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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 MONUMENTS COLLAPSE s/t (50 Year Storm) lp 10.98
This is the debut release from this young local outfit, and it's a doozy. Obviously influenced by the post-metal heavies like Neurosis and Isis, they also infuse their sound with some seriously atmospheric twang flecked dreaminess a la Earth or Barn Owl. Two side long epics, each one a brooding slow build. Doomy for sure, but also atmospheric, and darkly psychedelic. Clouds of downtuned guitar shimmer ride atop, loping rhythms, all wreathed in a swirl of distant guitar shimmer. Opener "White Owl" begins total True Widow style slowcore, and we would have been perfectly happy if it just kept plodding along like that, hypnotic low slung doom-dirge mesmer, totally tranced out and dreamy. But then about four minutes in, the guitars com crashing down, blown out and in the red, huge heaving walls of cascading riffage. We sorta expected the band to stay locked into that doomy trudge, but instead, things settle down into that opening psychedelia again, before bursting into something much more math/post rocky, replete with some super tense leads, emotional and minor key, adds some serious pathos and drama to the proceedings, and again, we would have been just as happy if it never got heavy/loud again, but obviously it does, and we were pretty darn happy about that too, a dense, chugging mathy tangle, that explodes into a churning doomy groove, complete with bellowed, glass gargling vox, eventually slowing down to an almost ultra-doom sludge, before once again, returning to the dark psych-dirge opening, only to surprise with one final burst of skull caving heaviness right at the end.
The flipside offers up another variation, similarly structured but a bit more riffy, the vocals swooping in much earlier this time, the sound a bit like a more raw, and more fierce Katatonia, but with the same sort of minor key melodicism, and like the first side/track, the song seems to swing back and forth between the two, mixing it up here, by wedding those bellowed vokills to the clean guitar and rums breakdown, before once again bursting into some seriously headbanging riffery and some soaring, emotional Godspeed style crescendos.
Fans of all things slow and low, heavy and sludge-y, post metal and metallic post rock, will wonder where these guys have been all their lives. And as mentioned above, clear a little space between your Isis and Neurosis records, cuz while this might not be the most original sound ever, these guys do it really well, and add their own sonic twists, and while this is pretty great for a first record, it definitely points toward some bigger and better things to come.
MPEG Stream: "White Owl"
MPEG Stream: "Out Of Darkness"

album cover MONUMENTS COLLAPSE / BREAG NAOFA split (Halo Of Flies / Shove) lp 10.98
Brand new split from local heavies Monuments Collapse, whose debut lp was a big hit around here, fusing Neurosis / Isis style post metal heaviness, with brooding psychedelic slowcore a la True Widow. Their half of this new split finds them in equally fine form, opening with a gorgeous bit of psych folk ambience, before launching into some epic, majestic, crushing heaviness, all throat shredding howl, and blown out, lumbering doomic crush, but like that debut, MC's sound manages to remain rife with melody, the vibe melancholic, the sound laced with droned out, downtuned thrum, not to mention some extended space jam mesmer, chugging, churning, soaring metallic majesty. They close their side of the split with the 10+ minute "Pathos", that begins all meandering post rock drift, chiming melodies, subtle percussion, a stripped down rhythm, and thick, rumbling bass, totally tranced out and moody, the sound building slowly to some serious epic metallic mathiness, the sound blossoming into full on Godspeed style metallic epicry, that stretches out for the remainder of the track/side. So great. It's only a matter of time before the rest of the world catches on.
The flipside comes from Breag Naofa, a progged out doom sludge combo from the Pacific Northwest, who were a big surprise for sure, their sound equalling Monuments Collapse in terms of metallic heft and sonic majesty, the opening few minutes, super melodic and mathy, unwinding an epic instrumental jam, that sounds a bit like a way more metal Mogwai, until the vocals come swooping in, a monstrous bellow, the music following suit, thick downtuned riffage, massive drum pound, the song churning and roiling malevolently (but still melodically), before slipping into a washed out post rocky sprawl, all muted steel string strum, chiming chords, and sinewy, spidery bassline, eventually working its way back up to an epic and emotional coda, plaintive and melancholic, sounding a bit like Neurosis crossed with Alcest...
The second track is more of the same. Opening with a rumbling raga like buzz, punctuated by monster drum pound, thick sprawling guitar buzz, and some strange percussion, before exploding into a tarpit trudge, thick chugging guitars and keening high end leads, definitely reminiscent of Neurosis (circa Enemy Of The Sun), brooding and massive, like the first track, it winds down into some spaced out psychedelic drift, and once again works its way back to one final blast of pound and pummel, all dense guitar chug and churning double kick drumming, locked into a seriously crusty doom-ic groove, before gradually fading to nothing. Killer stuff from both bands for sure, and man do we want to hear more from Breag Naofa...
MPEG Stream: MONUMENTS COLLAPSE "Starvation"
MPEG Stream: BREAG NAOFA "VII"

album cover MONYPENY, DEREK Don't Bring Me Down, Bruce (Raheem) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Bay Area folks might remember Derek Monypeny from the ferociously explosive, improvisational trio Oaxacan. Their fiery brand of Eastern flecked, face-melting psych mastery was truly amazing to behold live. Sadly their time as a band was short-lived, but guitarist Derek Monypeny continues his journey into the desert cosmos with his debut lp of solo oud. Though he has also played guitar in Sir Richard Bishop's touring band, Mr. Monypeny decided to put the blaring fuzz and virtuosic six-string tendencies aside and opted for a more traditional approach here. These beautifully minimal pieces of eloquent, contemplative oud unfold like ancient narratives, evoking dramatic images of ghostly mirages, shimmering horizons and the desert sun sinking under pale dunes.
Side A unfolds with gorgeously sparse, delicate movements of slowly picked oud, each note rising up then dropping down like diamonds in the sand. We love the patient, reflective pace of the songs, each note carefully plucked and sent off like a gentle offering into the night. While side A reveals Monypeny employing the art of restraint and patience, side B finds Monypeny on the periphery of tradition, drenching the oud in hazy reverb and other effects that tastefully reiterate the instrument's Saharan roots. Reminiscent of Sandy Bull's oud outings, these final two pieces warble and melt in the hot sun, tremolo washes and smeared melody hover in the arid sky as the rhythmic haze and gentle noise lull you deeper into the cosmic badlands. So gorgeous and so perfect. Highly recommended for fans of anything related to Sublime Frequencies for sure. Limited to an edition of 250, don't be left in the Saharan dust!

MONYPENY, DEREK Limerance (Underwater Experiences) cassette 3.98

album cover MOOG (OST) (Hollywood) cd 17.98
Where would we be without the Moog synthesizer? Well, we'd be missing a whole lot of our favorite artists that's for sure. In fact Stereolab would just disappear in the blink of an eye. Thankfully, the Moog is still everywhere, and for years has shaped the sounds and songs of tons of our favorite bands. None of us have seen the movie yet (by filmmaker/musician Hans Fjellestad), but the soundtrack is a doozy! Featuring tracks from Stereolab (obviously), Jean-Jaques Perrey, Luke Vibert, Meat Beat Manifesto, Tortoise, Money Mark, The Album Leaf, Bernie Worrell and Bootsy Collins and loads more. But it's the bonus disc that hits the spot and offers up some of our favoritest classic Moog moments: Emerson, Lake And Palmer, Gary Numan, Devo, New Order, They Might Be Giants and of course Yes!
MPEG Stream: STEREOLAB "Variation One"
MPEG Stream: TORTOISE "Beautiful Love"

album cover MOOG A Documentary Film By Hans Fjellestad (Plexifilm) dvd 24.00
Oh man! Where would we be without the Moog (pronounced MOAG, not MOOG). We wouldn't have Stereolab, or Tortoise, or E.L.P. (says Andee!) or almost any of the risk taking bands of the last thirty years. Well, we'd probably still have 'em but boy would they sound completely different. And most certainly not nearly as good! The history of Robert Moog (who is unbelievably cute and so effusive about his keyboards and the folks who play them) and the development of the synthesizer is totally fascinating, especially so for music tech nerds, but definitely fun for anyone to watch. Loads of insane footage from the sixties and seventies: Moog instructional videos, live performances, interviews, and up close examinations of the machine itself, a snarled mass of wires and knobs and plugs that look almost organic, like the inside of a human being! But it's definitely the live performances that drive the point home, showing the Moog in its element demonstrating quite easily how it managed to define and recreate the possibilities of synthesized sound! A particularly awesome clip features Gershon Kingsley (of Perrey and Kinglsey) defending the Moog against critics who at the time claimed it was a machine NOT a musical instrument, some Stereolab shot right here in SF, and of course some INSANE Keith Emerson Moog jams. Later in the film there's a brief bit on the theremin, but for the most part it's all about the moog!
Extra stuff includes deleted scenes, interviews with DJ Spooky, TIm Gane of Stereolab, Charlie Clouser of Nine Inch Nails, and more Bob Moog himself, as well as extra live footage from Money Mark, The Album Leaf, and more. Probably the most amazing extra though is a Schaefer Beer commercial, where a dude all decked out in his seventies finery, plays a wild Moog-ed up version of the Schaefer beer theme before pouring himself a tall cool one!!

album cover MOOLAH Woe Ye Demons Possessed (EM Records) cd 22.00
Fantastic! We weren't expecting it all all, but this long-gone AQ fave has just been repressed and is back in stock!! We went nuts for this when it first was reissued by EM back in 2005, we probably only didn't make it a Record Of The Week back then 'cause of the steep import price (it was $28, it's now a bit cheaper, yay!) and 'cause were had to get 'em direct from Japan, but in the years since EM has gotten better US distribution. So if you missed it before, you're in luck now. Here's what we wrote the first time, back on list #239:
YESS!!! Ohmigod, ohmigod, ohmigod! Those are direct quotes from Allan the day he discovered, totally out of the blue, that this album had been reissued on cd by the Japanese label EM Records. Kerry and Andee were both in the office that day and can attest that Allan just about jumped out of his skin, his voice positively yelping with excitement. And now we're ALL going ohmigod, ohmigod too since the box from Japan that Allan ordered arrived and Moolah is among us.
Ok, so what the heck is Moolah?? Well we're talking a super-obscure psychedelic/experimental Holy Grail album here. Allan only knew about it 'cause he'd heard some of it on a cd-r burn that our pal Loren Chasse had gotten from Jan Anderzen of Finland's Kemialliset Ystavat. Totally weird, damaged, krautrocky cosmic psych with electronic drones, haunting classical piano, and fucked up rhythms! According to Anderzen, it was an ultra rare LP from the '70s by a band called Moolah, entitled Woe Ye Demons Possessed. Wow. Allan found it hard to believe that was really true, and that it wasn't just something recorded by some genius Finnish forest freak friend of Anderzen's directly for the cd-r. But some diligent research revealed that the mysterious Moolah was indeed a band from New York who released an album on what was probably their own label, Druidstone (!), in 1974. But it was still pretty much unknown and almost utterly unobtainable. It didn't seem to have ever been reissued. And even our most '70s knowledgeable psych-rock reissue supplier in Sweden hadn't heard of it at all. But we never lost hope. And now, thanks to the extremely strange and cool Japanese label EM Records, here at last we present to you Moolah on cd! We're still left in the dark about a lot of the details of this mysterious record's history (EM's sales info is mostly in Japanese*) but from the album cover notes reproduced in the cd package we can tell you that the men behind Moolah were a duo named Walter Burns and Maurice Roberson, who recorded this, "their paranormal concertwork ...a cosmic rock relaxation creation" at a "secret studio in New York's Greenwich Village". There's also some amazing pagan poetry on the sleeve, here's a few lines: "Licking BLOOD Drinking TEARS Sacrificing LOVE on the Altar of Tomorrow Eating FRUITS of Stolen Vineyards With Withered Young Mouthes That Sing The OLD SONGS WHICH WERE FORBID".
And the music is as amazing as what Allan remembered. Dreamy, beautiful ambience -and- disturbingly chaotic, claustrophobic sounds. Shimmery, murky, distorted, primitive... is it even rock music? For the day, about as far out as you could get. Indeed, ahead of its time. Such tracks as "Crystal Waters", "Terror Is Real" and "The Hard Hit" are lo-fi jams full of dubby echo effects, indistinct voices intoning New Age ideas, crazy backwards percussion, and insectoid squiggles of electronics. And we think we heard a purring cat in there too. The question is: did the Moolah duo simply inhabit their own, messed-up, mystical little world (which seems likely, judging by those sleeve notes of theirs), or had these guys heard records by early Kraftwerk, Amon Duul, Kluster, and Neu!? We wonder. But either way, the krautrock scene's freakiest had nothing on Moolah. File with such rare, eccentric, outsider psych artifacts as the Cromagnon's Orgasm, Yahowha 13's Penetration, and Comus' First Utterance. What a find. If you like weird, lost, lovely, maybe a bit frightening music THIS IS FOR YOU.
*Here's Google's automatic translation of the Japanese-only info EM provided: "The [kozumitsuku] psychedelic album where 1974, two youths of New York are identified [mura] and announce. The piano, the keyboard and the percussion musical instrument electric set and electronic sound, esoteric Buddhism vocal sound, drawn, concrete sound, the delay effect, it is the work which is formed with tape opposite revolution."
MPEG Stream: "Crystal Waters"
MPEG Stream: "Courage"
MPEG Stream: "Mirror's"

MOOMAW Don't You Just Love (Gazebo Music) lp 9.98

album cover MOOMAW, NATHAN 26 (Cazelo Music) cd 10.98

album cover MOON Caduceus Chalice (Moribund) cd 16.98
We first heard Australian one man black metal band Moon, on a three way split with Nekros Manteia and long time aQ fave Nekrasov. At the time, we described Moon's sound as merging black metal atmosphere with more contemplative noise elements, resulting in a creepy, unsettling droned out chunk of twisted experimental blackness.
Caduceus Chalice seems to be the fully realized vision of what was only hinted at on that one track, a sprawling songsuite equal parts murky blown out riffage, and blurred blackened ambience, a spectral black soundworld, the guitars, woozy and lugubrious, sounding at times like they're being played in slow motion, the stretches of atmospheric ambience, only a step away from Philip Jeck or the Caretaker, that same sort of of washed out, faded feel, and Moon does deliver the blackness, the riffing is blurred and smeared into whirling streaks of sounds, layers of softly undulating black gauze, wrapped around surprisingly poppy guitar melodies, and the drumming, muted and buried until it's just a heartbeat like pulse, the only TRULY black metal element is the vocals, but even those are hazy and seemingly wordless, wreathed in effects, that lets them seemingly melt into the sounds around them.
A lot of Caduceus Chalice almost sounds like the record was recorded at 45, and then pressed to disc at 33, everything exuding a sort of haunted drag, as if the sounds were trying to extricate themselves from some black sonic tarpit.
There are moments where that murky atmosphere is shrugged off, for the most part, and Moon can engage in some proper buzz and blast, but even them, there's a gauzy patina over everything, muting the sounds and dulling the sharp edges, which only makes everything seem that much more mysterious and ominous. Minus the vocals, this almost sounds like some sort of experimental shoegaze blackdrone record, drifting and hovering, lumbering and loping as much if not more then buzzing and blasting. "Caduceus" might be our favorite of the bunch, a mournful midtempo lament, that were it not for the vokills, would be the prettiest saddest doom pop song ever, but with the vox added, just sounds that much more anguished and abject.
The record finishes off with the 19 minute "Chalice", a lumbering balladic dirge, the drums simple and Swans-like, the guitars whirling amorphous chordal clouds, processed vocals adding a haunting choral quality, reminding us a bit of Skepticism, but again, sweetly melancholic and darkly melodic, no vocals either, so this could totally pass for some blackened dronepop ballad, even though it's actually a washed out ghostlike slo-mo black metal lament.
Fans of Xasthur and Moloch and other purveyors of mournful, ambient, buzz drenched blackness would do well to explore Moon's mysterious soundworld...
MPEG Stream: "Forest Samhain"
MPEG Stream: "Beneath"

album cover MOON DARK / HARASSOR split (Universal Consciousness) 7" 4.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It doesn't get more kvlt than this. Two of the grimmest black metal bands California has to offer. One from SF, one from LA, each rumored to include members of some other more well known black metal bands, the sound of both bands, raw and primitive, stripped down, furious and buzzy, simple and pounding.
The true measure of a black metal band these days is their MySpace presence. The truly grim and kvlt, still somehow manage to whip up a Myspace page, even though that's probably the last kvlt activity imaginable. We like to imagine bands in the forest, or in a cave recording, or covered in blood and corpsepaint wandering through the snowy mountains, not hunched over a laptop writing html. But still a quick look at both bands' MySpace pages reveal that Moon Dark are truly the most hateful and grim band in the land, read as they defend their shitty logo, and their stupid band name, while still managing to accuse all other bands of being false metal and lame poseurs and call for the death of all Christians. While we discover that Harassor are pretty badass looking, fronted by a HUGE bearded bald dude, with corpsepaint and a big upside down cross on his forehead that stretches all the way up to his bare pate. Excellent.
Sonically, both bands tread similar ground. Pounding buzz drenched stripped down black metal. Think Akitsa, Ildjarn, Bone Awl and the like. Moon Dark is the more lo-fi of the two, a furious super distorted rehearsal space sound, the vocals a hysterical shriek over chugging midtempo riffage and barely audible drums (assuming there are drums at all). Occasionally, the riff slips into a bizarre almost circusy sing-song melody which is fucked up but actually awesome, before slipping back into grim buzz mode.
The Harassor side is not so lo-fi but still plenty grim and buzzy, total d-beat style heaviness, Akitsa, Malveillance, pounding drums, SUPER buzzed out guitars, killer gurgly demonic vox, and even some strange scrappy guitar parts which are super cool. Creepy and almost Misfits-y at times, but buzzy and black enough to hold their own with Moon Dark.
LIMITED TO 300 COPIES. Each numbered in human blood. Black and white printed sleeves, and pressed on white vinyl!

album cover MOON DUO Catch As Catch Can (Agitated Records) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What do you really need to know here? A NEW MOON DUO 7" (their first?), and the inaugural release for new UK label Agitated Records. We know by now that the Moon Duo of Erik "Ripley" Johnson (um, of Wooden Shjips if you haven't already heard...) and Sanae Yamada are unstoppable, and once again, they deliver. "Catch As Catch Can" is the band's most energetic song to date with a super distorted fuzz organ riff and a guitar that sounds like a shimmering sheet of white noise. It's relentless and catchy as hell, sure to stick in your mind for days. The B-side is a cover of a Scientists tune, and in contrast to the A-side, this represents Moon Duo's slower, more groove oriented persona. The stuttered beat is accompanied by heavily saturated fuzz chords and pleasant little synth blips before rising to a crazy and amazing fuzz solo. Bonus points for the cool as fuck magic eye cover art. Yep, this one kills, and at only 1000 copies worldwide, just know it won't be sticking around for long.

album cover MOON DUO Circles (Sacred Bones) cd 14.98
Record number three from aQ beloved modern minimalist psych-kraut combo Moon Duo, initially an offshoot of psych rockers Wooden Shjips, but over the last few years, it seems the 'Duo have been way more active than the mothershjip. This latest record from the Shjips' Ripley Johnson and his partner, Sanae Yamada, taking up right where the last one, Mazes, left off, the duo weaving lush, hypnotic, jams, expanding their sound with every record, Circle being the most polished, and certainly the most poppy. They still worship at the altar of Spacemen 3, you can't really play this sort of music and not, but the sound this time around is definitely less dark, more sun dappled and dreamy, and the pop element is huge, with some of the songs sounding downright noisepoppy, even the more tranced out krauty jams, find the duo adding multiple melodies, layering their guitars and synths, and most excitingly, singing together much more, the boy/girl harmonies downright dreamy. While the opener "Sleepwalker" is about as close to classic Moon Duo as Circles gets, it sort of feels like they're easing us into it, cuz "I Can See" is propulsive and driving, a little bit bouncy, but Yamada and Johnson sing the chorus together, before Johnson lets loose with some wild gouts of psych guitar. The sound is still plenty sinister, and darkly hued, but that is NOT the case on the title track, which is fuzzy and super poppy the intertwined vocals and the killer chorus, not to mention a super melodic lead, it's a sunshinier side of Moon Duo, one that we sort of like. "I Been Gone" is almost new wavey, a percolating melody over a driving groove, and another pretty excellent chorus.
Our only complaint with past Moon Duo records really, and a minor one at that, was that their songs were less songs, so much as just cool parts, the band would play the part, a killer psychedelic krautrocky groove, until they stopped, this was even more evident live, where they would push play on the drum machine, then start the song, then eventually stop, the programmed rhythm continuing on unwavering, until they pushed stop. Here, the songs sound much more crafted, and composed, as if they were meant to be the length they are, a certain number of verses and choruses, and then end, and somehow they manage that without losing that sense of endless jamminess, which was part of the joy of Moon Duo's sound. And for all the took of new sounds and more poppiness, fear not, there's still plenty of tranced out psychedelic brood, and looped hypno rock mesmer. "Sparks" is classic Moon Duo, as is the epic loping closer "Rolling Out", with its Spacemen 3 riff and monster groove, but then out of nowhere comes the weird, pulsing, effects drenched stomp of "Free Action", with its stuttering guitars and woozy descending almost glammy sounding chorus.
So good, just enough of the classic old sound, balanced with a whole lot of the new, is making this a big fave around here for sure!
MPEG Stream: "Sleepwalker"
MPEG Stream: "I Can See"
MPEG Stream: "Circles"
MPEG Stream: "I Been Gone"

album cover MOON DUO Circles (Sacred Bones) lp 19.98
Record number three from aQ beloved modern minimalist psych-kraut combo Moon Duo, initially an offshoot of psych rockers Wooden Shjips, but over the last few years, it seems the 'Duo have been way more active than the mothershjip. This latest record from the Shjips' Ripley Johnson and his partner, Sanae Yamada, taking up right where the last one, Mazes, left off, the duo weaving lush, hypnotic, jams, expanding their sound with every record, Circle being the most polished, and certainly the most poppy. They still worship at the altar of Spacemen 3, you can't really play this sort of music and not, but the sound this time around is definitely less dark, more sun dappled and dreamy, and the pop element is huge, with some of the songs sounding downright noisepoppy, even the more tranced out krauty jams, find the duo adding multiple melodies, layering their guitars and synths, and most excitingly, singing together much more, the boy/girl harmonies downright dreamy. While the opener "Sleepwalker" is about as close to classic Moon Duo as Circles gets, it sort of feels like they're easing us into it, cuz "I Can See" is propulsive and driving, a little bit bouncy, but Yamada and Johnson sing the chorus together, before Johnson lets loose with some wild gouts of psych guitar. The sound is still plenty sinister, and darkly hued, but that is NOT the case on the title track, which is fuzzy and super poppy the intertwined vocals and the killer chorus, not to mention a super melodic lead, it's a sunshinier side of Moon Duo, one that we sort of like. "I Been Gone" is almost new wavey, a percolating melody over a driving groove, and another pretty excellent chorus.
Our only complaint with past Moon Duo records really, and a minor one at that, was that their songs were less songs, so much as just cool parts, the band would play the part, a killer psychedelic krautrocky groove, until they stopped, this was even more evident live, where they would push play on the drum machine, then start the song, then eventually stop, the programmed rhythm continuing on unwavering, until they pushed stop. Here, the songs sound much more crafted, and composed, as if they were meant to be the length they are, a certain number of verses and choruses, and then end, and somehow they manage that without losing that sense of endless jamminess, which was part of the joy of Moon Duo's sound. And for all the took of new sounds and more poppiness, fear not, there's still plenty of tranced out psychedelic brood, and looped hypno rock mesmer. "Sparks" is classic Moon Duo, as is the epic loping closer "Rolling Out", with its Spacemen 3 riff and monster groove, but then out of nowhere comes the weird, pulsing, effects drenched stomp of "Free Action", with its stuttering guitars and woozy descending almost glammy sounding chorus.
So good, just enough of the classic old sound, balanced with a whole lot of the new, is making this a big fave around here for sure!
MPEG Stream: "Sleepwalker"
MPEG Stream: "I Can See"
MPEG Stream: "Circles"
MPEG Stream: "I Been Gone"

MOON DUO Circles Remixed (Sacred Bones) lp 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MOON DUO Escape (Woodsist) cd 13.98
Right on. Moon Duo are back with another four song blast of spaced out, super rhythmic psychedelic goodness. Escape arrives on the heels of two 12" eps, and it is by far their best effort yet. Of course we loved those previous releases, but Escape is the sound of a band who has really hit their stride now, and the songs are more mysterious, more relentless, and just more rocking than anything up to this point. We're not sure if there are real drums on this release (yes?) instead of a drum machine, but whatever the case, the rhythms here just grab hold and throttle you, while Ripley Johnson, he of local favorites Wooden Shjips, takes things beyond the stratosphere with his trademark fuzz solos, which are among the best you will currently hear on planet Earth.
"Motorcycle, I Love You" opens the album in perfect fashion with a vaguely evil two note riff, murky vocals bubbling out of the haze, swirling keyboard drones, and yeah, an awesome extended solo that kicks in and stays there. Goddamn. "In The Trees" is a steady rocker, like a hyped up Velvet Underground jam simplified and done west coast style. A nice tambourine hit accents the pounding drums, while the spacey guitar builds an impenetrable wall of beautiful, melodic white noise. "Stumbling 22nd St" - hey, that sounds familiar - is driven by a simple keyboard melody riding above subsonic fuzz guitar and a tight rhythm. When the riff switches to riff #2 (there aren't really choruses or any of that unnecessary shit here), you will know why we think this is the best stuff Moon Duo has produced so far. The changes in their songs, subtle as they may often be, are what make it clear that this isn't just stupid psychedelic rambling. There is some awesome songcraft going on, and we love it. The title track brings the album to its end. "Escape" is by far the poppiest and most upbeat song on the album, sounding like an extended take of the best pop song in the world working its way through some phased out vortex. The recording quality, lo-fi but perfectly appropriate, definitely gives this a nice timeless quality. It sounds like this stuff could have been recorded at any point within the last 40 years, while never sounding anything but current. Good stuff for sure.
Yeah, it's easy to see why people are digging Moon Duo so much. There is nothing not to like, and while this type of music can be rendered totally boring in the wrong hands, some people just know what's up. Moon Duo knows what's up.
MPEG Stream: "Motorcycle, I Love You"
MPEG Stream: "Escape"

album cover MOON DUO Escape (Woodsist) 12" 12.98
Right on. Moon Duo are back with another four song blast of spaced out, super rhythmic psychedelic goodness. Escape arrives on the heels of two 12" eps, and it is by far their best effort yet. Of course we loved those previous releases, but Escape is the sound of a band who has really hit their stride now, and the songs are more mysterious, more relentless, and just more rocking than anything up to this point. We're not sure if there are real drums on this release (yes?) instead of a drum machine, but whatever the case, the rhythms here just grab hold and throttle you, while Ripley Johnson, he of local favorites Wooden Shjips, takes things beyond the stratosphere with his trademark fuzz solos, which are among the best you will currently hear on planet Earth.
"Motorcycle, I Love You" opens the album in perfect fashion with a vaguely evil two note riff, murky vocals bubbling out of the haze, swirling keyboard drones, and yeah, an awesome extended solo that kicks in and stays there. Goddamn. "In The Trees" is a steady rocker, like a hyped up Velvet Underground jam simplified and done west coast style. A nice tambourine hit accents the pounding drums, while the spacey guitar builds an impenetrable wall of beautiful, melodic white noise. "Stumbling 22nd St" - hey, that sounds familiar - is driven by a simple keyboard melody riding above subsonic fuzz guitar and a tight rhythm. When the riff switches to riff #2 (there aren't really choruses or any of that unnecessary shit here), you will know why we think this is the best stuff Moon Duo has produced so far. The changes in their songs, subtle as they may often be, are what make it clear that this isn't just stupid psychedelic rambling. There is some awesome songcraft going on, and we love it. The title track brings the album to its end. "Escape" is by far the poppiest and most upbeat song on the album, sounding like an extended take of the best pop song in the world working its way through some phased out vortex. The recording quality, lo-fi but perfectly appropriate, definitely gives this a nice timeless quality. It sounds like this stuff could have been recorded at any point within the last 40 years, while never sounding anything but current. Good stuff for sure.
Yeah, it's easy to see why people are digging Moon Duo so much. There is nothing not to like, and while this type of music can be rendered totally boring in the wrong hands, some people just know what's up. Moon Duo knows what's up.
MPEG Stream: "Motorcycle, I Love You"
MPEG Stream: "Escape"

album cover MOON DUO Horror Tour (Souterrain Transmissions) 12" 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What is it with Moon Duo (and Wooden Shjips) and holidays? Between the two bands, it seems like they've done a special release for most holidays there are. We're holding out for the Groundhog Day single or the Columbus Day cassette. Anyway, while we usually write these sprawling gushing epics about Moon Duo records, we're guessing this one probably doesn't need all that much. It is indeed a special holiday release, in this case, Halloween, even though we didn't receive our copies until well after . It's limited to 1000 copies, AND it's already sold out and out of print at the label, which means these copies we have are the last ones we'll ever be able to get, and while we got a BUNCH, we're guessing they'll still disappear pretty dang quick, especially considering the fact that this might just be our favorite Moon Duo record yet.
The record opens with the sound of footsteps, and a creaking door, scaaary, then the drums come in, the guitars follow, and the song unfolds in druggy organ driven dronerock style, definitely heavy on the Spacemen 3, the guitars dripping with flanger and warm distortion, the vocals laid back and weary, and wreathed in echo, the melody and hook, maybe the catchiest yet, and then the vocals drop out, and that's it for singing, the whole rest of the record is all instrumental. But that opener continues on, the guitars piled up, layer after layer, all tangled up in warm psychedelic swirls, while the rhythm pounds away, and the organ whirs underneath. "Causing A Rainbow" is short and poppy, the guitar muted but distorted and super crunchy, the organ laying down a hazy high end drone underneath, fuzzy and sunshiney, but it's the 10+ minute "Sickener" that might be our favorite, starting out super poppy, softly chugging guitars over billowy organ chords, and chiming soft focus melodies, total krautrock style rhythmic blissout, droney and hypnotic, super minimal and mesmerizing, it's not until about 4 minutes in that anything changes, when a thick, blown out buzz drenched guitar swoops in, and proceeds to grind away over that motorik groove underneath, adding a blurred fuzz guitar gauze over the whole track, that guitar getting wilder and wilder, noisier and more chaotic, eventually erupting into full on chaotic psych shred, the drum machine / organ groove never wavering, even at ten minutes that track is WAY too short. Best MD jam EVER. Finally the record finishes off with the two and a half minute coda "Circle Of Evocation Pt. 2", which is nothing but the processed sound of what seems to be running water, or the sounds of engines or both, blurred into a hazy whir, a strange finish, to a strange, but pretty goddamn great records. And again, this is LIMITED TO 1000 COPIES, each one numbered, these are the last copies there are, so once we run out, it's gone for good.
MPEG Stream: "Horror Tour"
MPEG Stream: "Sickener"

album cover MOON DUO Killing Time EP (Sacred Bones) cd 11.98
FINALLY AVAILABLE ON CD! Here's what we said when we reviewed the now out of print vinyl 12" version:
All right! Moon Duo returns with another hazed out transmission from some lost dimension (otherwise known as San Francisco), this one courtesy of the always cool Sacred Bones label. The duo (obviously) features Ripley Johnson from local heroes Wooden Shjips, and their sound is not too far removed from Ripley's main band, maybe a little more ethereal and not quite as overtly "rocking", but definitely following a similar path of hypnotic, fuzzy repetition that we can't get enough of.
Moon Duo are capable of creating powerful songs from very little and they obviously understand the power of simplicity. Each of the four songs on this ep utilize the same hypnotic drum machine groove, altered to various pitches and speeds to accommodate each individual song. The result is like a mechanical heartbeat, throbbing relentlessly with krauty precision, and almost serving as some sort of chain to link each of the songs together. The record begins with "Killing Time", which sounds a bit like a Joy Division part looped forever as the soft, distorted vocals lurk beneath melodic guitars and fuzzy background static. With its buzzing organ and controlled feedback, "Speed" rocks a bit like Suicide augmented by shrieking guitar pulses and, uh, harmonica? Maybe. The cool thing here is how sounds blend together in a cyclone of warm, pulsating analog goodness. At times you are unaware of what you're hearing, and even though it gets noisy and overblown, the results are always catchy and super melodic.
Side 2 begins with "Dead West", which has a cool underwater feel. The song fucks with your perception of time and place, as it could have been recorded 40 years ago or 40 years from now. Sonically, it is a bit reminiscent of fellow California space travelers Sun Araw with its percussive guitar strumming and shimmering psychedelic feel, as a little keyboard melody stands at the center of things while the rest of the sounds oscillate all over the place. "Ripples" gives off a Spacemen 3 vibe as the drumbeat is slowed significantly. The guitars have a nice bit of twang to them, and the sounds once again appear to get caught in some sort of musical whirlpool as they merge together before a cool fadeout.
Picking up where the last ep left off, Killing Time finds Moon Duo descending even deeper into a state of super rhythmic, dreamy psychedelia. Just the way we like it.
MPEG Stream: "Killing Time"
MPEG Stream: "Ripples"

album cover MOON DUO Killing Time EP (Sacred Bones) 12" 13.98
This has been out of print for a while on vinyl, we just recently listed the cd version, and then suddenly voila, the vinyl is back in print, but for how long, nobody knows, which of course means if you still need the vinyl, grab one quick, while it lasts...
All right! Moon Duo returns with another hazed out transmission from some lost dimension (otherwise known as San Francisco), this one courtesy of the always cool Sacred Bones label. The duo (obviously) features Ripley Johnson from local heroes Wooden Shjips, and their sound is not too far removed from Ripley's main band, maybe a little more ethereal and not quite as overtly "rocking", but definitely following a similar path of hypnotic, fuzzy repetition that we can't get enough of.
Moon Duo are capable of creating powerful songs from very little and they obviously understand the power of simplicity. Each of the four songs on this ep utilize the same hypnotic drum machine groove, altered to various pitches and speeds to accommodate each individual song. The result is like a mechanical heartbeat, throbbing relentlessly with krauty precision, and almost serving as some sort of chain to link each of the songs together. The record begins with "Killing Time", which sounds a bit like a Joy Division part looped forever as the soft, distorted vocals lurk beneath melodic guitars and fuzzy background static. With its buzzing organ and controlled feedback, "Speed" rocks a bit like Suicide augmented by shrieking guitar pulses and, uh, harmonica? Maybe. The cool thing here is how sounds blend together in a cyclone of warm, pulsating analog goodness. At times you are unaware of what you're hearing, and even though it gets noisy and overblown, the results are always catchy and super melodic.
Side 2 begins with "Dead West", which has a cool underwater feel. The song fucks with your perception of time and place, as it could have been recorded 40 years ago or 40 years from now. Sonically, it is a bit reminiscent of fellow California space travelers Sun Araw with its percussive guitar strumming and shimmering psychedelic feel, as a little keyboard melody stands at the center of things while the rest of the sounds oscillate all over the place. "Ripples" gives off a Spacemen 3 vibe as the drumbeat is slowed significantly. The guitars have a nice bit of twang to them, and the sounds once again appear to get caught in some sort of musical whirlpool as they merge together before a cool fadeout.
Picking up where the last ep left off, Killing Time finds Moon Duo descending even deeper into a state of super rhythmic, dreamy psychedelia. Just the way we like it.

album cover MOON DUO Live In Ravenna (Sacred Bones) lp 14.98
When those of us here at aQuarius use the pronoun 'we', we're pretty sure you are all aware this usage is that of the 'royal we' - a singular voice taking on a plurality as a sake of anonymity. So when we say that we went to the Converse store in downtown San Francisco to grab yet another pair of Chuck Taylors, it should be obvious that not all of us were not trying on a single pair of shoes. But when we (in this case, the singular we), were in that store, we were flabbergasted and amazed to be hearing the druggy motorik sounds of Wooden Shjips wafting through the shop as the druggy, dreamy slacker sound seems designed to amplify the themed hipness to further the idea that Chuck Taylors have always been the cool shoes to rock out in. Ripley, the mystery man fronting Wooden Shjips and Moon Duo, seems like a Chuck Taylor dude to us; and we gotta wonder if he were sporting a pair on his feet while rocking out with Moon Duo in Ravenna. This live album is a fantastically recorded document from one of the shows from their 2013 tour, during which Ripley and Sanae Yamada brought on John Jeffery as the drummer to flesh out their sound on stage. His Silver Apples meets Can motorik, psychedelic grooves work perfectly with the fuzzed out organ and trance-rock guitar riffs from the Moon Duo duo proper. Really? There's just 250 copies on blue and white vinyl? Get it while you can...
MPEG Stream: "In The Sun"
MPEG Stream: "Motorcycle, I Love You"
MPEG Stream: "Mazes"

album cover MOON DUO Love On The Sea (Sick Thirst) 12" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We'll just spare the long-winded build up and get straight to the point: Moon Duo is the new side project from Ripley, guitarist for San Francisco's psychedelic heroes Wooden Shjips, and it kicks plenty of ass. This lengthy two song ep rocks in a similar, albeit slightly more stripped down way, and like the Shjips, Moon Duo is all about super hypnotic, highly rhythmic repetition with plenty of awesome fuzz guitars and simple but powerful drumming. And like all vinyl only offerings from Ripley's main gig, this is also coming to you in highly limited numbers, so act now or suffer later.
The first track, "Love On The Sea," previously appeared in edited form on a recent Yeti magazine compilation. But really, why would anyone want something coming from a Wooden Shjips dude to be slimmed down to fit on a cd with other groups? Thankfully, the version here uses an entire side to help you get even further lost in its endless melodic grooves. The song comes off as the perfect mix of krauty propulsion with fuzzed out, druggy American garage rock from the '60s, and the lo-fi recording works really well to get you nice and disoriented. Murky vocals, swirling organs and bright guitar accents give you the impression of what it would be like to relax in a room full of strobe lights going full blast, and after a while you can't tell whether the drums are a thumping backbeat or a straightforward groove. Whatever the case, it's sounding damn good to our ears.
On side 2 we have "E-Z Street Ext," which actually sounds a bit like an instrumental minor key version of the song "Down By The Sea" from the Shjips' recent Dos record. There's a nice dose of wild fuzz guitar action, but here the organ takes center stage with its awesome underwater sound. The drums are a steady pound, and as the guitar begins to decay into crumpling waves of distortion, things seem to speed up and build in intensity before arriving at a prolonged cymbal loop which itself appropriately ends in a locked groove.
Again, this is super limited, and if you couldn't already tell, it is absolutely required listening for those who can't get enough Wooden Shjips.

album cover MOON DUO Mazes (Sacred Bones) cd 14.98
Moon Duo return with their second proper full length, and if you needed any further proof of their masterful grasp of fuzzed out hypnotic grooves, well, look no further. It's almost as if Moon Duo set out to link every one of their records together as one gigantic pulsating trip into your mind, and Mazes takes you further in. Mazes. Hmm. Like the magic eye cover for their Catch As Catch Can single, the eyeball warping artwork seems to be a perfect visual accompaniment to the awesome brain-melting confusion of the music itself.
Kicking off with "Seer", the duo conjure the hazy underwater sound they've utilized before with a rhythm that walks the line between spaced out acid rock and minimal electro grooves with some of the clearest Moon Duo vocals to date. "Mazes" offers a slight departure from the usual murk, sounding poppy and jangly in the vein of other San Francisco popsmiths like the Fresh And Onlys or the Mantles. It rides out with a sort of pre-1965 surf rock feel that makes this a perfect jam for your next sun baked road trip. "Scars" shifts the mood into darker terrain like some fractured Suicide / Doors hybrid. The heavy vibrato keeps things percolating while the organ occasionally shifts into a spooky little interlude recalling Kraftwerk's "The Model". The song also strangely makes us think of Steppenwolf's "Born To Be Wild", an association which is taken to the next logical step with the aggressive "Fallout". The album concludes with "Goners", a midtempo jam that makes it feel like you are walking into the perfect fadeout to an album which will remain playing in your head nonstop for quite some time. Moon Duo have never let us down, and it doesn't seem that'll change anytime soon...
MPEG Stream: "Seer"
MPEG Stream: "Mazes"
MPEG Stream: "Scars"

album cover MOON DUO Mazes (Sacred Bones) 2cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Moon Duo return with their second proper full length, and if you needed any further proof of their masterful grasp of fuzzed out hypnotic grooves, well, look no further. It's almost as if Moon Duo set out to link every one of their records together as one gigantic pulsating trip into your mind, and Mazes takes you further in. Mazes. Hmm. Like the magic eye cover for their Catch As Catch Can single, the eyeball warping artwork seems to be a perfect visual accompaniment to the awesome brain-melting confusion of the music itself.
Kicking off with "Seer", the duo conjure the hazy underwater sound they've utilized before with a rhythm that walks the line between spaced out acid rock and minimal electro grooves with some of the clearest Moon Duo vocals to date. "Mazes" offers a slight departure from the usual murk, sounding poppy and jangly in the vein of other San Francisco popsmiths like the Fresh And Onlys or the Mantles. It rides out with a sort of pre-1965 surf rock feel that makes this a perfect jam for your next sun baked road trip. "Scars" shifts the mood into darker terrain like some fractured Suicide / Doors hybrid. The heavy vibrato keeps things percolating while the organ occasionally shifts into a spooky little interlude recalling Kraftwerk's "The Model". The song also strangely makes us think of Steppenwolf's "Born To Be Wild", an association which is taken to the next logical step with the aggressive "Fallout". The album concludes with "Goners", a midtempo jam that makes it feel like you are walking into the perfect fadeout to an album which will remain playing in your head nonstop for quite some time.
So far Moon Duo has never let us down, and while we're at it, we should mention the following: Ahem. For a SUPREMELY LIMITED TIME we will have these on both formats with a CRAZY limited bonus cd featuring remixes from an aQ worthy list of names including Sonic Boom, Psychic Ills, Cave, Purling Hiss, Gary War, and the unknown to us Eagle Boston covering the song "Mazes". That's some heady company for sure, and the bonus disc begins with Moon Duo spiritual forefather Sonic Boom's take on "Scars", which is given some ambient distance with the handclaps brought to the center while the song carries on below the surface. YESSSSSSSSSSSSS. Psychic Ills' remix of "Seer" is given a rad sitar melody over the skeletal rearrangement while the simple shaker percussion helps further the feeling of listening to this in some opium den in the middle of the desert. aQ favorites Cave are up next with the "Organ Desert Mix" for "Run Around" which aptly lives up to its title by injecting blasts of lazer guided synth squall and holding a heavy 4-on-the-floor beat while also retaining its strange bluesy feel. Of course, before too long things take off into space and, shit, it sounds GOOD. Purling Hiss tackles "In The Sun", which immediately announces itself as the standout on this sucker, opening with abstracted noise and the stand alone vocals, before launching itself sleazily into the troposphere with a merciless drum pound and insane wah abuse. FUCK YEAH! "When You Cut" finds Gary War running the duo through some pitch shifted weirdness hanging murkily under a crisp drumbeat, providing the weirdest reinterpretation here, like a bad acid trip in a good way. Sonic Boom returns to the controls for "Fallout", transmitting the song from some far off region in space. Not sure who this Eagle Boston thing is, but their hypercharged female sung cover of "Mazes" finds the band perfectly at home on the aQ shelf alongside groups like Mugstar, Bardo Pond, Lumerians, and all the rest. In fact, with a slight amount of hesitation, we might add that more than one aQ staffer thought the remix record was just as good as the album itself... So recommended we probably don't even have to bother telling you to get this now since you know how much you'll regret it when this bonus disc ends up on eBay...
MPEG Stream: "Seer"
MPEG Stream: "Mazes"
MPEG Stream: "Scars"

album cover MOON DUO Mazes (Sacred Bones) lp 19.98
Moon Duo return with their second proper full length, and if you needed any further proof of their masterful grasp of fuzzed out hypnotic grooves, well, look no further. It's almost as if Moon Duo set out to link every one of their records together as one gigantic pulsating trip into your mind, and Mazes takes you further in. Mazes. Hmm. Like the magic eye cover for their Catch As Catch Can single, the eyeball warping artwork seems to be a perfect visual accompaniment to the awesome brain-melting confusion of the music itself.
Kicking off with "Seer", the duo conjure the hazy underwater sound they've utilized before with a rhythm that walks the line between spaced out acid rock and minimal electro grooves with some of the clearest Moon Duo vocals to date. "Mazes" offers a slight departure from the usual murk, sounding poppy and jangly in the vein of other San Francisco popsmiths like the Fresh And Onlys or the Mantles. It rides out with a sort of pre-1965 surf rock feel that makes this a perfect jam for your next sun baked road trip. "Scars" shifts the mood into darker terrain like some fractured Suicide / Doors hybrid. The heavy vibrato keeps things percolating while the organ occasionally shifts into a spooky little interlude recalling Kraftwerk's "The Model". The song also strangely makes us think of Steppenwolf's "Born To Be Wild", an association which is taken to the next logical step with the aggressive "Fallout". The album concludes with "Goners", a midtempo jam that makes it feel like you are walking into the perfect fadeout to an album which will remain playing in your head nonstop for quite some time. Moon Duo have never let us down, and it doesn't seem that'll change anytime soon...
MPEG Stream: "Seer"
MPEG Stream: "Mazes"
MPEG Stream: "Scars"

album cover MOON DUO Mazes (Sacred Bones) lp+cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Moon Duo return with their second proper full length, and if you needed any further proof of their masterful grasp of fuzzed out hypnotic grooves, well, look no further. It's almost as if Moon Duo set out to link every one of their records together as one gigantic pulsating trip into your mind, and Mazes takes you further in. Mazes. Hmm. Like the magic eye cover for their Catch As Catch Can single, the eyeball warping artwork seems to be a perfect visual accompaniment to the awesome brain-melting confusion of the music itself.
Kicking off with "Seer", the duo conjure the hazy underwater sound they've utilized before with a rhythm that walks the line between spaced out acid rock and minimal electro grooves with some of the clearest Moon Duo vocals to date. "Mazes" offers a slight departure from the usual murk, sounding poppy and jangly in the vein of other San Francisco popsmiths like the Fresh And Onlys or the Mantles. It rides out with a sort of pre-1965 surf rock feel that makes this a perfect jam for your next sun baked road trip. "Scars" shifts the mood into darker terrain like some fractured Suicide / Doors hybrid. The heavy vibrato keeps things percolating while the organ occasionally shifts into a spooky little interlude recalling Kraftwerk's "The Model". The song also strangely makes us think of Steppenwolf's "Born To Be Wild", an association which is taken to the next logical step with the aggressive "Fallout". The album concludes with "Goners", a midtempo jam that makes it feel like you are walking into the perfect fadeout to an album which will remain playing in your head nonstop for quite some time.
So far Moon Duo has never let us down, and while we're at it, we should mention the following: Ahem. For a SUPREMELY LIMITED TIME we will have these on both formats with a CRAZY limited bonus cd featuring remixes from an aQ worthy list of names including Sonic Boom, Psychic Ills, Cave, Purling Hiss, Gary War, and the unknown to us Eagle Boston covering the song "Mazes". That's some heady company for sure, and the bonus disc begins with Moon Duo spiritual forefather Sonic Boom's take on "Scars", which is given some ambient distance with the handclaps brought to the center while the song carries on below the surface. YESSSSSSSSSSSSS. Psychic Ills' remix of "Seer" is given a rad sitar melody over the skeletal rearrangement while the simple shaker percussion helps further the feeling of listening to this in some opium den in the middle of the desert. aQ favorites Cave are up next with the "Organ Desert Mix" for "Run Around" which aptly lives up to its title by injecting blasts of lazer guided synth squall and holding a heavy 4-on-the-floor beat while also retaining its strange bluesy feel. Of course, before too long things take off into space and, shit, it sounds GOOD. Purling Hiss tackles "In The Sun", which immediately announces itself as the standout on this sucker, opening with abstracted noise and the stand alone vocals, before launching itself sleazily into the troposphere with a merciless drum pound and insane wah abuse. FUCK YEAH! "When You Cut" finds Gary War running the duo through some pitch shifted weirdness hanging murkily under a crisp drumbeat, providing the weirdest reinterpretation here, like a bad acid trip in a good way. Sonic Boom returns to the controls for "Fallout", transmitting the song from some far off region in space. Not sure who this Eagle Boston thing is, but their hypercharged female sung cover of "Mazes" finds the band perfectly at home on the aQ shelf alongside groups like Mugstar, Bardo Pond, Lumerians, and all the rest. In fact, with a slight amount of hesitation, we might add that more than one aQ staffer thought the remix record was just as good as the album itself... So recommended we probably don't even have to bother telling you to get this now since you know how much you'll regret it when this bonus disc ends up on eBay...
MPEG Stream: "Seer"
MPEG Stream: "Mazes"
MPEG Stream: "Scars"

MOON DUO Mazes Remixed (Sacred Bones) lp 17.98
Remixes from an aQ-beloved list of names including SONIC BOOM, PSYCHIC ILLS, CAVE, PURLING HISS, and GARY WAR. Plus the unknown to us Eagle Boston covering the song "Mazes". That's some heady company for sure! This begins with Moon Duo spiritual forefather Sonic Boom's take on "Scars", which is given some ambient distance with the handclaps brought to the center while the song carries on below the surface. YESSSSSSSSSSSSS. Psychic Ills' remix of "Seer" is given a rad sitar melody over the skeletal rearrangement while the simple shaker percussion helps further the feeling of listening to this in some opium den in the middle of the desert. aQ favorites Cave are up next with the "Organ Desert Mix" for "Run Around" which aptly lives up to its title by injecting blasts of lazer guided synth squall and holding a heavy 4-on-the-floor beat while also retaining its strange bluesy feel. Of course, before too long things take off into space and, shit, it sounds GOOD. Purling Hiss tackles "In The Sun", which immediately announces itself as the standout on this sucker, opening with abstracted noise and the stand alone vocals, before launching itself sleazily into the troposphere with a merciless drum pound and insane wah abuse. FUCK YEAH! "When You Cut" finds Gary War running the duo through some pitch shifted weirdness hanging murkily under a crisp drumbeat, providing the weirdest reinterpretation here, like a bad acid trip in a good way. Sonic Boom returns to the controls for "Fallout", transmitting the song from some far off region in space. Not sure who this Eagle Boston thing is, but their hypercharged female sung cover of "Mazes" finds the band perfectly at home on the aQ shelf alongside groups like Mugstar, Bardo Pond, Lumerians, and all the rest. In fact, with a slight amount of hesitation, we might add that more than one aQ staffer thought the remix record was just as good as the album itself... So recommended!

album cover MOON DUO Silver Bells / Winter (Holy Mountain) 7" 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Just in! 2nd pressing, now on red instead of green vinyl! If you've still got the holiday spirit, and haven't grabbed one yet, now's your chance before they're gone again...
Along with the recently reissued 12" of holiday faves by Wooden Shjips, WS mainman Ripley Johnson gets similarly festive with his WS offshoot spacekraut combo Moon Duo, which finds Johnson and his partner Sanae Yamada tackling one Christmas classic, and another obscure winter themed cover.
Up first is "Silver Bells", which we had heard described as "Silver Bells meets Silver Machine", but barring the swirls of reverb and the echo-ey vox, the band play it pretty straight, offering up one of the poppiest bounciest jams we've heard from these two. The perfect hazy blur of wasted Christmas cheer for sure.
The flipside finds the band tackling a fairly obscure Rolling Stones track, titled appropriately enough, "Winter", from the Stones' Goats Head Soup record, no one here remembers what the original sounds like exactly (the label describes it accurately as a 'deep cut'), but in the Moon Duo's hands it just becomes another gorgeously washed out smear of spidery glistening guitars, whirling gauzy keyboards, and tripped out reverbed vocal mumbles, all drifting in a wastedly warbly haze, that reminds us way more of the Velvets than the Stones.
A little spacey, a little krautrocky, a little dream poppy, a little Christmasy, but as always, droning and druggy and divine...
MPEG Stream: "Silver Bells"

album cover MOON DUO / BITCHIN' BAJAS Fresh Hair / Bopper's Hat (Permanent Records) 7" 5.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MOON KNIGHT Toplov (Universal Consciousness) cassette 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Debut from the awesomely monikered Moon Knight, the work of James Brown III, a member of LA black metal horde Harassor, who sometimes also releases sick sonic blackness under the name Lord Foul. But as Moonknight, Brown creates that sort of crumbling blown out blissy blackness we can never seem to get enough of, equal parts buzzy and super distorted, hazy and washed out and shoegazey, clouds of caustic buzz and caveman pound seem soaked in soft swirls of melodic shimmer, sweetly melancholic melodies are looped dreamily beneath a churning wall of roiling riffage and guttural demonic growls, the label describes it as Alcest and Amesoeurs mixed with Ildjarn and Bone Awl, and that does pretty much nail it, a sound that is both thick and corrosive, hateful and hellishly menacing, but also woozy, dreamy, and downright pretty, meditatively melodic while simultaneously buzz drenched and brutally black, two great tastes that have really never sounded better together. Might just be one of our favorite new black metal releases, too bad it's LIMITED TO JUST 100 COPIES, each tape housed in gorgeous letterpressed #'d J-card, printed on sparkly reflective metallic silver paper.

album cover MOON PHANTOMS s/t (Important Records) lp 22.00
One of the four brand new Bardo Pond related releases on Important, Moon Phantoms is the mystically monickered dream team of Bardo Pond, Alasehir, and Japanese guitar noise masters Suishou No Fune! And if you're not totally sold yet, take it from us, this is two killer sides of dreary, drugged-out, improvised avant-rock for deep listeners only! Quiet guitar wanderings, distant bells and percussion, Suishou No Fune's signature vocal bursts, all slowly evolving into slow driven instrumentals with pounding drums and epic atmospheric noise guitar. Reminds us a lot of Hash Jar Tempo with a dark, sinister twist. According to Pirako Kurenai of Suishou No Fune, the band name came from a recent tour with Alasehir in which both bands discovered a peaceful likeness with the moon amidst the stresses of being on the road. Which makes sense because the album totally possesses this dark and ominous, but peaceful quality, like being at the beach at night or in a forest cabin in the dead of winter. Beautifully and masterfully improvised, this is all killer and no filler, each note lifted into the air and left to fall back to the ground with perfect placement. Beautifully epic and musically rich, limited to an edition of 500, don't miss out on this nocturnal gem!

album cover MOON POOL & DEAD BAND Human Fly (Not Not Fun) 12" 14.98
We made the debut lp from Moon Pool & Dead Band our Record Of The Week a while back, a sort of techno offshoot of industrial noise outfit Wolf Eyes, although as we made clear in our review of that record, there wasn't a real techno element, instead the sound was more of a synth heavy psychedelic trip out, a sound that definitely made the fact that the record was on space/psych rock label Agitated, make a little bit more sense. Druggy, synthy, krautrocky, kosmische, needless to say we were super excited for this follow up 12", and like the lp, we were immediately thrown for a bit of a loop. This one isn't really techno either, not exactly, it's more, well, sort of disco, a bizarre strain of alien funk space disco really. Sounds weird and it is, especially considering it's Wolf Eyes guys, but the move to Not Not Fun definitely makes more sense.
The side long "Human Fly", starts things off with a weirdo alien dancefloor groove, all low fidelity squelch and primitive drum machine, churning rhythms under thick low end buzz and rumble, and some weird house-y stutter, it's an extended mesmerizing minimal spacedisco groove that plays like an old school extended disco 12", albeit one that's a bit more muddy and murky and lo-fi and woozily warped.
The B side opens with "The Jagged Orbit", which is heavy on the eighties disco, but again, a sort of warped psychedelic variant, the vibe murky and totally soundtracky, laced with glitchy FX, lots of hum and buzz and squelch, minimal and motorik and seriously mesmerizing. Which leads right into "Cyber Rebels", a final does of alien funk, a looped and loping groove equal parts vintage dancefloor disco and warped woozy electro. Not at all what we were expecting, but cool nonetheless. Folks who loved the first Moon Pool might be in for a bit of a surprise!

album cover MOON POOL & DEAD BAND s/t (Agitated) lp 16.98
We weren't entirely sure what to expect from a band called Moon Pool & Dead Band, we were even less sure when we saw the super bizarre cover, a striking painting of a family, standing in some sort of sewer, looking out at a post-apocalyptic wasteland, the mother holding what appears to be a dead child, the father consoling her with one hand, clutching a bat in the other, the sky choked with factory smog. What we do know, is we weren't expecting THIS. It's definitely space rock and definitely psychedelic, which puts it at least marginally in Agitated's wheelhouse, there are no guitars, at all, and the sound seems to be entirely synthesizers, and the occasional drums, but we're not disappointed at all! It's definitely not like anything we've heard before, which made even more sense when we discovered that Moon Pool & Dead Band is in fact a 'techno' offshoot of Wolf Eyes, although we're not hearing much actual techno here, instead, it's a sprawling sea of synths swirling and buzzing, occasionally coalescing around minimal motorik beats (hence the techno?), the background rife with glitches and squelches, the band locking onto long stretches of super druggy, synthy drift, getting loopy here and there and sounding a bit like a space rock High Wolf, there are a few moments of goofy almost Perrey and Kingsley style bloop and bleep, the opener on the B side woozy and playful, and a bit of a strange standout moment, but on both sides there's plenty of blurred ambient shimmer, and pulsing mesmerizing psych-synth drift, sort of the perfect mix between psychedelic space rock, and that new wave of Carpenter / Goblin influenced cinematic synthscapery. Recommended to both camps, but probably more so to folks with a foot in each!
LIMITED TO 700 COPIES!!
MPEG Stream: "Inches Of Mercury"
MPEG Stream: "Recycling Concept"
MPEG Stream: "Inches (Over-Space)"

album cover MOON UNIT Hell Horse (Blackest Rainbow) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Imagine some twisted blown out psychedelic hybrid of Vibracathedral Orchestra and Fushitsusha, and you'd probably come up with something very much like this latest lp from a Scottish power trio called Moon Unit. Five sprawling space/psych jams, that slip from dark and droney to explosive and in-the-red and everywhere in between.
The record begins with some washed out shimmery free form krautfolk drift, psychedelic and kosmische, like Vibracathedral or Avarus or Sylvester Anfang, gauzy clouds of softly tangled melody drift and swirl over spare percussion, fuzzy tendrils of guitar woven into lush landscapes of blurred beauty, but it's a smoldering slow build to something much more intense and aggressive, subtly explosive crescendos surface throughout, guitars growing ever more frenzied and distorted, the drums slip from skitter to pound, long keening tones are laid over choppy seas of rhythmic churn, until finally, the band unleash full on space psych blowouts, crumbling and explosive and fierce and fiery and so intense.
The sound is not so easily classified though, this is not just a psychedelic Godspeed, the sound veers wildly from face melting almost metallic fury, to full on Japanese style white heavenly noise, to distorted krautrock grooves, the drums chaotic on second, locked tight the next, everything wreathed in some sort of incandescent shimmer, that somehow makes the heaviest noisiest bits beautiful, and makes the beautiful bits mysterious and otherworldly.
The record closes with a murky effects heavy free psych workout, disembodied melodies collide with rhythmic shards, swirling swooping effects and crumbling riffage, glimmery and shimmery but still damaged and dark and distorted and totally intense. So good.
LIMITED TO 500 COPIES!

MOONBABIES The Orange Billboard (Hidden Agenda) cd 14.98

album cover MOONBELL Figurine (self-released) cd ep 6.98
Is 'Moon' the new 'Wolf' or 'Skull'?, could be, as lately some of our favorite records have been coming from bands like Moon Duo, Moon Unit and The Soft Moon. Now we get to add Moonbell to the awesome list of psych driven moon moniker bands that we've been digging. We'd been having a lot of folks asking us about this band before we heard them, seems folks around town knew that this was a great new San Francisco band to take notice of. With a sound equally influenced by shoegaze and drugged out rock, Moonbell sound exists in some really awesome place right between Spacemen 3 and early Ride, Swervedriver, and Chapterhouse. Lilting vocals, soaring and dazed guitars all in a smoky vapor of entrancement. Such a great debut!
MPEG Stream: "Figurine"
MPEG Stream: "Nostalgia For The Future"

album cover MOONBELL s/t (Deep Space Recordings) cd 8.98
This local shoegaze gem also on cd!!
We sorta flipped for these local shoegazers when we first heard their Figurine ep a while back, and had been anxiously waiting for a full length ever since, and now that it's here, we're happy to report that it more than fulfills the promise of those first four songs, the hazy drug rock of that debut even more lush and lustrous this time around, the production cranked way up, the guitars thick and layered and lustrous, the vocals reverbed and echo drenched, Moonbell's 4AD shimmer wreathed in a gauzey otherworldly blur, still obviously beholden to nineties shoegazers like Ride, Swervedriver, Medicine and of course the godfathers of slow-mo drug rock Spacemen 3, but taking the sound and adding their own twist, the ethereal female vocals and the buzzing guitars a heady mix, and when wedded to a lumbering skeletal beat, the sound becomes a blissed out psychedelic slowcore dreampop, while on other tracks, the group up the tempo and crank the FX and send pinwheels of smeared melody and chiming guitars into the ether.
Our favorites definitely tend to be the slower jams, the group locked into mesmerizing hypnorock grooves, pulsing and pulsating through billowing clouds of wild guitar tangle beneath thick crumbling chordal swells, minor key and melancholic, the sounds swirling drowsily in epic expanses of glimmering sonic bliss, culminating in the chiming shimmerpop of closer "White Light", which infuses the group's sound with long streaks of thick layerd buzz and shards of crumbling distortion, all underpinned by a soft almost lullaby like melody. Gorgeous stuff.
MPEG Stream: "Parallel"
MPEG Stream: "StillMotion"
MPEG Stream: "Nothing Less"

album cover MOONBELL s/t (Loglady) lp 15.98
We sorta flipped for these local shoegazers when we first heard their Figurine ep a while back, and had been anxiously waiting for a full length ever since, and now that it's here, we're happy to report that it more than fulfills the promise of those first four songs, the hazy drug rock of that debut even more lush and lustrous this time around, the production cranked way up, the guitars thick and layered and lustrous, the vocals reverbed and echo drenched, Moonbell's 4AD shimmer wreathed in a gauzey otherworldly blur, still obviously beholden to nineties shoegazers like Ride, Swervedriver, Medicine and of course the godfathers of slow-mo drug rock Spacemen 3, but taking the sound and adding their own twist, the ethereal female vocals and the buzzing guitars a heady mix, and when wedded to a lumbering skeletal beat, the sound becomes a blissed out psychedelic slowcore dreampop, while on other tracks, the group up the tempo and crank the FX and send pinwheels of smeared melody and chiming guitars into the ether.
Our favorites definitely tend to be the slower jams, the group locked into mesmerizing hypnorock grooves, pulsing and pulsating through billowing clouds of wild guitar tangle beneath thick crumbling chordal swells, minor key and melancholic, the sounds swirling drowsily in epic expanses of glimmering sonic bliss, culminating in the chiming shimmerpop of closer "White Light", which infuses the group's sound with long streaks of thick layerd buzz and shards of crumbling distortion, all underpinned by a soft almost lullaby like melody. Gorgeous stuff.
Includes a download coupon (and there may also be a cd version we'll be able to get too).
MPEG Stream: "Parallel"
MPEG Stream: "StillMotion"
MPEG Stream: "Nothing Less"

album cover MOONDOG A New Sound Of An Old Instrument (Kopf / Roof Music) cd 17.98
Compositions for organ... ominous glowing church... suspense and strength... two young players... mining gold from the Moondog vaults.

album cover MOONDOG And His Friends (Honest Jon's) 10" 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This vinyl-only reissue from the eccentric Mr. Moondog gets a guest review here from our pal Dave Katznelson of Birdman Records:
Originally released on Epic in 1953, this long-playing EP is one of the greatest artifacts of the blind New York percussionist available. On par with the excellent Prestige years, with a similar vibe. However, there is something darker here, with an almost acid edge...and the sounds come ripping off the well-mastered vinyl ever so thickly. This classically packaged ten inch boasts an instrumental round that is the precursor to the great All Is Loneliness To Me, "Rim Shot" which is reminiscent of Tyrannosaurus Rex's "Ruminy Soup", and two suites that brilliantly use lush strings behind the signature Moondog hypnotizing percussion. "Be a hobo and go with me," Moondog sings...and why not join him?

album cover MOONDOG And His Friends 2006 (Moondog's Corner) cd 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally on cd, this is an AQ favorite from one of our most beloved musicians of the last half century. This new edition includes 3 bonus tracks of some current day folks like Stefan Lakatos adding their own flavor to preexisting Moondog tracks. But of course the real gold here is the original record which is Moondog in his full glory! We only wish this reissue had a little bit more in the way of elaborate packaging as this just comes in a cardboard sleeve. Here is what our pal Dave Katznelson of Birdman Records said about this record when he reviewed it for us back when we had the 10" version in stock:
Originally released on Epic in 1953, this long-playing EP is one of the greatest artifacts of the blind New York percussionist available. On par with the excellent Prestige years, with a similar vibe. However, there is something darker here, with an almost acid edge...and the sounds come ripping off the well-mastered vinyl ever so thickly. This classically packaged ten inch boasts an instrumental round that is the precursor to the great All Is Loneliness To Me, "Rim Shot" which is reminiscent of Tyrannosaurus Rex's "Ruminy Soup", and two suites that brilliantly use lush strings behind the signature Moondog hypnotizing percussion. "Be a hobo and go with me," Moondog sings...and why not join him?
MPEG Stream: "Theme And Variation - Rim Shots"
MPEG Stream: "Tree Frog - Be A Hobo"
MPEG Stream: "Suite No. One Third Movement"

album cover MOONDOG H'art Songs (Kopf / Roof Music) cd 17.98
There are so so many sides of Moondog, and so many and incredibly varied sounds he's created throughout his long and eccentric life of music making. From inventing his own instruments to performing on street corners to incorporating field recordings into his songs, to collaborating with the London Philharmonic, the list goes on and on. While Moondog is mostly lauded for the sounds he created with his wide range of instruments, it's the sound of his voice in the songs he sang sprinkled throughout his catalog that have always left us in such awe, generating both bewilderment and delight. Originally released on LP in Germany in 1978, H'art Songs is an awesome disc of Moondog vocal tracks, a few of which we had heard on other collections and were already in love with, as well as a bunch that are brand new to our ears. With piano and his own percussion as the musical backdrop, it's Moondogs's totally unique and intimate vocal delivery and word play that makes these songs so weirdly enchanting. Playful and poetic while also emotional and personal. Just like everything else Moondog created in his life, these songs do feel like they are from a different world. So strange and so damn good. This is a must have for Moondog fans!
MPEG Stream: "I'm This I'm That"
MPEG Stream: "I'm In The World"
MPEG Stream: "Enough About Human Rights"
MPEG Stream: "Pigmy Pig"

album cover MOONDOG In Europe (Kopf / Roof Music) cd 17.98

album cover MOONDOG More Moondog (4 Men With Beards) lp 16.98
Every time we get a chance to review a Moondog reissue we can't help ourselves from going on and on about what a musical genius and true visionary Moondog was. Mind boggling that from the 1950's all the way up to his death in 1999 he was making such otherworldly sounds, influenced by his love of classical music and driven by a wild imagination that led him to create his own instruments, weave field recordings into his work and compose some of the most adventurous, impacting and delightful sounds anyone has ever created.
Moondog was completely self-taught, and was blind resulting from an accident when still very young so he composed all his music in braile! Just another dimension to the truly unique backstory that shaped who Moondog was. The ultimate proto-weirdo-outsider musician, but all backed up with pure original genius.
More Moondog was originally released right after his 1956 self-titled debut on Prestige, and opens with two field recordings, the first of which finds him doing a 'duet' on his bamboo pipe with the sounds of the whistle from the Queen Elizabeth cruiseship. As the record goes on he explores such amazing percussive possibilities as well as continuing to weave in and out of a psychedelic array of sounds created with varied instrumentation of his own invention. The album also features one of his stunning vocal rounds "All Is Loneliness" which was later covered by Janis Joplin/Big Brother And The Holding Company.
It's been so awesome to play these Moondog records in the store as lots of our younger customers who are into all the latest experimental and weirdo sounds, always seem to freak out when we play this and then tell them it was recorded in 1956. We see their eyes light up with excited disbelief and we totally understand why. Essential!

album cover MOONDOG Rare Material (Roof Music) 2cd 30.00

album cover MOONDOG s/t (4 Men With Beards) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Every time we get a chance to review a Moondog reissue we can't help ourselves from going on and on about what a musical genius and true visionary Moondog was. Mind boggling that from the 1950's all the way up to his death in 1999 he was making such otherworldly sounds, influenced by his love of classical music and driven by a wild imagination that led him to create his own instruments, weave field recordings into his work and compose some of the most adventurous, impacting and delightful sounds anyone has ever created.
Moondog was completely self-taught, and was blind resulting from an accident when still very young so he composed all his music in braile! Just another dimension to the truly unique backstory that shaped who Moondog was. The ultimate proto-weirdo-outsider musician, but all backed up with pure original genius.
This, his Prestige debut, came out in 1956 and still sounds like it belongs in another era/galaxy. Whether playing piano, percussion or magical sounds with the instruments he created from his imagination, the sounds on this album are as dazzling as anything he would create throughout his lifetime. So mind blowing the way he intertwined real life field recordings into his songs, and basically created a musical language all his own. Moondog was a man so present and creative with his daily surroundings. Who knew someone often mistaken for nothing more then a street hobo was capable of such musical genius?
It's been so awesome to play these Moondog records in the store as lots of our younger customers who are into all the latest experimental and weirdo sounds, always seem to freak out when we play this and then tell them it was recorded in 1956. We see their eyes light up with excited disbelief and we totally understand why. Essential!

album cover MOONDOG Snaketime Series (Moondog) lp 12.98
Same as s/t with different cover.

album cover MOONDOG The German Years 1977-1999 (Roof Music) 2cd 22.00
We couldn't be more excited that this has become available once again. We were blown away by this collection when it was first released a few years back but it became impossible to restock, until now! We finally have enough to share our love of the lesser known yet equally dazzling music Moondog made in the later years of his life. We recently listed the reissues of his early LP's from the '50s, and how remarkable that this man could have crafted such amazing creative music back then and continue to do so all the way up to his passing, four decades later!!!
The German Years documents the last two decades of Moondog's amazing and eccentric life when he was living in Germany, taken in by a family who supported him so he could devote all his time to creating music. An incredible collection of songs composed for pipe organ, string quartet, voice, chamber ensemble, piano, saxophone and more. Completely other worldly and what we would want a holy church devoted to the purity and sanctity of music to sound like.
The second disc is a recording of his last ever live performance recorded in France in 1999, just five months before he would pass away. Centered mostly on his piano pieces, the show is majestic and totally moving. The cds are packaged in a gorgeous hard cardboard package and includes a 44 page booklet of notes, photos, lyrics, interviews, essays, etc. Essential for Moondog fans, and when we really think about it if you just have a deep love of music chances are you either already love Moondog or you have yet to hear his music and once you do you will for sure be blown away!
MPEG Stream: "Marimba Mondo 2"
MPEG Stream: "Sea Horse"
MPEG Stream: "I'm This I'm That"
MPEG Stream: "Fiesta"

album cover MOONDOG The Story Of Moondog (4 Men With Beards) lp 16.98
Psychedelic percussion, field recordings, long never ending beards, a Viking helmet, homemade instruments, a warped sense of humor, playing music, writing poems and making art on dirty street corners. Sounds like the ingredients for someone in today's experimental music scene, but Luis Hardin (aka Moondog) was doing it all and more back in 1957! Holy shit, we love Moondog so much even we forget sometimes that he was making these totally left-field yet completely entrancing and musically visionary sounds over fifty years ago!
Listening to The Story Of Moondog is like a crazy collaged snapshot of all the sounds that we love at AQ. He truly created music from another world, as these songs would sound perfect on any of the amazing Nonesuch Explorer Series or Sublime Frequencies releases, that is if they had installments for music from other worlds! The songs and sound here are like the blueprints for everyone from The Boredoms to Philip Jeck To Ricardo Villalobos. Without a doubt Moondog is one of the most innovative, creative and genre defying composers and music makers of all time. The instruments he invented and played on this recording leave us in awe, and the rhythms, moods and melodies that come leaping out of these grooves definitely transport us to that fantastical otherworld that Moondog created with his music. Until now the only way to track down this record was on the cd issue of More Moondog/The Story of Moondog so it's so great to finally have these songs on vinyl!

album cover MOONDOG The Viking of Sixth Avenue (Honest Jon's ) cd 17.98
In our minds, one of the greatest composers of the 20th century was a man with a long white beard and a Viking helmet on his head -- Louis Hardin (aka Moondog). Whether it was how he incorporated field recordings into his compositions, unleashed riveting vocal cannons or created confusional worlds of percussion that were light-years ahead of their time, he had such a singular touch and far reaching vision, it's no surprise he's an all time AQ favorite!
While we love so many avant composers of the 20th century, there tends to be an undeniable academic angle to their work which sometimes leaves us a bit cold. Moondog on the other hand employed such a playful approach to his work. Whether he was building his own instruments, creating new scales, experimenting with field recordings, inserting fun wordplay into otherwise austere pieces, you get this amazing sense of playfulness, childlike wonder and a totally unique strangely sophisticated kind of joy. The outsider that he was, Moondog answered to no one. No movement, no school, no tradition. He took his love, appreciation and deep-seated knowledge of classical music, his poetic mind, and his free spirit and created sounds that were like nothing of its time. Losing his eyesight at an early age he began writing scores in Braille. Like most truly special artists, he spent much of his life in relative obscurity, he spent much of the 50's and 60's on New York street corners where he would sell his poems, record the sounds of daily life, and soak in all aspects of his atmosphere. Most New Yorkers just thought they were walking by some crazy homeless guy in a Viking costume, they had no idea they were passing one of the most brilliant musical minds of the last century. Thanks to the help of some of his big fans like Janis Joplin, who covered "All Is Loneliness" on her first outing with Big Brother Holding Company, he got a record deal with Columbia and eventually recorded with the London Symphony, and then spent the last 20+ years of his life in Germany where a rich family supported him while he continued to make music, up until the time of his death. His influence runs so deep and continues to spread among the musical underground, but also slowly but surely permeates into mainstream music. There is talks of a tribute album coming soon, in the '90s many hip-hop and electronic producers sampled his works and many avant electronic folks were definitely influenced by his strange musicks, including Mr. Scruf, DJ Shadow and Aphex Twin. Antony and The Johnsons have been doing an amazing version of "All Is Loneliness" in their live show, and you can hear echoes of Moondog's sounds in everyone from Rhys Chatham, to Jon Brion, to Steve Reich, to Philip Glass and even The Residents. The cost on this collection finally dropped down from a prohibitively steep import price so now we finally can list this and urge you to let these 36 songs introduce you to what will no doubt be a life long love affair with one of our favorite musical minds of all time!
MPEG Stream: "All Is Loneliness"
MPEG Stream: "Oo Debut"
MPEG Stream: "Oasis"
MPEG Stream: "Invocation"

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