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IMPORTANT (Please read to avoid confusion):
Some items below may be tagged with a bold, red, all-caps "out of print/unavailable" notice. This does NOT mean that all other items not so tagged are, in fact, in stock -- or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us -- please email our mailorder department for availability status -- or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.


album cover MONSTER MAGNET God Says No (A&M ) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available domestically, for those who sweated out their Monster Magnet addictions and held off buying the expensive import version that we've had for a few months. The same review applies: the newest record from the reigning kings of drugged out hedonistic space metal is a worthy follow up to 1998's 'Power Trip' . They continue on their convoluted trajectory, from druggy sludge, to MTV Pop stars to...well, to wherever they are now. The new record is catchy and heavy (the single 'Heads Explode' is destined to be an MTV staple, especially with the babes-and-explosions video) but surprisingly, there's lots of slow, sort of introspective stuff, complete with casios, drum machines, hushed vocals, and gently strummed guitars. But it is Monster Magnet after all, so it's only a matter of time before Dave Wyndorf spits out a line like '..bathing in the sweat of a million orgies...' or ' It's time to suck the cock of the firegod!!' and everything is set right again.
RealAudio clip: "God Says No"
RealAudio clip: "Heads Explode"

album cover MONSTER MAGNET Last Patrol (Napalm / Spinning Goblin) cd 15.98
Monster Magnet might just be one of our favorite bands ever. Pretty much every incarnation too. From the early days, the "satanic drug thing you wouldn't understand" era, all Hawkwind channeling heavy psychedelic drugged out stoner rock megajams, to the Kiss worshipping, over the top, cockrock ridiculousness of Dopes To Infinity and Powertrip. The crazy videos, the insane lyrics, the impossibly catchy songs, the choruses to die for, if we were doing a Weird Science sort of scenario, but instead of building the perfect dream girl, we were conjuring up the perfect band, it very well might end up sounding just like Monster Magnet.
We were warned that this new one was something different altogether again, that it was darker and moodier, and not nearly as bombastic or heavy, all of which is true, but even so, we're digging this like crazy, the core sound still pure Monster Magnet, the brooding, dramatic majesty, the crushing metallic heft, the psychedelic space rock shredding, and while songs like the opener are sort of moody and minimal, there are just as many tracks, like the title track for example, that are just primo MM, pounding drumming, space lord motherfucker riffage, Dave Wyndorf's distinctive dramatic rock god vox, and again, hooks galore, the band able to take crazy poppiness, and disguise it as spaced out heaviness. And yeah, lots of Last Patrol is dark and folky, lots of acoustic guitars, the vibe actually sort of MM via Spacemen 3 which as you might imagine is not a bad thing AT ALL. In fact, we'd say maybe 50 percent of the record is sort of dark, acoustic, psychedelic, druggy space folk, the vibe very classic seventies, think all that classic acid folk, but done MM style, and for every bit of bongo laced, string laden acoustic guitar cosmic broodery, there's some classic heavy psych drug rock heavy metal stomp to balance it out.
Another classic from these space lord motherfuckers, and thus, needless to say (but we'll say it anyway), WAY recommended. And while they last, we have the digipack version with bonus tracks.
MPEG Stream: "I Live Behind The Clouds"
MPEG Stream: "Last Patrol"
MPEG Stream: "Three Kingfishers"
MPEG Stream: "Stay Tuned"

album cover MONSTER MAGNET Mastermind (Napalm) cd 14.98
We're gonna just come out and say it. Monster Magnet have NEVER made a bad record. Ever. They've come close for sure. And there have definitely been some bad songs, but every record has had at least a handful of MM classics. Sure maybe once they made the shift to a more pop oriented sound, there was no hope of them ever making another Spine Of God. But that was just fine with us, we love Dopes To Infinity or Powertrip as much as we love Spine Of God. To be fair, being superfans, we're probably not the most objective when it comes to MM, but we will say, the last couple of records, Monolithic Baby and 4-Way Diablo, were probably the weakest of all the MM records. That said, there was plenty on both to dig, just in comparison to some of the other stone cold classics, those two maybe paled. So we were maybe expecting more of the same, another Monster Magnet record, that maybe didn't rule, but that was pretty great, and had at least a few killer jams, but then BLAM. First song in, and we're digging the heaviest, fiercest MM record in ages. "Hallucination Bomb" is low slung and sinister, swaggering epic stoner space rock bliss, fat fuzzy bass, a killer main riff, wild loose leads, and ridiculous over the top lyrics, what more could we ask for? How about a whole record that good! That's right, you got it, solid top to bottom, with another clutch of ridiculously genius song titles too: "Bored With Sorcery", "The Titan Who Cried Like A Baby", insanely inspired lyrics like "I'm a pumped out freak on a big wheel..." and some of the sickest riffs since God Says No.
We could go song by song, but why bother, if you're like us, you'd buy a new Monster Magnet no matter what, and the fact that it totally rules, only makes it that much better. And if you've somehow made it this far without hearing MM, holy shit man, what's wrong with you, total epic over the top stoner space rock genius of the highest order, buy this one, then go get Spine Of God, Superjudge, Dopes To Infinity, hell, you're gonna want them all. And odds are you'll have a new favorite band. It's a Satanic drug thing, you wouldn't understand. Trust us.
Absolutely recommended.
MPEG Stream: "Hallucination Bomb"
MPEG Stream: "Bored With Sorcery"
MPEG Stream: "The Titan Who Cried Like A Baby"
MPEG Stream: "When The Planes Fall From The Sky"

album cover MONSTER MAGNET Mastermind (Deluxe Version) (Napalm Records) cd + USB stick 31.00
Fancy Black Friday Record Store Day version of this latest slab of hook filled stoner space rock heaviness from these long time aQ faves, comes as a deluxe digibook, with two bonus tracks, housed in a fancy box with a little window through which you can peep the USB drive, which contains the whole record in MP3 form, bonus tracks and all, as well as ringtones, an interview with MM mastermind Dave Wyndorf, desktop wallpapers and a Napalm Records sampler...
We're gonna just come out and say it. Monster Magnet have NEVER made a bad record. Ever. They've come close for sure. And there have definitely been some bad songs, but every record has had at least a handful of MM classics. Sure maybe once they made the shift to a more pop oriented sound, there was no hope of them ever making another Spine Of God. But that was just fine with us, we love Dopes To Infinity or Powertrip as much as we love Spine Of God. To be fair, being superfans, we're probably not the most objective when it comes to MM, but we will say, the last couple of records, Monolithic Baby and 4-Way Diablo, were probably the weakest of all the MM records. That said, there was plenty on both to dig, just in comparison to some of the other stone cold classics, those two maybe paled. So we were maybe expecting more of the same, another Monster Magnet record, that maybe didn't rule, but that was pretty great, and had at least a few killer jams, but then BLAM. First song in, and we're digging the heaviest, fiercest MM record in ages. "Hallucination Bomb" is low slung and sinister, swaggering epic stoner space rock bliss, fat fuzzy bass, a killer main riff, wild loose leads, and ridiculous over the top lyrics, what more could we ask for? How about a whole record that good! That's right, you got it, solid top to bottom, with another clutch of ridiculously genius song titles too: "Bored With Sorcery", "The Titan Who Cried Like A Baby", insanely inspired lyrics like "I'm a pumped out freak on a big wheel..." and some of the sickest riffs since God Says No.
We could go song by song, but why bother, if you're like us, you'd buy a new Monster Magnet no matter what, and the fact that it totally rules, only makes it that much better. And if you've somehow made it this far without hearing MM, holy shit man, what's wrong with you, total epic over the top stoner space rock genius of the highest order, buy this one, then go get Spine Of God, Superjudge, Dopes To Infinity, hell, you're gonna want them all. And odds are you'll have a new favorite band. It's a Satanic drug thing, you wouldn't understand. Trust us.
Absolutely recommended.
MPEG Stream: "Hallucination Bomb"
MPEG Stream: "Bored With Sorcery"
MPEG Stream: "The Titan Who Cried Like A Baby"
MPEG Stream: "When The Planes Fall From The Sky"

album cover MONSTER MAGNET Monolithic Baby! (SPV) cd 21.00
Bigger! Dumber! Sillier! Better than ever! Who else could we be talking about but Monster Magnet! It's time for the return of the modern gods of spaced out sexed up cock rock. Heavy and trippy and druggy and catchy, Monster Magnet are the perfect mix of Hawkwind, Black Sabbath, Kiss, and Spinal Tap. What started out as a "satanic drug thing you wouldn't understand" has turned into the catchiest, silliest, most enjoyable band you're likely to see on MTV. While this may not be as subversively sludgy as their brilliant early classic Spine Of God, or as perfectly polished as the more recent Power Trip, it's still pretty fucking great. Frontman Dave Wyndorf spits an endless flow of sexual non sequiters and boastful proclamations, tales of outerspace exploration, sexual escapades (often coincidentally occurring in space), rocking, sex, and... well... even more rocking and more sex! Massive slabs of perfect sludgy stoner space rock with HUGE guitars, classic riffs and hooks galore keep all Wyndorf's silliness grounded -just- this side of Kiss-like buffoonery. But Monster Magnet wear it well. Really well. They may have begun life as an underground drug metal cult, but this is where they always knew they'd end up, in a space-ready tour bus, cruising the galaxy looking for new worlds to rock and new babes to bed. And if you need to know just how anticipated this record was around these parts, Andee will count this as his THIRD copy of Monolithic Baby! purchased, having bought the import lp, and then the import cd and now this (as this version has two extra tracks not on the import) and his housemate Josh is also on number three, having bought an import cd version, then the import version with the DVD, and now this domestic version. Was it worth it? Andee and Josh both say "Hell yeah!" Comes with a DVD containing two videos (one involving lots of scantily clad ladies, and one involving a computer generated space ship hurtling through the void), two live tracks and an interview.
MPEG Stream: "Radiation Day"
MPEG Stream: "Unbroken (Hotel Baby)"

album cover MONSTER MAGNET s/t (Glitterhouse) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've had this before, but it's not always that easy to find. So while we have a few in stock we thought we'd list it. It's the very first aluminum slab of Satanic Drug psych-metal to come from the demented minds of Dave Wyndorf and Co., released on Germany's Glitterhouse label way back in 1990, including songs from their two even earlier and rarer 7" releases. A couple of the six tracks here were reprised on their Stateside debut Spine of God (and the track "Tractor" was reworked on their mainstream breakthrough disc Powertrip). But, even as sludgy and Stoogesy as Spine of God was, this disc is even rawer and heavier. The most primal Monster Magnet there is! Definitely a must for fans of their earlier, less polished/poppy stuff (which we also like). So, if you bow to the bull god, get this now before it's gone (again).

album cover MONSTER MAGNET Spine Of God (SPV) cd 13.98
"It's A Satanic Drug Thing ...You Wouldn't Understand". Monster Magnet's motto, emblazoned on the back of the cd booklet, is something that they really did live up to, sonically and otherwise, back in the day. Maybe not the healthiest lifestyle choice (frontman Dave Wyndorf actually almost died recently from, yes, a drug overdose), but it sums up Monster Magnet, musically speaking. If you want to hear some "stoner rock" that's both spacier and scarier and Stoogier than most, early Monster Magnet (before they got big) is the way to go.
We reviewed their droniest bad trip masterpiece, the reissued 25...Tab ep a couple lists back, and now follow-up with a review of another favorite, their debut full-length entitled Spine Of God, originally released by Caroline in 1992 and now reissued on vinyl with snazzier graphics and bonus track (a demo version of "Ozium").
This came out at the height of the grunge era, but sounds just as Stonehenge (a la Hawkwind) as it does Seattle (a la Mudhoney). It includes their Grand Funk cover, "Sin's A Good Man's Brother", alongside such downer, druggy hits from some parallel just-say-yes universe as "Pill Shovel", "Nod Scene", and "Zodiac Lung". A wasted, burn-out classic, laid-back and leaden, dazed and phased.
MPEG Stream: "Nod Scene"
MPEG Stream: "Snake Dance"

album cover MONSTER MAGNET Spine Of God (SPV) 2lp 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now reissued on vinyl too!!
"It's A Satanic Drug Thing ...You Wouldn't Understand". Monster Magnet's motto, emblazoned on the back of this sleeve, is something that they really did live up to, sonically and otherwise, back in the day. Maybe not the healthiest lifestyle choice (frontman Dave Wyndorf actually almost died recently from, yes, a drug overdose), but it sums up Monster Magnet, musically speaking. If you want to hear some "stoner rock" that's both spacier and scarier and Stoogier than most, early Monster Magnet (before they got big) is the way to go.
We reviewed their droniest bad trip masterpiece, the reissued 25...Tab ep a couple lists back, and now follow-up with a review of another favorite, their debut full-length entitled Spine Of God, originally released by Caroline in 1992 and now reissued with snazzier graphics and bonus track (a demo version of "Ozium").
This came out at the height of the grunge era, but sounds just as Stonehenge (a la Hawkwind) as it does Seattle (a la Mudhoney). It includes their Grand Funk cover, "Sin's A Good Man's Brother", alongside such downer, druggy hits from some parallel just-say-yes universe as "Pill Shovel", "Nod Scene", and "Zodiac Lung". A wasted, burn-out classic, laid-back and leaden, dazed and phased.
MPEG Stream: "Nod Scene"
MPEG Stream: "Snake Dance"

album cover MONSTER MAGNET Superjudge / She Digs That Hole (Studio 13) 10" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been digging the latest Monster Magnet record Mastermind lately bigtime (you should be too!), a total return to form for sure, and as if that wasn't enough MM for all the space lord motherfuckers out there, along comes this, a super limited tour only 10", that besides being available exclusively from the band on tour, or from the band's website, is also available from aQ! We're one of, if not THEE only store to have these, and we won't have em for long, limited to just 500 copies, we got a batch direct from the band, so grab one while you can.
The A side is a rerecorded version of the MM classic "Superjudge", a stripped down version, that manages to be as heavy and psychedelic as the original, all spaced out with spidery Eastern guitar melodies, minimal drumming, and some SERIOUSLY fuzzed out bass buzz, that gives the song some skull caving crunch for sure, killer vox, a dead ringer for the original, but set amidst this new arrangement, pretty hard to fuck with, and pretty awesome that decades on, these guys can still slay, and like all MM jams, the song blossoms into an awesome spacey psychedelic freakout near the end, not super heavy and blown out, more sort of trippy and druggy, which suits the new version to a tee.
The B side is a similarly rerecorded version of a song from Mastermind, the main riff like a muddy, murky slowed down Stooges, and like "Superjudge", it's a stripped down practice space jam, more minimal, but still explosive and heavy and epic, a little dirgier than the original, complete with those majestic cock-rockin' choruses and the sort of epic space rock riffery that still kicks ass over most of the other wannabe spacerockers out there.
Released on the band's own label, limited to 500 copies, we got a handful, but guessing these might go quick...

album cover MONSTER MOVIE All Lost (Graveface) cd 10.98
Early last year an album simply titled Transistor arrived on our doorstep. It swiftly swept us up in its wispy pop charms. We soon discovered that the band behind it was lead by Christian Savill of the wonderful Slowdive. Now that we're fondly acquainted we've eagerly anticipated a new Monster Movie full length, and here it is! The duo's third album is the musical equivalent of snowflakes caught on your eyelashes, golden tendrils brushing your cheek and dandelion puffs floating in a gentle breeze. The second song "Vanishing Act" is a total heartbreaker with its angelic male and female vocals (courtesy of guest singer Rachel Staggs). Oh so dreamy, ephemeral and achingly lovely imbued with shades of '60s pop and '70s soft rock. The cover art illustration of a fella scarfing down handfuls of candy hints at the sweetness within, but doesn't really do the album justice. Sigh inducing!
MPEG Stream: "Vanishing Act"
MPEG Stream: "Return To Yesterday"

album cover MONSTER MOVIE Transistor (Graveface) cd 9.98
Shhhhh... This cd arrived quietly with very little fanfare, but that's totally in line with its unassuming, hushed dream pop sounds. If you dig the airy, acoustic prettiness of bands such as Scotland's Camera Obscura and Belle And Sebastian, Monster Movie might be next on your list o' UK sweethearts. Actually if you look a little bit closer, you might spy a familiar face in this 'Movie's cast from an old beloved band. Who? What? Why, it's noneother than Slowdive's Christian Savill who along with Sean Hewson and Austin, TX based vocalist Rachel Staggs form the current line-up (actually the band's been around in some shape or form since way back in '89). Released on Graveface Records, home to some other fine bands we've been diggin of late -- namely Dreamend and Spires That In The Sunset Rise.
MPEG Stream: "Chances Are High"
MPEG Stream: "Letting You Know"

MONSTRE Sucre 3 (Alien8 Recordings) cd 12.98

album cover MONTAG Alone, Not Alone (Gooom / Carpark) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MPEG Stream: "Grand Luxe"
MPEG Stream: "Temps Partiel"
MPEG Stream: "Perfect Vision"

MONTAG Are You A Friend? (Gooom ) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MONTAG Going Places (Carpark) cd 14.98
Hmmm, if Euro smooth operators Air were indie popsters their music might sound something like this! Going Places definitely has an international flair, but at the same time it charms with a less sleek, more bedroom-y kind of feel. The man behind this album is Montag, one lone fellow whom his parents call Antoine Bedard. A couple of years ago he put a call out beckoning contributors and collaborators for his recording project We Have Sound aka his third full length. He got responses back in spades from around the globe from the hippest now-est artists -- M83's Anthony Gonzales, Stars' Amy Millan, Ghislain Poirier, Owen Pallett of Final Fantasy, Beach House's Victoria Legrand, Ida Nilsen of Great Aunt Ida, Leah Abramson, and Au Revoir Simone. All of them lend their sweet singing to Montag's dreamy electronic pop tunes.
Quite akin to Stephin Merritt's The Sixths or Dntel's latest album Dumb Luck (on which the mastermind wrote and performed the and got friends and fellow artists to sing!), and definitely for fans of Dntel, Casiotone For The Painfully Alone and the Morr Music label.
MPEG Stream: "I Have Sound"
MPEG Stream: "Best Boy Electric"

album cover MONTALBA, GEORGES Pipe Organ Favorites / Fantasy In Pipe Organ And Percussion (Hit Thing) cd 15.98
Unfortunately, we can't play this disc in the store too often because Andee expects to be taken out for pizza and Jim starts having these creepy ice skating flashbacks from his childhood. But for those of you out there who love big organs, and I *know* you're out there, you're guaranteed to feel the swell of these pipes down in your loins when you crank this one up. Originally released in 1957 and 1958, the two albums on this disc are classics in the pipe organ genre. They were both produced by 101 Strings creator Dick Miller, who was apparently always keeping his sights on the bleeding edge of hipness. What's more is that Georges Montalba was nothing more than a pseudonym. The real man behind the organ here was Bob Hunter, a man who already had an immensely successful career as a concert pianist and arranger. While this may not seem all that odd -- plenty of people in show business use pseudonyms -- the persona of Georges Montalba was made ever more mysterious by two additional circumstances. The first was that Mr. Hunter, for some reason, never told anyone about his being Mr. Montalba with the exception of an audience attending a 1964 performance by "Montalba" in which he revealed his true identity. The second was the exploitation of Montalba's true identity by none other than the Church of Satan's longtime leader Anton La Vey. La Vey apparently milked a Church of Satan follower's suspicion that he was in fact Montalba. It wasn't too difficult to fabricate a story to fit since he had -- prior to acquiring his day job as Satan's spokesman -- been a successful theater organist in the San Francisco bay area. The whole gruesome (well, not really gruesome, but very interesting none the less) story is related in detail by both reissue producer Toby Dammit and Anton La Vey's own daughter Zeena Schreck (who disputes her father's claim) in the liner notes. Listening to this disc, it comes as no surprise that one might become convinced that Mr. Church of Satan himself was behind the pedals. The playing by Hunter of the huge Robert-Morton Pipe Organ (to which was affixed an additional complement of a Deagan vibraphone and a set of orchestral chimes) is truly possessed. Not to disparage Mr. La Vey or his followers, but upon closer listening you can tell that the caliber of playing is a notch above Mr. Satan's. On these two Hi-Fi Mono recordings Hunter performs the works of Saint-Saens, Khatchaturian, Rimsky-Korsakov, Manuel de Falla, Wagner, Sousa, Grieg and more (including a couple original compositions) with all the ferocity of Swedish progster Bo Hansson (see Hansson & Karlsson). Take this one home and crank it up 'til your neighbors' ears bleed.
RealAudio clip: "Ritual Fire Dance"
RealAudio clip: "Anitra's Dance"

MONTANER, RITA Rita De Cuba (Tumbao) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Born in 1900, Rita Montaner was enrolled in a conservatory of music in Cuba and studied voice and piano at the age of ten and received her diploma at sixteen. By the age of 19 she was giving recitals throughout Cuba, at 22 she was one of the first voices to be heard over Cuban national radio and at 27 flew to New York -- beginning her career as an international artist. But despite her extensive performances abroad and her knowledge of the European classical repertoire, it was to Cuba that she always returned and it was the music of Cuba that she performed the most. On this collection of recordings, mostly made in 1928 & 1929 in Cuba (there are six tracks recorded in 1940 & 1941), Rita sings the songs of her countrymen, including Moises Simons, Ernesto Lecuona, Juan Bruno Tarraza and many others. Her operatic singing style stands out on these recordings and some here even remark that she sounds a bit like Minnie Mouse. On most of the tracks she is accompanied by Orquesta Hermanos Palau, but there are a few duets of Rita with piano on here as well.
RealAudio clip: "El Manisero"
RealAudio clip: "Alla En El Batey"

album cover MONTEIRO, ALFREDO COSTA & BEN OWEN Frele A Vide (Contour Editions) cd-r 11.98
Two quietly busy sound-artists wrangled together a not-so quiet album of unstable electro-acoustics. Ben Owen is a NYC based sound artist we have been familiar with over the years, in part due to his work running the always impressive Winds Measure Recordings label, complete with some exceptional letterpressed packaging to house the hushed minimalism and subtle field recordings. Monteiro Alfredo Costa is one of those artists who's been very prolific throughout the European sound-art / improv circles but is something of a mystery to us. His work purports to share an interest in low-fi technologies and unstable processes - with crappy tape decks, feedback systems, found objects, and old record players working into his repertoire of electro-acoustics. It is a model of instability that seems the modus operandi for this collaboration with pierced tones of variably sourced feedback wavering upon that high-tension wire between sonic evaporation and sonic obliteration. These oblique, ear-ringing hums couple with microwave sizzlings, deadened electrical buzzes and gravel-crusted static to form chunks of sound that butt up against one another. Compared to the brutalist agenda of Merzbow, Prurient, The Rita, etc, this would hardly qualify as a noise record, as the compositions are thoroughly detached from any overt confrontation, but these grey rumbles and bright rattlings can get quite noxious. One can think of Joe Colley, Chop Shop, or Kevin Drumm during their introspective ruminations on electro-acoustics and noise disintegration. Released on the small Contour Editions imprint, run by the very talented Richard Garet. Limited to 150 copies.
MPEG Stream: "Sans Titre 2"
MPEG Stream: "Sans Titre 3"
MPEG Stream: "Sans Titre 4"

album cover MONTENEGRO, HUGO Moog Power (Get On Down) cd 16.98
Hugo Montenegro was one of many light composers of the space-age bachelor pad era that included Dick Hyman, Esquivel, Frank Comstock, Ferrante & Teicher and Ray Coniff. What set him apart from his contemporaries was a flair for restless frenetic rhythms, scatting vocalese, and groovy surfy spy themes like the soundtrack for such b-movie potboilers as The Lady In Cement and the TV shows The Wrecking Crew and The Ambushers. But his most literally electrifying moment came from his adoption of the Moog synthesizer for 1969's Moog Power, one of the more zany Moog records out there next to Gershon and Kingsley's In Sounds From Way Out. Not that he was exactly going for that. Everyone knew the Moog could make odd sounds, but Montenegro wanted to mine its musical potential to see if it had commercial appeal.
While the record is mostly covers of the day, "Hair/Aquarius", "Traces", The Doors' "Touch Me", and others by The Turtles, Harry Nilson and Jimmy Webb ("MacArthur Park", but only the rocking end part!), he puts such high energy into the arrangements which gives the songs a kind of warped feeling like the Hullabaloo singers on speed. We're sure that has only added to its appeal amongst Incredibly Strange Music circles. But the title song, the only Montenegro original, is worth the price of admission alone!
MPEG Stream: "Moog Power"
MPEG Stream: "Dizzy"
MPEG Stream: "MacArthur Park"

album cover MONTENEGRO, HUGO Mr. Groovy (The Omni Recording Corporation) cd 17.98
Hugo Montenegro was one of many light composers of the space-age bachelor pad era that included Dick Hyman, Esquivel, Frank Comstock, Ferrante & Teicher and Ray Coniff. What set him apart from his contemporaries was a flair for restless frenetic rhythms, scatting vocalese, and groovy surfy spy themes like the soundtrack for such b-movie potboilers as The Lady In Cement and TV shows, The Wrecking Crew and The Ambushers. But his most literally electrifying moment came from his adoption of the Moog synthesizer for 1969's Moog Power, one of the best Moog records out there next to Gershon and Kingsley's In Sounds From Way Out.
Now, in typical anthologizing fashion, the generous folks at The Omni Recording Corporation who have brought us many a left-field pop eccentric such as Porter Wagoner, Biff Rose (also reviewed this list), Bruce Haack, Hoyt Axton, and Jim Blanchard & Misty Morgan set their targets on Montenegro's enormously varied output. Sometimes Omni's exhaustive anthologies can be, well, exhausting, offering almost too much work from a single person. The first half of Mr. Groovy is largely well-worn covers ("Classical Gas", "Happy Together", "Love is Blue" etc.), that are not quite as rewarding as the second half's awesome Moog pieces and spy themes. But the quantity versus quality complaint is a minor one when it comes to Omni's releases who most of the time deliver both in large numbers. Just don't dismiss this disc because you don't like the theme from "Hair". Grooovy!
MPEG Stream: "Moog Power"
MPEG Stream: "Theme For Three"
MPEG Stream: "Jungle Heat!"

MONTERA, JEAN-MARC Smiles From Jupiter (Grob) cd 15.98

album cover MONTGOMERY, GEN KEN Drilling Holes In The Wall (Monochrome Vision) cd 15.98
A name that pops up quite a bit in discussions about the '80s noise underground and the global network of cassette culture is Gen Ken Montgomery. He and Al Margolis founded Pogus Productions out of Margolis' Sound Of Pig cassette label; and in 1989, he expanded his Generator record store into the first sound art gallery in NYC of the same name. His own work eludes easy description as it centers upon process-oriented sound construction, exploring the cohabitation of cheap electronic gadgetry with objects from every day life. More of an extension of the eccentricities of Fluxus, Montgomery's work involves the process of adding and negating sound through those aforementioned tools; and as such, his work doesn't really fit into the Controlled Bleeding / Haters axis of ear-splitting noise deconstruction.
Inspired by the demolition of the Berlin Wall in late 1989 (where Montgomery was taking up residence at the time), Drilling Holes In The Wall was originally released as a cassette a year later. Montgomery had recorded the material in Conrad Schnitzler's studio in Berlin, initially conceiving the piece as an 8 channel cassette concert with overlapping lurches of cancerous electronics, mechanical exhortations, uncomfortable abstract groans, and power-tool atonality. That 30 minute piece is reprised here on cd, with four additional lengthy tracks, including two more tracks recorded at Schnitzler's place a couple years earlier. The "New Age Machines" suites are much more spacious than "Drilling Holes" with spooky sound-effects laced around sci-fi paranoid atmospheres and plinkety-plonking electronics, almost recreating the computer music aesthetic of the '60s through cheap consumer-grade electronics. Scattered, convoluted, and highly rewarding.
MPEG Stream: "Drilling Holes In The Wall"
MPEG Stream: "New Age Machines Part 1"
MPEG Stream: "Icerbreaker"

album cover MONTGOMERY, GEN KEN Pondfloorsample (XI) 2cd 14.98
Gen Ken Montgomery is a New York based sound artist who actively creates unusual noises from the abuse of common place objects and consumer electronics. The emphasis for Montgomery is less on the quality of the end result and more on the process, the act of creation, and the artistic risk involved. It's not surprising to find an inherent silliness and absurdity within his compositions with such self-evident titles: "Bird Eating," "Bath Drain," "Egnekn's Fridge," "Crayoning Around," "The Aquarium Fishtank Symphony," etc. While Montgomery was an incredibly prolific member of the underground cassette culture in the '80s, his work has shifted more recently towards multi-channel installations, where the chorus of channels and haphazard peaks of tape distortion aid Montgomery's purpose of creating new experiences from these everyday objects. The collection of work found on "Pondfloorsample" has a few of Montgomery's installation tapes compressed down from their 'octophonic glory' but most tracks focus on his more commonplace stereo field compositions. Montgomery never tries to compel you into thinking that these sounds are interesting, but rather prods the audience through his obsessive documentation / reguritation of sound into asking themselves: "Am I missing something?" For fans of Fluxus.
RealAudio clip: "Fusebox-Comtemplating Columbus"

MONTGOMERY, ROY (Siltbreeze) 2x7" 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
More exquisite solo guitarwork from New Zealander. Comes in a gatefold sleeve with lots of explanatory notes, and features Miss Barabara Manning on one track.

MONTGOMERY, ROY 324 E. 13th Street #7 (Drunken Fish) cd 13.98
"Then those little Yankee microlabels put them out and they floated to the top of the seven-inch glut, and we drank 'em down, and bought 'em up, and traded 'em for foolish amounts of money after they sold out." This quote, from the liner notes, perfectly describes the near constant stream of Roy Montgomery singles which seemed to be coming out every week in 1995 - 1996. This very prolific period of Roy Montgomery's career follows the shift in his aesthetic from the post-Velvets/Joy Division/Wire strum of his early days with Dadamah to his current soaring, guitar reverb space-rock mantras. Aside from the convenient consolidation of all of these out-of-print singles onto one disc, this really is some of his best material. Also contains four previously-unreleased tracks, along with guests including Bill Direen and Barbara Manning.

album cover MONTGOMERY, ROY 324 E.13th St. #7 (Yellow Electric) 2lp 23.00
This excellent collection of early Roy Montgomery material gets the limited vinyl treatment courtesy of Yellow Electric, the imprint run by Liz Harris, aka Grouper. Originally released on cd in 1999 on Drunken Fish, this album documents the more vocal-centric output of Roy Montgomery's early solo work after leaving New Zealand and setting up temporary residence in New York (the address of the title is where most of these tracks were recorded.)
"Then those little Yankee microlabels put them out and they floated to the top of the seven-inch glut, and we drank 'em down, and bought 'em up, and traded 'em for foolish amounts of money after they sold out." This quote, from the liner notes, perfectly describes the near constant stream of Roy Montgomery singles which seemed to be coming out every week in 1995 - 1996. This very prolific period of Roy Montgomery's career follows the shift in his aesthetic from the post-Velvets/Joy Division/Wire strum of his early days with Dadamah, The Pin Group and The Shallows (whose only single begins this collection) to his current soaring, guitar reverb space-rock mantras. Aside from the convenient consolidation of all of these out-of-print singles, this really is some of his best material. Also contains four previously-unreleased tracks (Also on the cd btw), along with guests including Bill Direen and Barbara Manning, as well as some awesome covers of Wire ("Used To") and The Victor Dimisich Band ("It's Cold Outside").
MPEG Stream: "She Said (The Shallows)"
MPEG Stream: "Used To"
MPEG Stream: "E.N.D."
MPEG Stream: "Intertidal"

MONTGOMERY, ROY And Now The Rain Sounds Like Life Is Falling Down Through It (Drunken Fish) cd 13.98
Released especially to coincide with Terrastock weekend! Gorgeous washes of moody guitar.

album cover MONTGOMERY, ROY Inroads: New And Collected Works (Rebis) 2cd 14.98
We've always had a soft spot for New Zealand's incredibly fertile underground rock scene, and the glorious noises it produces, these days it's outfits like the Dead C, Birchville Cat Motel, Antony Milton, 1/3 Octave Band, Sandoz Lab Technicians, Brothers Of The Occult Sisterhood, Lamp Of The Universe, Lugosi, Lovely Midget, Dean Roberts, Pumice, Omit, but a few years back, it was a whole different scene, well okay, except for the Dead C maybe, but there was a hugely thriving scene and even back then we couldn't get enough. All those bands who sewed the seeds, the bands that paved the way for the groups who make us cd-r crazy today. Folks like Alastair Galbraith Trash, Gate, Golden, Tall Dwarfs, Bill Direen, David Kilgour, Cakekitchen, The Clean, Dadamah, Dissolve, King Loser, Space Dust and of course the legendary Roy Montgomery. Montgomery did time in the groups Dadamah and Dissolve, both of whom were amazing, but it's when he struck out on his own, just him and his guitar, some delay, maybe a little reverb, that's when we really fell in love.
Inroads collects all sorts of singles, and compilation tracks, as well as a handful of unreleased songs, and reminds us just why we loved Montgomery, and how much we've been missing his blissed out solo guitar space rock. And that's exactly what this is, space rock, not so much rock as space, every single track is totally mesmerizing, multitracked reverb drenched nirvana, some super spare and simple, drifting and abstract, others tangled and dense, thick and aggressive. His sound is so unique, so totally singular, the second we pushed play on this, even though most of us hadn't heard him in years, we would have known immediately who it was.
Which speaks volumes about a record of mostly JUST guitar. How expressive and emotive and deeply personal Montgomery's guitar playing really is. Lyrical and melodic, even at its spaciest. All of the obvious adjectives apply here, shimmering, glistening, sparkling, but Montgomery doesn't just make sounds, letting his guitar drone and drift, these are songs, riffs, beautiful and memorable and catchy, dark and spacey and dreamy, complex fingerpicking, simple strumming, subtle shadings of tone and timbre, it doesn't matter what he does or how he does it, it always sounds like him. And it always sounds divine.
MPEG Stream: "Dawn Fades Over Ocean"
MPEG Stream: "Liverpool 1982"
MPEG Stream: "Two Trajectory"
MPEG Stream: "One Trajectory"

MONTGOMERY, ROY Just Melancholy (Ajax) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Great NZ guitarist.

MONTGOMERY, ROY Scenes from the South Island (Drunken Fish) cd 14.98
Solo guitarist from New Zealand outfits Dadamah and Dissolve.

album cover MONTGOMERY, ROY Silver Wheel Of Prayer (VHF) cd 13.98
AQ's favorite New Zealand solo guitar explorer presents his latest Tascam 4-track recorded output. "Silver Wheel of Prayer" is at times hauntingly beautiful, with a definite "krautrock" vibe. We maybe could have done without the electronic rhythms found on the disc's last few tracks (which take away a bit from the lulling, dreamy and almost heavy mood established on the majority of the album) but no matter, it's still a compelling listen.
RealAudio clip: "Disoriented"
RealAudio clip: "Dispossessed"

MONTGOMERY, ROY Temple IV (Kranky) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ex-Dadamah, Dissolve guitarist, who played an Aquarius instore in 1997.

MONTGOMERY, ROY The Allegory of Hearing (Drunken Fish) cd 13.98
New Zealand guitarist/songwriter Roy M. presents a new, all-instrumental album, recorded at home in 1998. As usual, lovely stuff. Incredibly emotive guitarwork, murky, shimmering, meditative.

MONTGOMERY, ROY Two Trajectories (Enraptured) 7" 5.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Thing-of-the-moment guitarist weighs in with 2 instrumentals on Enraptured.

MONTGOMERY, ROY Winter Songs (Roof Bolt) 10" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
Everyone's favorite prolific New Zealand guitarist! Five pieces recorded on a four track back about three years ago, including variations on themes by the Velvet Underground, Joy Division and the Clean...

MONTGOMERY, ROY / AZUSA PLANE split 7" 3.99
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The Azusa Plane song takes its title from the Belle & Sebastian record: "She Was Into S&M and Bible Studies, Not Everyone's Cup of Tea She Would Admit to Me, Her Cup of Tea She Would Admit to No One."

MONTGOMERY, ROY / CONNORS, LOREN MAZZACANE (Gyttja) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
Split single in an edition of 600. Montgomery's track is entitled "Sterling Morrison, Corner 10th & First, 1966."

album cover MONTGOMERY, ROY / GROUPER split (Grouper Records) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We had a vinyl version of this split between ethereal bliss-scaper Liz Harris aka Grouper, and legendary NZ guitarist Roy Montgomery, a while back, but we got so few copies, and had such a rush on the ones we did get, that we never had a chance to review it, and thus it never even made it up onto the site. But now it's finally been reissued on cd, and with a bonus Roy Montgomery track to boot!
Roy's original track/side was a gorgeously epic bit of dreamy strum and steel string drift, titled "Fantasia On A Theme By Sandy Bull (Slight Return)", just that instantly recognizable guitar, a cloud of buzzing steel strings, a sort of blissed out Appalachia spread out over nearly 20 minutes, the sound slipping smoothly from that urgent strum, to something much more hushed and minimal, abstract and softly space-y, and over the course of the track, drifting between the two. Hypnotic and haunting and quite lovely.
His bonus track is a billowy cloud of chiming shimmering guitar, sweet melancholy melodies, piled atop a jangly strum, notes wreathed in delay and reverb and echo, the sound somehow both ethereal and propulsive, ghostly and insistent, the sounds hazy and gauzy and washed out, but subtly tense, with a sense of mystery and loss and longing, the aural equivalent of watching the world through rain slicked windows, in fact, Montgomery seems impossibly deft at creating the perfect rainy day soundtrack.
Grouper's half of the split begins with "Hollow Press", and the sound of whispering wind, for nearly two minutes, before ethereal effected vocals drift in, floating atop the swirling soft white noise, which leads directly into "Vessel", a haunting elegy of weirdly distorted guitar, unfurled in spidery tendrils, the vocals nearly free of effects, and sounding as angelic as ever, a gorgeous hushed lullaby. "Hold The Way" is another gentle bit of crystalline drift, a looped muted guitar figure, undulating softly beneath sweetly crooned vox, a dream pop slowed down and blurred into something much more ethereal and ephemeral. Finally, "Pulse" sends reverbed guitars drifting from speaker to speaker, the stereo field dizzyingly panned, softly psychedelic, slowly the wind returns, and guitar fading out leaving just the sound of wind, and a barking dog, a hazy outro of found sound, wiping away all the traces of the sounds that came before, like the surf smoothing out sand on the beach. So Lovely.
The new cd version is housed in a swank digipak, and is still most likely WAY too limited...
MPEG Stream: GROUPER "Hollow Press"
MPEG Stream: ROY MONTGOMERY "Vessel"
MPEG Stream: "Fantasia on a Theme by Sandy Bull (Slight Return)"

MONTGOMERY, ROY / HEAPHY, CHRIS True (Kranky) cd 13.98
For two albums, New Zealand stratospheric space rockers Roy Montgomery and Chris Heaphy have collaborated as Dissolve. Roy had composed this music for the North Island play of the same title while isolated on the South Island. As the original compositions were turning out to be more delicate and skeletal than the improvised haze of Dissolve, Roy and Chris decided not to use the Dissolve moniker for the album...

MONTGOMERY, ROY / LAKE, KIRK London is Swinging by His Neck (Rocket Girl) 7" 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
New label by the brains behind Che has issued this UK single featuring Roy's rainy day guitar strum joined with the dead pan vocals of Kirk Lake.

album cover MONTGOMERY, WILL / ROBERT CURGENVEN Heygate / Looking For Narratives On Small Islands (Winds Measure) lp 16.98
Two conceptually minded pieces of electro-acoustic minimalism found here on the first vinyl release from Winds Measure Recordings, known for some seriously exquisite letter pressed artwork and an aesthetic of austere sound experimentation. That austerity bridges the work of British composer Will Montgomery and the Australian sound artist Robert Curgenven, as does a shared use of controlled feedback (or at least the use of pure tones which flutter eerily in that fine style). Montgomery's piece is sourced entirely from the Heygate Estates, which was a huge public housing project located in London and sported a rather grim facade of neo-brutalist architecture which fell into disrepair by the turn of the millennium. Demolition of the site began in 2011, but has been stalled because of numerous environmental hazards which emerged through the process, notably the high concentration of asbestos. Montgomery wandered the Heygate Estates with a VLF recorder, contact microphones, and a wiretapping mic, collecting the corroded, ephemeral sounds of that space, layering the disembodied hiss, crackling static, and eerie hum into a beguiling collage akin to the work of Tarab, Loren Chasse, and Murmer. Curgenven's piece hails from a very cool sound art project that the Australian began during a European residency, in which he had Dubplates & Mastering (THEE place to get anything weird cut onto wax!) cut a handful of dubplates of a subtle feedback piece, but at an incredibly low level. In playing the dubplate back, one has to really crank the volume thus creating the opportunity for feedback to occur in playback between the stylus and the speaker. The surface noise that one would expect from such a strategy is present, but it's not overwhelming given how good D+M are at cutting their wax. In this composition sourced from that sound making system, Curvengen transmits sinewy feedback tones and deep electrical thrum amidst a dispersion of the cyclical hushed crackle from the vinyl's surface noise. Winds Measures normally releases cds and occasionally some tapes; but the label was very wise to release Curgenven's brilliantly realized concept on vinyl, finding an excellent complement in Will Montgomery. Limited to just 250 copies! Download card? No.
MPEG Stream: WILL MONTGOMERY "Heygate"
MPEG Stream: ROBERT CURGENVEN "Looking For Narratives On Small Islands"

MONTOYAN ARTESIAN CONNECTION s/t (Plus Tapes) cassette 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MONTY PYTHON The Holy Grail Original Soundtrack (EMI Comedy) cd 12.98
Or more precisely, "The Album of the Soundtrack of the Trailer of the Film of Monty Python and The Holy Grail". This classic "soundtrack" is of course a hilarious comedy record in its own right, so even if you've seen "The Holy Grail" 300 times (and also, especially if you have), you'll still find much new to laugh at here. Includes most of the film's classic bits (Knights Who Say Ni, Brave Sir Robin, etc.) and then some. And, just like the original 1975 vinyl version, this is conveniently programmed into two tracks, side one and side two! There's no point in saying more, now is there? You probably want this, or your cd collection will be forever lacking. MUCH better than listening to your geeky Python obessed friends repeat the same sketches themselves (a pet peeve of Allan's).

album cover MONTY PYTHON'S FLYING CIRCUS The Infamous TV Soundtrack 1969-1974 (De Wolfe) cd 17.98

album cover MONUMENT OF URNS Absence (Hand Hewn Timbre) 3" cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
THE URNS RETURN. We never get tired of that. And we never get tired of Monument Of Urns, whose impossibly beautiful and crushingly suffocatingly heavy slow motion doom seems to effortlessly outpace all their doom-ed brethren. Four releases, each one a single track. A single 3"cd-r, meticulously designed and packaged. Each of those four tracks, massive and expansive, slooooooooooooow and so grimly gorgeous. Even at twenty minutes a pop, we can't ever get enough. The Urns' black doomscapes need to spread and sprawl, for hours, days, weeks. A sonic black plague slowly but systematically infecting the whole world.
For those new to the world of Monument Of Urns, their sound is massive, ultra thick guitars, pummeling drums, howled harsh vocals, glacial tempos, incredible dynamics, complex arrangements, and here on Absence, the band have definitely hit a peak. Not as slow as past releases, this one is a monster. With super dynamic stop start segments, squealing streaks of harmonized feedback, guitars that buzz and crumble. The sound here is as much Eyehategod as Khanate. With a healthy dose of Harvey Milk. In fact, lots of this does definitely sound like a blackened Harvey Milk. The lurching mathy stumble, the churning downtuned chug, always with those feedback filled pauses. And somehow, Urns manage to make this caustic doomed brutality catchy. We even just caught Antaeus humming along with the main riff! We've been bugging the Urns to release a full length, or to let Andee re-release all the 3"s on tUMULt cd. But they are perfectly happy to work at their own pace, to create the elaborate packaging one at a time and by hand. To forge this black art, in some mysterious pit, unleashing each noxious missive, only when they deem we are worthy. So for now, we'll have to be happy with the occasional 20 minute helping of glorious black sludge. And wait patiently for the next one.
As always, the packaging is amazing. An oversized cardstock sleeve, with an outer vellum sleeve, the overlapping designs meshing perfectly, the inside gatefold all elaborate fractals, the cd affixed to a nub on one of the inside panels. So nice.
MPEG Stream: "Absence"

album cover MONUMENT OF URNS Blaspheme (Hand Hewn Timbre) cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
RETURN OF THE URNS!! Quite possibly our favorite one man black doom outfit is back, with installment FIVE, in his ever expanding canon of droning downtuned blackness, and as always, it's gorgeously and lovingly hand packaged, a black folded cardstock sleeve, printed in thick red ink on the front and back, a strange black on black skeleton mandala on the inside.
The big change this time around is that Monument Of Urns has outgrown the 3"cd, this latest track, clocks in at a whopping 29 minutes, which seemingly forced a shift to a proper 5" cd-r. But beyond that, all is well, and grim, and bleak, and harrowingly dooooomy in the world of Urns. When we first put this in the computer, the song info came up "When The Wind Stopped Blowing - A Read To Your Child audiobook!" And while "When The Wind Stopped Blowing" does make a perfectly doomy title for a record, for this record even, evoking some sort of blackened wasteland, a burnt expanse of deadness and pestilence, these sounds are definitely a bit too intense for all but the grimmest of child folk.
A churning, roiling mass of near static black riffage, crumbling and distorted, oozing and filthy, a SUNNO))) baked crawl, that seems to grow more and more dense and caustic and black, as the track progresses. It's not until over 10 minutes in that the drums finally kick in, a BPM of say maybe 3 or 4, a seriously lugubrious tarpit creep, way beyond funereal, this is doom that is dead and buried and dug up again, caked with blood and mud and human flesh, a lumbering sick sonic behemoth, ultra doom, many many o'd dooooom, crushing and punishing and pummeling, total black hole, hollow earth, end of humanity doom, eventually ditching the drums and forward momentum, as the shuddering black grime oozes back into whatever black void birthed it. So goddamn good. Why Urns isn't up there with Moss and Corrupted and SUNNO))) and Monarch and the rest of the grim slowpoke royalty we'll never understand, needless to say, if you dig the very very slow, and ultra ultra low, and can't get enough oooooozing blackness and soul crushing dooooooom, then prostrate yourself before the Monument Of Urns, and let the buzz and rumble wash over you in thick filthy black torrents...
MPEG Stream: "Blaspheme (excerpt 1)"
MPEG Stream: "Blaspheme (excerpt 2)"

album cover MONUMENT OF URNS Cruelty (Hand Hewn Timbre) 3" cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
THE RETURN OF THE URNS!! THE THIRD URNS!!
We've been waiting patiently, almost a year now, for the next installment in Monument Of Urns' creeping crawling, and slowly coalescing masterpiece. A timeless epic, so massive, it can only be presented 20 minutes at a time. Each chapter a massive single track, each a piece of some unimaginable grand design. Each immaculately designed and presented. Each somehow impossibly heavier than the last. First there was The Ancient Method. Then there was The Destroyer Of All. And now, there is Cruelty.
Another all too brief missive from the mysterious dark lord who guards the Monument Of Urns.
Cruelty is another soul smiting slab of ultra sludge, a plodding doom metal behemoth, trudging endlessly forward, knee deep in murk and mire, wreathed in clouds of black buzz, a monstrously monolithic dirge, laying waste to any and all who kneel before it. In addition to the demonic growls, there seems to be some sort of strange monk like chanting, giving Cruelty a sort of demonically liturgical feel. The riff and pounding rhythmic pummel repeat like some sort of hellish mantra, over and over for nearly fifteen minutes, before the riffs devolve into a swirling black morass, over which harsh vocals struggle to be heard, the cries of a tortured soul, soon huge black hole pulses of downtuned crush drop from the sky, threatening to rent our puny planet asunder. The beast arises and continues its relentless rampage, until finally, all that is left is the chanting of those mysterious monks, praying that the beast will never return...
Essential doom for the Skepticism, Moss, Bunkur, Esoteric, Khanate, Corrupted, Earth and SUNNO))) sets... And like the other two installments, gorgeously packaged in a fold over sleeve, printed with woodcut images and strange calligraphic text, the 3" cd-r affixed to the inside. All must worship before the Monument Of Urns. Or perish.
MPEG Stream: "Cruelty (excerpt 1)"
MPEG Stream: "Cruelty (excerpt 2)"

album cover MONUMENT OF URNS The Ancient Method (Hand Hewn Timbre) 3" cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A mysterious package showed up on our doorstep one day a few weeks ago. An oversized brown paper sleeve printed with all sorts of geometric figures, atop them a drawing of a curled up skeleton, and beneath the skeleton were printed the words Monument Of Urns. And along with it came a note, printed on the same paper and in the same manner, which said simply "Free doom for all". We were more than halfway to digging this before we even slapped it in the cd player. And moments later, free-doom was indeed ours! (But it'll cost you five bucks.)
Included was a three inch cd-r, packed with 16 minutes of some of the most massive glacial super distorted, soul crushing doooooom we'd ever heard. Riffs that could flatten a city, given ample time to drift into nothingness before the next comes crashing down, a rhythm so slow and spare, it sounds like the drummer could smoke a cigarette between each snare hit, vocals, distant and hazy, as if being shouted from the bottom of a blackened pit, that sometimes roar ferociously before drifting back southward. Essential for fans of all things Skepticism, Bunkur, Esoteric, Corrupted, Earth, SUNNO))), Boris and the like!
MPEG Stream: "excerpt 1"
MPEG Stream: "excerpt 2"

album cover MONUMENT OF URNS The Destroyer Of All (Hand Hewn Timbre) 3" cd-r 4.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
THE URNS RETURNS!! We all went mad for the first release from mysterious outerspace underworld doom outfit Monument Of Urns, a massive glacial slab of black as tar, slow motion doom. A brief quarter of an hour, a mere three inches of utter doom and devastation. Beautifully packaged in an oversized cardstock sleeve. So fucking good but at the same time so cruel. It's the kind of track, the sort of sound that you want to go on forever and ever, an endless smear of blackened buzz. Of which we were blessed (cursed is maybe more appropriate) with only a tiny glimpse of the mighty beast. So we were psyched to discover a new, but similarly brief blast of that dismally delightful Urns ultradoom. This time it's in the form of a single 17 minute track entitled "The Destroyer Of All". Upping the drone / drift / ambient ante, "TDOA" begins with a long stretch of slow swirling metal guitars, drifting and droning, before even more guitars are piled on top, and then the drums hit, like someone dropping anvils from a seventh story window. A plodding, trudging stretch of 16rpm riffage and vocals so raw and distorted and distant they just sound like another layer of demonic buzz. So slow and heavy, so impossibly crushing, it's doom metal verging on ambience, sludge metal stretched dangerously close to complete drone-age. And we fucking love it. Someone has got to get these guys to take all of their 15 and 17 minute tracks and string them together into the ultimate doom symphony. A double disc, a triple disc even, we can hardly imagine it.
ESSENTIAL for fans of all things Skepticism, Bunkur, Esoteric, Corrupted, Earth, SUNNO))), Boris and the like! Packaged in a cool oversized cardstock sleeve, with a mini 3" cd sleeve inside.
MPEG Stream: "The Destroyer Of All"

album cover MONUMENT OF URNS The Old Man And Death (Hand Hewn Timbre) 3" cd-r 5.98
Once again, the RETURN OF THE URNS!! For those keeping track, which is a lot of you we're guessing, considering how popular Monument Of Urns is around these parts, this is installment number SIX in the Urns' ongoing exploration of grim black dooooooooom, the sort of lurching, lumbering, blown out, downtuned ultraheaviness we can't ever seem to get enough of. Number six, The Old Man And Death, finds MoU returning to the format of the first 4 releases, a 3" cd-r, housed in a super striking, and meticulously designed oversized sleeve, this time around, there's a thick textured black screenprint of a skeleton riding a ghost horse on the front, and an on old style woodcut on the back, while inside, the disc sits in the middle of a geometric design, overlapping shapes beneath two angels.
And like the past installments, The Old Man And Death is a single track, just shy of 21 minutes this time, and is another corrosive, filthy slab of abject, glacial, tarpit heaviness, the guitars massive, the riffs Teutonic, the drums simple and spare buy crushing, the instruments locked into a sinister plodding death march. The guitars crashing, and then slowly decaying, the riffs transformed into crumbling superdistorted rumbles, before the next riff crashes in. Feedback swirls, the vocals a howling shriek, barely audible, buried in the murk and mire.
And while it's of course crushingly and suffocatingly heavy, it's also dark and droned out, strangely hypnotic, the arrangement very cyclical, repetitive, total trance inducing lowend black doom ritual for sure. Like SUNNO))) jamming with Monarch, or Khanate covering Winter, epic, majestic, slow and low, doom-drone-dirge bliss. Eventually some of the crush is peeled back, in a squall of feedback, revealing a strange muddy minimal riff, it too wreathed in feedback, but soon, that riff blossoms into another brutal black crawl, slithery and sinister, the sound even dronier, the vocals washed out and almost atmospheric, and so it goes, the Urns pounding and pounding and pummeling, until eventually, the sound seems to melt into a viscous black puddle, a swirling, oozing black mass, that rumbles and whirs and groans and buzzes in a gauzy psychedelic haze, before fading to black.
Yet another installment in what has to be one of thee most perfect bodies of work in the extreme ultra doom / black / sludge / drone / dirge underground, and again, all the folks who love Monarch and Bunkur and Moss and The Body and Trees and Habsyll and Fleshpress and Atavist and Orthodox and all the rest, should most definitely be bowing down before Monument Of Urns...
MPEG Stream: "The Old Man And Death (exceprt 1)"
MPEG Stream: "The Old Man And Death (exceprt 2)"

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