOR Happy Birthday (BPitch) cd 16.98
MODESELEKTOR FEAT PUPPETMASTAZ The Dark Side Of The Sun (Bpitch) 12" 10.98
MODEST MOUSE Building Nothing Out Of Something (Up) cd 12.98
At last it's here--the much, much-delayed new Modest Mouse release! Well, don't get TOO excited, 'cause this isn't their still-upcoming major-label debut album (to be released on Epic in April, perhaps, if the band gets their troubles sorted out), but rather a singles collection which functions as a sort of "best of" collection. Material from six 7"s on the Up, Sub Pop, and Suicide Squeeze labels makes up the twelve tracks to be found here--a fine selection indie-rock pop indeed. And let us praise the nice tracing-paper cover on the cd, too.