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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.


MOUSE ON MARS Glam (JASRAC) cd 26.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Japanese import of the once only lp... as with most Japanese imports, this does come with 3 bonus tracks! To those of you who bought the vinyl cos we told you there would be no cd, we apologize. This came as a surprise to us too.

album cover MOUSE ON MARS Glam (Thrill Jockey) cd 14.98

MOUSE ON MARS Glam (Thrill Jockey) lp 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The soundtrack to a film that was never released, this is another great Mouse on Mars record featuring their murky, pulsing, layered brand of electronica that we all love here at AQ.

MOUSE ON MARS Iaora Tahiti (Too Pure/Beggars Banquet) cd 10.98
Finally, reissued domestically, this is Mouse on Mars' BEST ALBUM, so if you've never heard them before, we recommend you start here. "Iaora Tahiti" is full of melodic, incredibly catchy pop-like hooks dropped in the midst of joyful minimalist electronica. I cannot get over how smart these two guys are. For fans of Oval, Stereolab, Tortoise, and even The Cure. Highly recommended.
MPEG Stream: "Stereomission"
MPEG Stream: "Saturday Night Worldcup Fieber"

album cover MOUSE ON MARS Idiology (Thrill Jockey) cd 14.98
Mouse On Mars' aesthetic may be far from punk rock, but they have employed punk's calculated rebellion against a canonical text, authority, or figurehead. Both "Idiology" and Matmos' recent album "A Chance To Cut Is A Chance To Cure" mark a reactionary trend within electronica to dismiss the clean, cold digital sounds that have permeated the genre (see the "Clicks and Cuts" compilations on Mille Plateaux for umpteen examples of that all-pervasive style of crystalline glitch techno), in favor of taking baroque, ornamental sampled fragments and stretching them like a skin around a structure of house grooves. The use of harpsichords, violins, muted trumpets, slide guitar, and lots of vocoded singing aligns this new Mouse on Mars effort with the Matmos world of unconventional electronic instrumentation. As a result, "Idiology" is much more warm, vibrant, and dynamic than the glitch-tronica they are succesfully abandoning.
Mouse On Mars are still smart enough to keep this album from devolving into the vapid surface music of more mainstream acts like Thievery Corporation or Chemical Brothers. There's plenty of overt wackiness and happy-go-lucky clumsiness to make their best house grooves stumble with a charm that's hard to beat.
RealAudio clip: "Actionist Response"
RealAudio clip: "Catching Butterflies With Hands"

MOUSE ON MARS Idiology (Thrill Jockey) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mouse On Mars' aesthetic may be far from punk rock, but they have employed punk's calculated rebellion against a canonical text, authority, or figurehead. Both "Idiology" and Matmos' recent album "A Chance To Cut Is A Chance To Cure" mark a reactionary trend within electronica to dismiss the clean, cold digital sounds that have permeated the genre (see the "Clicks and Cuts" compilations on Mille Plateaux for umpteen examples of that all-pervasive style of crystalline glitch techno), in favor of taking baroque, ornamental sampled fragments and stretching them like a skin around a structure of house grooves. The use of harpsichords, violins, muted trumpets, slide guitar, and lots of vocoded singing aligns this new Mouse on Mars effort with the Matmos world of unconventional electronic instrumentation. As a result, "Idiology" is much more warm, vibrant, and dynamic than the glitch-tronica they are succesfully abandoning.
Mouse On Mars are still smart enough to keep this album from devolving into the vapid surface music of more mainstream acts like Thievery Corporation or Chemical Brothers. There's plenty of overt wackiness and happy-go-lucky clumsiness to make their best house grooves stumble with a charm that's hard to beat.

MOUSE ON MARS Instrumentals (Thrill Jockey) cd 14.98
Yes! Finally on cd comes this repress of Mouse on Mars' "Instrumentals" record, previously limited to only 1300 copies on vinyl. I'm sure you can guess how fast those sold out. This is murmury, low key, exceedingly melodic music from one of the groups that DEFINES the genre today, along with Boards of Canada and the Aphex Twin in his mellower guises, by setting a high standard and then gleefully asserting its own familiar, recognizable stamp. Already-converted Mouse on Mars fans will know this one specific burbly underwater sound effect that Mouse on Mars uses a lot -- thank god that, in today's electronica world where everyone wants to be a DJ but barely anyone has original ideas, where it seems every artist is filching from the same box of preset effects and samples, no one's ever had the tactlessness to steal this sound. It's completely Mouse on Mars' own. Recorded between 1995 and '97, these are NOT throwaway tracks collected in one place for the sake of convenience. Totally lulling and pleasant, with enough gorgeous groove to please even those of y'all whose electronic tastes are limited to stuff like Thievery Corp and Chemical Bros.
RealAudio clip: "Rompatroullie"

MOUSE ON MARS Instrumentals (Thrill Jockey) 12" 9.99
Vinyl-only recording made especially for Mouse on Mars to sell while on tour, we've got a few left.

album cover MOUSE ON MARS Live 04 (Sonig) cd 14.98
Mouse on Mars would definitely not be at the top of my list for a group that needed a live album, not because they aren't great live [they are!], but because it just seems like a band where most of the magic happens behind laptop screens wouldn't translate especially well from computer to live venue to cd. And indeed, many of the intricacies are lost here. However, Live 04, has more energy than a lot of their studio releases, thanks to their live percussionist, Dodo Nkishi, and partially because of the intermittent cheers of the crowd. Tracks are from several live shows throughout MoM's 2004 tours.
MPEG Stream: "Wipe That Sound"
MPEG Stream: "Distroia"

album cover MOUSE ON MARS Live 04 (Sonig) lp 14.98
Mouse on Mars would definitely not be at the top of my list for a group that needed a live album, not because they aren't great live [they are!], but because it just seems like a band where most of the magic happens behind laptop screens wouldn't translate especially well from computer to live venue to cd. And indeed, many of the intricacies are lost here. However, Live 04, has more energy than a lot of their studio releases, thanks to their live percussionist, Dodo Nkishi, and partially because of the intermittent cheers of the crowd. Tracks are from several live shows throughout MoM's 2004 tours.
MPEG Stream: "Wipe That Sound"
MPEG Stream: "Distroia"

MOUSE ON MARS Niun Niggung (Soniq) cd 15.98
Import of new Mouse On Mars full-length. Verdict: totally great!

MOUSE ON MARS Niun Niggung (Thrill Jockey) cd 14.98
Domestic version of the new Mouse on Mars record, with several songs that weren't on the import. Different cover art too (no monkey, but quite nice). Verdict: totally great!

album cover MOUSE ON MARS Parastrophics (Monkeytown) cd 16.98
We've been digging so much electronic music that's been coming out in the last few years, but we'd be lying if we didn't say that we still miss that golden era of the early/mid '90s when our love of electronica first really blossomed. A time when electronica albums were challenging and unpredictable. When you didn't know what sound/style Aphex Twin would explore next, or what twists and turns Squarepusher would take, or which frequencies Mouse On Mars would glide in and around. Well it seems like Mouse On Mars are really one of the last bands standing from that heyday of IDM. Over the years they've stayed true to their vision of always evolving, exploring and redefining. They could take you to the most sun soaked blissed out space on one record, and then drill & thrill you on the next, and then turn all abstract and fractured on another.
We weren't sure what to expect with this new outing, and that's probably how they like it. What they've come up with though is one of their most expansive and eclectic albums yet, one that doesn't stick to one simple motif, yet somehow feels succinct in its schizophrenic tendencies. It's a prime example of their ability to take the wildest twist and turns in each and every direction while introducing elements of their trademark squeaks, squelches, and knack for sophisticated and strange melodies. We've been blasting and digging this so much.
MPEG Stream: "Metrotopy"
MPEG Stream: "They Know Your Name"

album cover MOUSE ON MARS Parastrophics (Monkeytown) 2lp 27.00
We've been digging so much electronic music that's been coming out in the last few years, but we'd be lying if we didn't say that we still miss that golden era of the early/mid '90s when our love of electronica first really blossomed. A time when electronica albums were challenging and unpredictable. When you didn't know what sound/style Aphex Twin would explore next, or what twists and turns Squarepusher would take, or which frequencies Mouse On Mars would glide in and around. Well it seems like Mouse On Mars are really one of the last bands standing from that heyday of IDM. Over the years they've stayed true to their vision of always evolving, exploring and redefining. They could take you to the most sun soaked blissed out space on one record, and then drill & thrill you on the next, and then turn all abstract and fractured on another.
We weren't sure what to expect with this new outing, and that's probably how they like it. What they've come up with though is one of their most expansive and eclectic albums yet, one that doesn't stick to one simple motif, yet somehow feels succinct in its schizophrenic tendencies. It's a prime example of their ability to take the wildest twist and turns in each and every direction while introducing elements of their trademark squeaks, squelches, and knack for sophisticated and strange melodies. We've been blasting and digging this so much.
MPEG Stream: "Metrotopy"
MPEG Stream: "They Know Your Name"

album cover MOUSE ON MARS Radical Connector (Thrill Jockey) cd 15.98
Mouse on Mars mark their 10 year anniversary with Radical Connector, a follow-up to 2001's Ideology. It's a three-year collaboration with their awesome drummer Dodo Nkishi, who's live contribution you may have witnessed on tours past. The tracks expose even a little more feeling and less didactic dance beat creation than on previous releases, though they maintain MoM's consistent sophisticated exploration of smart stuttering electronic beats and melodic glitched-out samples produced with a sense of humor and intelligence they carry through all their projects, be they audio or visual.
MPEG Stream: "Mine Is In Yours"
MPEG Stream: "Blood Comes"

album cover MOUSE ON MARS Radical Connector (Thrill Jockey) lp 13.98
Mouse on Mars mark their 10 year anniversary with Radical Connector, a follow-up to 2001's Ideology. It's a three-year collaboration with their awesome drummer Dodo Nkishi, who's live contribution you may have witnessed on tours past. The tracks expose even a little more feeling and less didactic dance beat creation than on previous releases, though they maintain MoM's consistent sophisticated exploration of smart stuttering electronic beats and melodic glitched-out samples produced with a sense of humor and intelligence they carry through all their projects, be they audio or visual.
MPEG Stream: "Mine Is In Yours"
MPEG Stream: "Blood Comes"

album cover MOUSE ON MARS Rost Pocks - The EP Collection (Matador) cd 13.98
Very nicely done compilation of five long out of print EPs that Mouse on Mars, the German duo who play -- depending on where you're coming from -- either the most accessible, fun, pop-oriented experimental electronica out there, or else it's some of the most experimental dance music you ever heard. Laetitia Sadier and the late Mary Hansen of Stereolab make several guest appearances. Spanning 1994 to 1997 (IMO the best Mouse on Mars years), the EPS are Frosch, Bib, Saturday Night Worldcup Fieber, Cache Couer Naif, and Twift. Highly recommended! The tracks work very well as a cohesive full album.
RealAudio clip: "Frosch"
RealAudio clip: "Bib"

MOUSE ON MARS Twift (Our Choice) cdep 9.98
These German electronic music wonders follow up their Autoditaker full-length with this import four-track single, which includes a remix by (yes, BY) the High Llamas. Those of you who saw Mouse on Mars open for Sterolab will know what we mean when we say these 2 guys (one of whom is also involved with Microstoria) harbor a deep appreciation for all genres of electronic musics, past and present, as evidenced by their set's subtle, proficient, chronological progression from electro to house to drum'n'bass. So smart. Head and shoulders above the rest.

album cover MOUSE ON MARS Varcharz (Ipecac) cd 16.98
With each album Mouse On Mars have consistently tried something a little different. The German duo follow up their 2004 full length, the almost dance-pop leaning, unexpectedly vocal-laden Radical Connector, with this gregarious IDM mover'n'shaker. Their newfound chunky aggression is surprisingly well-suited on the usually obnoxi-noiso Ipecac label (the vinyl still a Sonig import, tho). Still despite all of Varcharz's jutting shards and bassy shots to the solar plexus, the tracks maintain a groovy, engaging approachability. Actually their muscle-flexing comes across as quite fun, not at all frightening.
MPEG Stream: "Chartnok"
MPEG Stream: "I Go Ego Why Go We Go"

album cover MOUSE ON MARS Varcharz (Sonig) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With each album Mouse On Mars have consistently tried something a little different. The German duo follow up their 2004 full length, the almost dance-pop leaning, unexpectedly vocal-laden Radical Connector, with this gregarious IDM mover'n'shaker. Their newfound chunky aggression is surprisingly well-suited on the usually obnoxi-noiso Ipecac label (the vinyl still a Sonig import, tho). Still despite all of Varcharz's jutting shards and bassy shots to the solar plexus, the tracks maintain a groovy, engaging approachability. Actually their muscle-flexing comes across as quite fun, not at all frightening.
MPEG Stream: "Chartnok"
MPEG Stream: "I Go Ego Why Go We Go"

MOUSE ON MARS Vulvaland (Too Pure) cd 13.98

album cover MOUSE ON MARS Wipe That Sound (Sonig) 12" 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Well now. Here's a new 12" from Germany's electronica superstars Mouse On Mars. It's pretty special for a few reasons. For one, it features The Fall's Mark E. Smith on two mixes. It also features New York's Tears The Muffin Man (who happens to be, we're told, a Flavor Flav protege) on a third. It's also special because within these three mixes, MOM has limited their usual exercises in electronic deconstruction, moving into a more song-like approach, with wonderous results. I almost found the (in total, four) mixes on Wipe That Sound more enjoyable than MOM's last amazing full-length, Radical Connector. But that's just me. Something about slathering Mark E Smith's vocals within buttery layers of glitchy oompop works so well. Tears The Muffin Man's idiosyncratica raggarap is unparalleled. Overall, MOM's Wipe That Sound 12" is stellar pop-electronica.

album cover MOUSE ON MARS WOW (Monkeytown) cd 16.98
WOW marks the second album this year (2012) from the German duo Mouse On Mars, and it's jam packed with ideas, detours, and mutations of their already genre-bending take on electronica. The opening track is graced by a yelping vocalist who's a cross between Damo Suzuki and Eye Yamataka; and such histrionics only occur in a couple of a places dotting the record with barked syllabic utterances. The blorping electronics that spills out of this intro morph into a Zomby (that's the Zomby with a Y, not the Zombi with a Carpenter / Goblin crush) re-animation of dub-step dripping with colorful tones and oddball rhythmic inventions. Elsewhere, Mouse On Mars cut their teeth with some sci-fi / futuristic R&B synth stabs that might as well have their origins in the Personal Space compilation from Chocolate Industries, and mercurially twist those into acid house trax blossoming through squelchy glissandos and operatic vocals with occasional blurts from that Suzuki-esque madman. Quite the wild ride!
MPEG Stream: "DOG"
MPEG Stream: "ACD"

album cover MOUSE ON MARS WOW (Monkeytown) 2lp 27.00
WOW marks the second album this year (2012) from the German duo Mouse On Mars, and it's jam packed with ideas, detours, and mutations of their already genre-bending take on electronica. The opening track is graced by a yelping vocalist who's a cross between Damo Suzuki and Eye Yamataka; and such histrionics only occur in a couple of a places dotting the record with barked syllabic utterances. The blorping electronics that spills out of this intro morph into a Zomby (that's the Zomby with a Y, not the Zombi with a Carpenter / Goblin crush) re-animation of dub-step dripping with colorful tones and oddball rhythmic inventions. Elsewhere, Mouse On Mars cut their teeth with some sci-fi / futuristic R&B synth stabs that might as well have their origins in the Personal Space compilation from Chocolate Industries, and mercurially twist those into acid house trax blossoming through squelchy glissandos and operatic vocals with occasional blurts from that Suzuki-esque madman. Quite the wild ride!
MPEG Stream: "DOG"
MPEG Stream: "ACD"

MOUTH OF THE ARCHITECT Quietly (Translation Loss Records) cd 14.98

album cover MOUTH OF THE ARCHITECT The Ties That Blind (Translation Loss) cd 14.98
It's getting harder and harder to know what to write about Mouth Of The Architect and the handful of like-minded bands that we love so much. With MOTA we kinda just want to write "THIS BAND RULES!! SO HEAVY AND CATCHY AND COOL. JUST BUY THIS!!! NOW!!!" But since for some reason not everyone does exactly as we say, and often need a little persuasion, we'll dig a little deeper.
Ever since the first metal band started incorporating math rock into their sound, or ever since the first post rock band went all metal (hard to say how it happened, chicken and egg and all that) we have been hooked, BIG TIME! Impossible for us to resist such a perfect chocolate/peanut butter scenario, such bands as Isis, Indian, Conifer, Tides, Pelican, Minsk, Rosetta, who mix all the bludgeoning brutality, the down tuned riffage, the pounding skull splitting drums, the howled throat shredding demonic growl, with all the intricate rhythms, dreamy drones, melancholy melodies, loping dreaminess, krautrocky grooves and meandering moodiness we could ever want.
It sort of makes sense, when you think about it, all of these bands aren't consciously combining two disparate genres, they are just incorporating all of the things we always wanted in a heavy rock band. Post rock bands were often just not heavy enough, metal bands were often not interesting or pretty enough. These bands are both. Everything. Mouth Of The Architect are probably one of our favorites, their sound leaning a lot more toward the massive, heavy, riffy, doom sludge side of the equation, which just makes the pretty parts all that much more special. And the thing about MOTA, is that even at their heaviest, their crushing downtuned riffs are sort of just supercharged mathrock parts, which gives the whole thing a much more moody emotional vibe, gives it a little more groove, makes it a lot more catchy, even subtly so. Not sure what else to say, other than "THIS BAND RULES!! SO HEAVY AND CATCHY AND COOL. JUST BUY THIS!!! NOW!!!"
MPEG Stream: "Baobob"
MPEG Stream: "Wake Me When It's Over"

album cover MOUTH OF THE ARCHITECT The Ties That Blind (Gilead Media / Translation Loss) 2lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on vinyl!
It's getting harder and harder to know what to write about Mouth Of The Architect and the handful of like-minded bands that we love so much. With MOTA we kinda just want to write "THIS BAND RULES!! SO HEAVY AND CATCHY AND COOL. JUST BUY THIS!!! NOW!!!" But since for some reason not everyone does exactly as we say, and often need a little persuasion, we'll dig a little deeper.
Ever since the first metal band started incorporating math rock into their sound, or ever since the first post rock band went all metal (hard to say how it happened, chicken and egg and all that) we have been hooked, BIG TIME! Impossible for us to resist such a perfect chocolate/peanut butter scenario, such bands as Isis, Indian, Conifer, Tides, Pelican, Minsk, Rosetta, who mix all the bludgeoning brutality, the down tuned riffage, the pounding skull splitting drums, the howled throat shredding demonic growl, with all the intricate rhythms, dreamy drones, melancholy melodies, loping dreaminess, krautrocky grooves and meandering moodiness we could ever want.
It sort of makes sense, when you think about it, all of these bands aren't consciously combining two disparate genres, they are just incorporating all of the things we always wanted in a heavy rock band. Post rock bands were often just not heavy enough, metal bands were often not interesting or pretty enough. These bands are both. Everything. Mouth Of The Architect are probably one of our favorites, their sound leaning a lot more toward the massive, heavy, riffy, doom sludge side of the equation, which just makes the pretty parts all that much more special. And the thing about MOTA, is that even at their heaviest, their crushing downtuned riffs are sort of just supercharged mathrock parts, which gives the whole thing a much more moody emotional vibe, gives it a little more groove, makes it a lot more catchy, even subtly so. Not sure what else to say, other than "THIS BAND RULES!! SO HEAVY AND CATCHY AND COOL. JUST BUY THIS!!! NOW!!!"

album cover MOUTH OF THE ARCHITECT The Violence Beneath (Translation Loss) cd 13.98
We've been digging these guys for a while now, one of those bands who take the downtuned metallic crunch of bands like Neurosis, and add all sorts of post and math rock to the mix, a combination that when done right, we pretty much can't get enough of. And the thing is, these guys do it about as good as anyone. This latest disc, a short-ish 4 song ep, just drives that point home. The opening title track has got it all, sick downtuned riffs, bellowed vocals, spidery basslines, incredible super buys drumming, a lurching lumbering weirdly melodic behemoth, with some awesome soaring breakdowns, with what sounds like organ buzzing away beneath it all. One immediately noticeable thing is the shift toward something much poppier. The mix of crushing heaviness and killer hooks and melodies, definitely reminds us of Torche, but unlike the overt poppiness of that band, these guys bury that pop under an avalanche of metal prog and math metal, that turns the pop into something else completely.
These tracks are all over the place, the second track starts out all folky, clean steel string guitar, crooned clean vocals, which gives away to some devastatingly heavy chug and howl, and the track constantly shifts, from soaring epic majesty, to tangled ultra prog stop start stutter, with chiming guitars, and more super complex drumming. "Restore" is about as doomy as they get, somehow channeling both Godspeed and Candlemass into a sort of post metal epic, still rife with pop and progisms, but super moody and mournful and HEAVY.
The whole record culminates in the final track, a cover, and an odd one at that, Peter Gabriel's "In Your Eyes", which could have been a disaster, a tongue in cheek cock up spoiling a pretty perfect record. But instead, they OWN in, slowing it waaaay down, turning it into a super melodic doomy dirge, that almost sounds more like the Deftones, or Lifelover, or one of those bands unafraid to meld heartfelt pop with heaving heaviness, and it's good, so good that it has us digging a song we definitely could have gone forever without hearing again. It helps that the chorus is transformed into a churning blown out crush, and that the whole song is streaked with screaming howling high end guitar. Awesome.
MPEG Stream: "The Violence Beneath"
MPEG Stream: "Buried Hopes"

album cover MOUTH OF THE ARCHITECT Time & Withering (Translation Loss) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mouth Of The Architect are another one of those bands that of which we just can't seem to get enough. The perfect blend of bludgeoning dirge metal and moody hypnotic postrock. Think Isis, Neurosis, Conifer, Tides, Pelican, that sort of thing. But Mouth Of The Architect manage to make their sludge metal / post rock sonics stand out from the pack by remaining much more melodic than heavy, and more epic than aggressive, with weirdly catchy riffs, simple blissed out rhythms, hooks that are hidden everywhere, and most noticably slippery sliding melodic leads, intertwining into mournful and languid tangles. The vocals are only occasional, and they're of the howled and anguished variety, but they somehow fit perfectly atop the churning melodic mood metal beneath. Four tracks, three topping ten minutes, of slow burning, slow building metallic beauty. Cinematic epics constructed from downtuned guitars, swirling effects, minor key melodies, intricate hard hitting drumming, and simple hypnotic post rock grooves, sometimes sounding almost like a dirge metal Godspeed You Black Emperor. So great!
MPEG Stream: "A Vivid Chaos"
MPEG Stream: "Soil To Stone"

album cover MOUTH OF THE ARCHITECT / KENOMA split (Translation Loss) cd 13.98
New release from one of our favorites of this new breed of sludgy metallic post rock, the strangely named Mouth Of The Architect. Their sound, unlike many of their sonic brethren leans much more toward the melodic as is evidenced here on the opening of "Sleepwalk Powder" a lilting, melancholy guitar line, hovering above warm swells of high end feedback, mournful and so so pretty. But don't be fooled, or lulled into thinking this is some sort of post rock dreampop record, oh no, moments later, the drums enter the fray, all tribal and chaotic, until finally the guitars drop. And drop HARD. Suddenly we're in churning, roiling sludge doom country, big riffs roll and rumble, vocals are howled and the whole band lurches like some rampaging behemoth. But beneath it all, remains the melody, the sweetness, the light. It's like Godspeed or Explosions In The Sky, being overtaken by Conifer or Minsk, a huge ugly growling monstrous sound barely concealing glistening harmonies and majestic melodies. A pretty killer combination. The second MOTA track follows a similar path, drawing out its post rock dreaminess nearly to the 10 minute mark before kicking out the jams, this time it's a lurching stumbling groove, minor key and massive.
Kenoma are up next, we'd heard of them but never actually heard them, but they do occupy a similar sonic space as their pals MOTA (and plus they indeed are, in the liner notes, there is an extremely heartfelt note about, the two bands being friends since childhood, and both having had a rough time lately, and how this release was very cathartic, bringing the two bands, these two sets of friends closer than ever before, pretty dang sweet actually). But again don't be distracted by the sweetness, where there is light there is most definitely also dark. Kenoma are more postrock than metal never really unfurling any sort of massive sludginess, rather stretching out in a heavy hypnotic groove, dense tangled guitar lines, killer propulsive drumming, minor key melodies and a big wall of thick rich headspinning sound. Reminiscent of the recently reviewed Shora record but with a bit of that post sludge vibe we can't get enough of. This almost sounds like a super charged Godspeed or a metal Tortoise. Epic and meandering, droney and hypnotic and so killer. Definitely a new band to keep our eyes on. And a perfect match for their pals in Mouth Of The Architect. Definitely recommended. Killer octopoidal artwork too!
MPEG Stream: MOUTH OF THE ARCHITECT "Sleepwalk Powder"
MPEG Stream: KENOMA "The Nature Of Empire"

album cover MOUTHUS Follow This House (Important) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MOUTHUS Loam (Ecstatic Peace) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

MOUTHUS s/t (Psych-O-Path) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MOUTHUS s/t (Olde English Spelling Bee) lp 17.98
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AS we mentioned elsewhere on this list, we were a bit put off by a rather blah live performance from these two Brooklyn based noise makers, but on record we're definitely digging them more and more. Two side-long epic noise jams, some transcendental long form psychsludge ur-drone of the highest order. Think Skullfower, Total, a definite Bower-ish wall of droning sound vibe, but with a thicker, grittier heaviness, that just sort of churns and roils like it's about to spill over and burn everyone alive. Not sure if guitars are the main musical implement but it sure does sound like guitar after guitar after guitar, thicker and heavier and noisier. Pretty dang great.
Hand screened covers. LIMITED TO 350 COPIES. Each copy is hand numbered as well and includes an insert.

album cover MOUTHUS Sister Vibration (Old Mouth) lp 16.98
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album cover MOUTHUS Slow Globes (Troubleman) cd 13.98
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MPEG Stream: "Storms"
MPEG Stream: "See Us Look"

album cover MOUTHUS Slow Globes (Troubleman Unlimited) lp 11.98
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MPEG Stream: "Storms"
MPEG Stream: "See Us Look"

album cover MOUTHUS The Long Salt (Important) cd 14.98

album cover MOUTHUS / AXOLOTL 12.25.04 (Olde English Spelling Bee) lp 14.98
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An unlikely freerock avantnoise match up that works a whole lot better than it should. It's hard to tell if each band got a side, or if they are collaborating on together the whole way through, hardly matters really, as both sides are pretty dang great. Recorded live in 2004, this collaboration definitely brings out the softer side in Mouthus, the whole thing is dreamy and droney, the two exploring some dark drifting ambient exploration. One side is a slow builder, gradually growing in intensity as the soft swirl grows into a near static raga, a wall of warm buzz, while the other side is much more guitar heavy, a huge soundscape of rumbling riffage and soaring high end shimmer.
Packaged in a super striking yellow and white collages sleeve, with a full color insert.
LIMITED TO 550 COPIES!!!!!

MOVE D / THOMAS MEINECKE Tomboy / Freud's Baby (Intermedium) cd 16.98
It's been a while since we've heard from Move D after a number of releases for Warp, Fax, and Source in the mid '90s. Here, Move D (real name David Moufang) has hooked up with writer / musician Thomas Meinecke for an album "committed to deconstructive feminism." With slowly looping drones, pulses of electronic static, and various academic texts of "political discourse on the discontent of the sexes," this album starts out quite nicely, recalling the information theoretics of the Hafler Trio. But then things goes jazz. On the same label that brought us that great Philip Jeck double cd.

album cover MOVIETONE (first album) (Geographic) cd 16.98
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I had forgotten how beautiful this album was, often thinking that this paled under the spectrum of Movietone's narcoleptic masterpiece of listless Mediterranean moods in Day And Night -- their first album with its radioluminscent tremolo guitars dotting notes on top of a consummate post-VU strum. As fantastic as any of the Fursaxa records or any of Galaxie 500's songs.

MOVIETONE Blossom Filled Streets (Drag City) cd 14.98
Drowsey guitar and piano paired with languid vocals are the perfect soundtrackto end-of-summer garden lounging. This Bristol UK band's follow-up to their great "Day And Night" album is a much wispier affair, but certainly lovely.
RealAudio clip: "Hydra"

MOVIETONE Day And Night (Drag City) cd 12.98
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Record of the week runner up! The second album from Movietone (which features Rachel from Flying Saucer Attack) conjures more cinematic references than musical ones...as it could stand in for a soundtrack to a Godard film that was bleached out by Mediterranean sun...a strange reference, but we have no other way of defining the languid acoustic guitars and washed out drones and lovely voice...an amazing record!

MOVIETONE Day And Night (Drag City) lp 8.98
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Record of the week runner up! The second album from Movietone (which features Rachel from Flying Saucer Attack) conjures more cinematic references than musical ones...as it could stand in for a soundtrack to a Godard film that was bleached out by Mediterranean sun...a strange reference, but we have no other way of defining the languid acoustic guitars and washed out drones and lovely voice...an amazing record!

MOVIETONE Sun Drawing (Domino) 7" 4.50
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Rachel from Flying Saucer Attack. English import.

album cover MOVIETONE The Sand And The Stars (Drag City) cd 14.98
Like their fellow Bristolians Crescent, Movietone have polished up their sound for their most recent recordings, dropping all of the rough edges, murky atmospheres, and evocative juxtapositions which dominated their earlier recordings. Thus, The Sand And The Stars is a far cry from the band's origins, as bassist Rachel Brook grounded the radioluminescent guitar wash of Flying Saucer Attack during their earliest recordings. While Movietone never really ever sounded like Flying Saucer Attack, their underappreciated debut album and their masterpiece Day and Night enveloped themselves in overcast production and drizzled plenty of lethargy and melancholia over their post-Galaxie 500 strum, that at least reflected similiar ideas as Flying Saucer Attack. Instead of the huge guitar feedback of FSA, Brook and vocalist / guitarist Kate Wright were searching for a preciousness in their music. Since the aforementioned Day and Night album, Movietone has moved away from the empathic nature of the soundscapes and towards the storytelling potential of songsmithery. The Sand And The Stars was intended to be a "jazz record being played across the bay," and well, that's sort of accurate. The languid, marine themes of that image are definitely present in these somber orchestrations, that could have been found on a Nico album tumbling in slow motion with any given Mediterranean jazz combo. Yet, the implications of distance are misleading, as this album is immaculately produced and gives the impression of a sort-of jazz album being played quietly and intimately in your living room. Pleasant to say the least.
MPEG Stream: "Let Night In"
MPEG Stream: "Ocean Songs"

album cover MOVING SIDEWALKS, THE Flash (Akarma) cd 13.98
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Another one from Akarma's back catalog of classic and obscure LPs reissued on cd, now in a jewel case at a cheaper price than before. This is a reissue of a 1968 recording by Houston, Texas' premiere psych-rock band The Moving Sidewalks, which featured none other than Billy Gibbons (guitar & vocal) who later grew his beard really long and earned his fame in ZZ Top. Along with the 13th Floor Elevators, these guys were one of the major bands that put Texas on the '60s garage psych map. On Flash, they rocked the house with groovy organ jammin', Gibbon's Hendrixy guitar, a dose of the blues and some trippy hippiness.
This reissue also contains five bonus tracks taken from singles that The Moving Sidewalks also released, including their classic "99th Floor" and a cover of The Beatles' "I Want To Hold Your Hand."
MPEG Stream: "99th Floor"
MPEG Stream: "Eclipse"

MOVING UNITS Between Us And Them (Three One G) 12" 8.98
Here's a taste of these up and comers for you, sounding a lot like A Certain Ratio and Gang Of Four. I saw them in L.A. and everyone was loving it. They are dance-y and tight and the drummer hits really hard which helps with the danceability factor, but they are so obviously derivative of this certain sound that when you remove the dancefloor, it's hard to be impressed.

album cover MOVING UNITS Dangerous Dreams (Palm / Rx) cd 12.98

album cover MOVING UNITS Hexes For Exes (Metropolis) cd 14.98
Is it just us or did you think the same thing?! Hmmm, the title of Moving Units' new album made us immediately think of the Kids In The Hall movie Brain Candy ("It's a PILL!... that gives WORMS!... to EX-GIRLFRIENDS!!"). Heh heh, anyhoo, these LA fellas continue to strut their stuff, and keep their sleek dance rock comin' with this their second full length. They're now on Metropolis Records (formerly on Palm Pictures), but they haven't jarred us with any other surprise changes, they're still very very indebted to the '80s. In fact, few bands have ever sounded quite so 'Duran Duran' circa Seven And The Ragged Tiger. Made us daydream of Simon LeBon singing atop the phat synth tracks of Daft Punk. Which is not necessarily a bad thing. Sure to be packing the hip kids' dancefloors across the nation.
MPEG Stream: "Pink Thoughts"
MPEG Stream: "Crash 'N' Burn Victims"

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