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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 MOTORSPANDEX Torment Star (Full Contact / Ektro) 7" 7.98
We should probably let the band themselves begin this review, describing what to expect from the first side of this new 7" from the (maybe not so) mysterious Finnish outfit Motorspandex:
"Listening to Motorspandex's debut 7" can be a traumatizing experience: the very moment the needle touches the vinyl, black smoke begins to fill the room. You suddenly find it very hard to breathe, and realize, that the air pouring into your lungs is made out of crusty, rusty metal. A mechanized nightmare appears, veiled in nothing but motorized tight pants. It steps out of the smoke, grabs you by the throat, and enters your life forever."
We probably couldn't do much better ourselves, but we'll give it a go. Starting with the amazing cover, which features a photo of a pale, long haired, shirtless fella who looks suspiciously like Jussi from Circle, doing his best Dio, 'invisible oranges' pose, standing on an expanse of snow in front of a mighty mountain, the music inside fits almost perfectly with that majestic and very metal image. Sort of. Imagine classic eighties metal, some Motorhead, but played on clean guitars, with almost no distortion, then add in some super distorted monstrous growling vocals, and have the songs be super damaged and weird, shifting suddenly without warning, super dynamic, stop and starts, dizzyingly complex, but somehow striped down and simple at the same time. Not heavy so much as rocking and relentless. And it should come as no big surprise that Motorspandex seems to have a similar lineup as Krypt Axeripper, and Steel Mammoth, and thus, probably includes at least one (if not more) member of Finnish hypnorockers Circle. And you can actually hear it in Motorspandex, maybe more so than in those other "New Wave Of Finnish Heavy Metal" Circle satellites. Plenty of tripped out ambience, some clean, almost Comus-y folky vocals, wailing leads, but at its core, it does sound a bit like a sped up, metalled up Circle. Even the vocals almost sound like a more metal Mika. Plus some of the best song titles ever: "Frantic Slave", "Torment Star", "Tutankhamon Uranus", "Creepy Rabbit", "Steellicker"!
As if you didn't already figure it out, Motorspandex rule! Heavy and hooky, repetitive and metallic, mesmerizing and weird weird weird.

album cover MOTT THE HOOPLE All The Young Dudes (Columbia) cd 11.98
Deluxe reish.

album cover MOU, LIPS! Untree (Moar) cd 13.98
Mou, Lips! is the work of Andrea Gabriele formerly of the Italian project Tu m'; and here, Gabriele ventures into the digital headspace of pixel-point abstraction with smartly placed hints of a pop sweet tooth. His tone-bent digital errata and languid samples of intimately plucked classical guitar, blurting trumpets, maudlin French horns, and scratchy violins from old '78s return to some of the finer moments of post-pop electronica that Sonig and Mille Plateaux were championing many years ago. Untree is a quirky and playful album which lends itself to sounding like Terry Riley being redone by Lithops and / or Vladislav Delay.
MPEG Stream: "Non E Colpa Mia!"
MPEG Stream: "Untree"

MOUGHQUAL Sin-Sekai (Gooom) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

album cover MOULD, BOB Body Of Song (Yep Roc) cd 16.98
Geeeeez, somebody please take the studio gizmos away from Bob Mould right now! While we certainly can't frown upon anyone gettin' all excited about trying something new, we sure can't cheer on Mr. Mould's decision to actually include those wonky effected Cher-vocals on his records. To be totally blunt, they sound downright dumb... and they sounded dumb on his last album. Even if he's using them tongue-in-cheek (which we sorta suspected with the album's second song and its title "(Shine Your) Light Love Hope" that seemed to be a silly take on those 'as seen on tv' dance compilation tracks with their parenthetical titles), they stick out like the worst sore thumb. Body Of Song arrived without much fanfare, and so when it appeared the other day it was a genuine pleasant surprise. It seems we'd somehow wiped 2002's disappointment Modulate from our memory banks. After a couple of songs though our smiles turned to winces. Those painful memories came rushing back and were joined by new ones. Ugh. Fortunately Mould has toned down his previous penchant for bland rave-y techno. The songs without the 'special effects' come across as fond familiar ol' Bob, and they definitely kept this one from joining Modulate in the dumper. Approach with caution.`
MPEG Stream: "(Shine Your) Light Love Hope"
MPEG Stream: "Beating Heart The Prize"

album cover MOULD, BOB District Line (Anti) cd 16.98

album cover MOULD, BOB Modulate. (Red Ink) cd 16.98
An agonizing kick in the teeth to Husker Du fans everywhere. This is appalling. Pseudo-rave, cheezy, electronic dance music that perhaps only Stephin Merritt and his Future Bible Heroes can get away with... and we're not even goin' near those over-Cher-ified vocal effects. On this, his first new album since '98, it's apparent that he's been experimenting with new approaches to his music making. The problem is the technology he's chosen to incorporate doesn't complement his songwriting at all. Although there are a few glimmers of that distinctive Mould songwriting pen (check out "Comeonstrong"), they're soon lost in a mass of electronic clutter and distractions. Oh dear!
RealAudio clip: "180 Rain"
RealAudio clip: "Comeonstrong"

album cover MOULDYCLIFF, PHIL Written On Water (ICR) cd 16.98
Phil Mouldycliff is a British artist who we discovered through his curatorial work on the Debris Field exhibition at the Bolton Art Museum, whereby Mouldycliff presented a series of environmental / field recordings from the likes of Loren Chasse, Colin Potter, Max Eastley, Keith Rowe, and others. In presenting Written On Water for Colin Potter's ICR label, Mouldycliff drew from his many sound installations and found-sound compositions which have never been presented on cd before. He is a very restrained artist, prefering the slow and methodical unveiling of sound and structure found in the likes of Morton Feldman or Andrew Chalk. On one track, distant squelched voices with the cadence of a news broadcast set well behind a quiet trickle of subaquatic plinks and a stately selection of piano clusters. Elsewhere, Mouldycliff turns to more of a painterly New Music sensibility with clusters of horns, flutes, and piano (which might all be synthesized) into occasionally playful bursts of energy. But, Written On Water is clearly at its best when the drone is the fundamental structure; and Mouldycliff's final offering, "The Spirit Of Place," is well worth the price of admission simply on the strength of the manipulated field recordings into a breathtaking gasp of guilded string vibration which recalls the best work that Ora had generated many years ago. Niblock and Eliane Radigue would also garner nods as well to that impressive conclusion.
MPEG Stream: "Stillness Of Chinese Jars"
MPEG Stream: "Kettleblack"
MPEG Stream: "Spirit Of Place"

album cover MOULT, RICHARD & DAVID COLOHAN Hexameron [Deluxe] (Time Released Sound) cd 52.00
Like clockwork (get it? sorry...) comes another gorgeous release from local label Time Released Sound, and another disc of pastoral ambient minimalism, but unlike many of the other TRS releases, which fuse electronic and organic sounds into lush and lovely blissed out driftscapes, Richard Moult and David Colohan conjure up something much more 'classical' sounding, merging a modern classical minimalism, with the hushed brooding post rockiness of groups like Godspeed, albeit with out the slow builds and bombastic crescendos. Although these two do have some sonic tricks up their sleeves, but more on that later. For the most part Hexameron is a stately, melancholic arrangement of mostly piano, with spidery minor key guitars, the sound fleshed out with subtle percussive flourishes, swirling strings, choir like voices, the sound sweeping and cinematic, but also hushed and intimate. Fans of James Blackshaw, Lubomyr Melnyk, Anton Batagov and the like will be in heaven.
The opener is dusky and balladic, pointillist piano stretched out over a rich, lustrous low end thrum, soft streaks of subtle guitar strums drift through the shadows, a definite Bark Psychosis vibe for sure, the second track is more of the same, but the duo employ some barely noticeable studio trickery to add some subtle psychedelia to the proceedings, the guitar swooping to the fore, unfurling emotive peals of aching guitar melody, all drifting over a lush bed of softly churning thrum. As the record progresses, the sounds seem to grow less distinct, the background sounds blurrier and more washed out, notes on the piano bathed in reverb, sounding almost dubby, arcs of gently distorted guitars, often coming together into soft focus squalls of dreamnoisedrift, other times, the piano struggles to stay above the surface, as the various ambient sounds grow crunchy, and buzzy and staticky, the final track adding more distorted guitar buzz, a little fragmented glitchery, and some echo drenched skronk, over the otherwise tranquil and somber pianoscape below.
As always, the packaging is stellar, and delivered in two versions, the standard, limited to 200 copies, which houses the disc in a nicely printed full color gatefold, and the deluxe, limited to just 75 copies, which pulls out all the stops, the packaging made from pages out of a 90+ year old book, wrapped in a collaged, inked and stamped envelope, itself also housed in a hand worked outer translucent envelope. Also included are medieval drawings, a banded cd sleeve made from a page of heraldic crests, and a large double sided insert!!
MPEG Stream: "I"
MPEG Stream: "II"
MPEG Stream: "III"

album cover MOULT, RICHARD & DAVID COLOHAN Hexameron [Standard] (Time Released Sound) cd 14.98
Like clockwork (get it? sorry...) comes another gorgeous release from local label Time Released Sound, and another disc of pastoral ambient minimalism, but unlike many of the other TRS releases, which fuse electronic and organic sounds into lush and lovely blissed out driftscapes, Richard Moult and David Colohan conjure up something much more 'classical' sounding, merging a modern classical minimalism, with the hushed brooding post rockiness of groups like Godspeed, albeit with out the slow builds and bombastic crescendos. Although these two do have some sonic tricks up their sleeves, but more on that later. For the most part Hexameron is a stately, melancholic arrangement of mostly piano, with spidery minor key guitars, the sound fleshed out with subtle percussive flourishes, swirling strings, choir like voices, the sound sweeping and cinematic, but also hushed and intimate. Fans of James Blackshaw, Lubomyr Melnyk, Anton Batagov and the like will be in heaven.
The opener is dusky and balladic, pointillist piano stretched out over a rich, lustrous low end thrum, soft streaks of subtle guitar strums drift through the shadows, a definite Bark Psychosis vibe for sure, the second track is more of the same, but the duo employ some barely noticeable studio trickery to add some subtle psychedelia to the proceedings, the guitar swooping to the fore, unfurling emotive peals of aching guitar melody, all drifting over a lush bed of softly churning thrum. As the record progresses, the sounds seem to grow less distinct, the background sounds blurrier and more washed out, notes on the piano bathed in reverb, sounding almost dubby, arcs of gently distorted guitars, often coming together into soft focus squalls of dreamnoisedrift, other times, the piano struggles to stay above the surface, as the various ambient sounds grow crunchy, and buzzy and staticky, the final track adding more distorted guitar buzz, a little fragmented glitchery, and some echo drenched skronk, over the otherwise tranquil and somber pianoscape below.
As always, the packaging is stellar, and delivered in two versions, the standard, limited to 200 copies, which houses the disc in a nicely printed full color gatefold, and the deluxe, limited to just 75 copies, which pulls out all the stops, the packaging made from pages out of a 90+ year old book, wrapped in a collaged, inked and stamped envelope, itself also housed in a hand worked outer translucent envelope. Also included are medieval drawings, a banded cd sleeve made from a page of heraldic crests, and a large double sided insert!!
MPEG Stream: "I"
MPEG Stream: "II"
MPEG Stream: "III"

album cover MOULTON, TOM A Tom Moulton Mix (Soul Jazz) cd 23.00
Classic collection of legendary disco jams featuring producer Tom Moulton's golden touch with tracks by folks like Grace Jones, Isaac Hayes, Eddie Kendricks, BT Express, etc. Disco gold!

MOUNT ANALOG New Skin (Film Guerrero) cd 14.98

MPEG Stream: "Harry Smith's Cats"
MPEG Stream: "Night Night"

album cover MOUNT CARMEL Get Pure (Alive) cd 16.98
We're really gonna have to reassess our stance (that means, Andee's stance) on 'blues rock', cuz this is the THIRD record from these Ohio hard rocking blooze blasters, and the third of their records that we're CRAZY into, even though it seems like we really shouldn't be. It's not super psychedelic, not crazy weird, not experimental, not very metal, not avant, not even noisy or lo-fi or anything, it's really just seriously kick ass, hook heavy, hard blues rock, and it kills. Imagine a way more hard rocking Black Crowes, or modern Southern rockers Antler, or all time aQ faves Raging Slab, these guys definitely fit somewhere in there, we're hearing a lot of psychedelic hard rock and proto-metal too, but they kind of fall closer to straight up blues rock, but still, there's just something about these guys, that even the most blues rock phobic here at aQ, i.e. Andee, maybe even especially, ends up flipping out over every record. And this new one is no different. Shit kicking hard rocking psychedelic blooze, with big killer riffs, muscly drumming, a killer production, raspy whiskey and cigarettes, Chris Robinson like vocals, hooks like crazy, and some kick ass shredding leads, it's hard to resist, but it's also easy to see these guys being the perfect match for groups like Howlin' Rain and the Chris Robinson Brotherhood, the kind of thing fans of those bands would and should be losing their shit for. But by the same token, there's still plenty here for folks into the current crop of retro psych heaviness, all those Rise Above bands, Admiral Sir Cloudsley Shovell, Uncle Acid, etc.
So yeah, if you like hard rocking psychedelic blues, and count bands like Jerusalem, Blue Cheer, Budgie, Captain Beyond, Leaf Hound, Ten Years After, Humble Pie, Zeppelin and cream among your faves, might as well add Mount Carmel to the list. If you haven't already!
MPEG Stream: "Gold"
MPEG Stream: "Back On It"
MPEG Stream: "Whisper"

album cover MOUNT CARMEL Get Pure (Alive) lp 21.00
We're really gonna have to reassess our stance (that means, Andee's stance) on 'blues rock', cuz this is the THIRD record from these Ohio hard rocking blooze blasters, and the third of their records that we're CRAZY into, even though it seems like we really shouldn't be. It's not super psychedelic, not crazy weird, not experimental, not very metal, not avant, not even noisy or lo-fi or anything, it's really just seriously kick ass, hook heavy, hard blues rock, and it kills. Imagine a way more hard rocking Black Crowes, or modern Southern rockers Antler, or all time aQ faves Raging Slab, these guys definitely fit somewhere in there, we're hearing a lot of psychedelic hard rock and proto-metal too, but they kind of fall closer to straight up blues rock, but still, there's just something about these guys, that even the most blues rock phobic here at aQ, i.e. Andee, maybe even especially, ends up flipping out over every record. And this new one is no different. Shit kicking hard rocking psychedelic blooze, with big killer riffs, muscly drumming, a killer production, raspy whiskey and cigarettes, Chris Robinson like vocals, hooks like crazy, and some kick ass shredding leads, it's hard to resist, but it's also easy to see these guys being the perfect match for groups like Howlin' Rain and the Chris Robinson Brotherhood, the kind of thing fans of those bands would and should be losing their shit for. But by the same token, there's still plenty here for folks into the current crop of retro psych heaviness, all those Rise Above bands, Admiral Sir Cloudsley Shovell, Uncle Acid, etc.
So yeah, if you like hard rocking psychedelic blues, and count bands like Jerusalem, Blue Cheer, Budgie, Captain Beyond, Leaf Hound, Ten Years After, Humble Pie, Zeppelin and cream among your faves, might as well add Mount Carmel to the list. If you haven't already!
MPEG Stream: "Gold"
MPEG Stream: "Back On It"
MPEG Stream: "Whisper"

album cover MOUNT CARMEL Real Women (Siltbreeze) cd 13.98
Latest blast of psychedelic proto metal blues rock heaviness from these retro rockers, their second for Siltbreeze (which still seems like a weird home for these guys), which finds the band continuing to hone a sound that is disturbingly (and we mean that in a good way) indistinguishable from the real deal. We'd be hard pressed to pick these guys out of a name-that-tune style lineup with a batch of genuine seventies hard rock outfits. The sound, the songs, the vocals, the production, this is total hard/blues/southern rock nirvana for folks who dig shit like Humble Pie, Zeppelin, Cream, ZZ Top, Skynrd, Ten Years After and the like. And Jerusalem - as we mentioned in our review of the first MC, the singer sounds a whole lot like the guy from Jersualem.
And while you might imagine this Ohio combo must be tongue-in-cheeking it, nothing could be further from the truth, this is the real deal, or as real as it gets circa 2012. And while the usual Siltbreeze fanbase might find this a bit too, well, classic rock, for everybody else, this stuff is pretty tough to resist, slithery riffage, hard rocking grooves, hooks galore, killer leads, stoney jams and some serious psychedelic heaviness.
MPEG Stream: "Swaggs"
MPEG Stream: "Real Women"
MPEG Stream: "Oh Louisa"

album cover MOUNT CARMEL Real Women (Siltbreeze) lp 14.98
Now available also on vinyl!!
Latest blast of psychedelic proto metal blues rock heaviness from these retro rockers, their second for Siltbreeze (which still seems like a weird home for these guys), which finds the band continuing to hone a sound that is disturbingly (and we mean that in a good way) indistinguishable from the real deal. We'd be hard pressed to pick these guys out of a name-that-tune style lineup with a batch of genuine seventies hard rock outfits. The sound, the songs, the vocals, the production, this is total hard/blues/southern rock nirvana for folks who dig shit like Humble Pie, Zeppelin, Cream, ZZ Top, Skynrd, Ten Years After and the like. And Jerusalem - as we mentioned in our review of the first MC, the singer sounds a whole lot like the guy from Jersualem.
And while you might imagine this Ohio combo must be tongue-in-cheeking it, nothing could be further from the truth, this is the real deal, or as real as it gets circa 2012. And while the usual Siltbreeze fanbase might find this a bit too, well, classic rock, for everybody else, this stuff is pretty tough to resist, slithery riffage, hard rocking grooves, hooks galore, killer leads, stoney jams and some serious psychedelic heaviness.
MPEG Stream: "Swaggs"
MPEG Stream: "Real Women"
MPEG Stream: "Oh Louisa"

album cover MOUNT CARMEL s/t (Siltbreeze) cd 13.98
Blues rock sometimes gets a bad rap around aQ, one aQuarius employee in particular is fond of hurling the descriptor 'blues rock' as an epithet, used to describe lots of cheesy bar rock, and hokey dad rock, and all manner of stuff that sounds more suited for pubs or parking lots than the hallowed halls of aQ. But even that aQ-er will happily admit, that there's plenty of blues rock that does indeed kick heaps of ass, Blue Cheer, ZZ Top, Budgie, Captain Beyond, Moses, Juan De La Cruz, Leaf Hound, Jerusalem...
Gotta mention Jerusalem in the case of this new blues rockin' Siltbreeze band from Columbus Ohio, considering that the vocals here are a dead ringer for the Jerusalem dude, and there's of course Zeppelin-isms galore, it's that perfect mix of super distorted bluesy fuzz, and hooky pop, not to mention some killer psychedelic leads, and some awesome lazy vox that perfectly suit the band's serpentine sonic slither. Another band these guys totally remind us of are retro heavy rock revivalists The Want, whose only full length sounded like it could have in fact been a reissue of some lost seventies hard rock gem. Which is definitely the case here, the song writing, the guitar tone, the songs, definitely not of this time, cemented by the 11 minute final track, a live in the studio jam, all skittery rhythms, wild tangled fuzz guitar leads, throbbing bass, that totally sounds like it was lifted from some chunk of seventies vinyl. Further proving they're really the real blues rock deal, they even do a Ten Years After cover. Not sure how (or why) these guys ended up on Siltbreeze, but these jams definitely have us embracing the blues rock, BIG time.
MPEG Stream: "Livin Like I Wanna"
MPEG Stream: "Still Listening"
MPEG Stream: "ZZ Breakers"

album cover MOUNT CARMEL s/t (Siltbreeze) lp 15.98
Blues rock sometimes gets a bad rap around aQ, one aQuarius employee in particular is fond of hurling the descriptor 'blues rock' as an epithet, used to describe lots of cheesy bar rock, and hokey dad rock, and all manner of stuff that sounds more suited for pubs or parking lots than the hallowed halls of aQ. But even that aQ-er will happily admit, that there's plenty of blues rock that does indeed kick heaps of ass, Blue Cheer, ZZ Top, Budgie, Captain Beyond, Moses, Juan De La Cruz, Leaf Hound, Jerusalem...
Gotta mention Jerusalem in the case of this new blues rockin' Siltbreeze band from Columbus Ohio, considering that the vocals here are a dead ringer for the Jerusalem dude, and there's of course Zeppelin-isms galore, it's that perfect mix of super distorted bluesy fuzz, and hooky pop, not to mention some killer psychedelic leads, and some awesome lazy vox that perfectly suit the band's serpentine sonic slither. Another band these guys totally remind us of are retro heavy rock revivalists The Want, whose only full length sounded like it could have in fact been a reissue of some lost seventies hard rock gem. Which is definitely the case here, the song writing, the guitar tone, the songs, definitely not of this time, cemented by the 11 minute final track, a live in the studio jam, all skittery rhythms, wild tangled fuzz guitar leads, throbbing bass, that totally sounds like it was lifted from some chunk of seventies vinyl. Further proving they're really the real blues rock deal, they even do a Ten Years After cover. Not sure how (or why) these guys ended up on Siltbreeze, but these jams definitely have us embracing the blues rock, BIG time.
MPEG Stream: "Livin Like I Wanna"
MPEG Stream: "Still Listening"
MPEG Stream: "ZZ Breakers"

album cover MOUNT EERIE Black Wooden (Latitudes) cd 14.98
With a title like Black Wooden, we would have imagined that the latest installment in the limited edition Latitudes series, from Mount Eerie, aka Phil Elverum, would be sonically akin to his recent Wind's Poem record, which was a gorgeous hybrid of grim frosty buzzing black metal and dark droney folk, and while conceptually, Black Wooden is in fact related to Elverum's interest in black metal, as well as time spent in Norway, sonically, it has much more in common with the other, less black metal records in Mount Eerie's catalog. And while we were maybe a tad disappointed, once we got over it, we were treated to another fantastic collection of brooding, haunting, introspective, minimal folk, the title Black Wooden suddenly revealing itself to be almost literal, taking elements and perhaps themes of black metal music, and rendering them via wood, on mostly acoustic guitar. The sound hushed and harrowing, introspective but slightly ominous, reminding us immediately of Elverum's collaboration with Julie Doiron, from a few years back, Lost Wisdom, so perfectly dark, moody and melodic, the acoustic guitars, augmented by warm swells of spidery, desert-y twang, and thick swirling soft focus buzz, infusing a bit of that later era Earth-iness, minor key and mesmerizing, Elverum's voice fragile and intimate, sometimes switching to an about-to-crack falsetto, the whole sound just so urgent and personal and dark and emotionally frayed. It's hard to believe these songs were put together and quickly recorded on tour, in the hours before a gig, but they were, like all the Latitudes releases, created to let bands write and record quickly, although we'd imagine in many cases, it probably doesn't come together so cohesively or so powerfully.
MPEG Stream: "Black Wooden"
MPEG Stream: "If We Knew"

album cover MOUNT EERIE Black Wooden (Latitudes) lp 16.98
With a title like Black Wooden, we would have imagined that the latest installment in the limited edition Latitudes series, from Mount Eerie, aka Phil Elverum, would be sonically akin to his recent Wind's Poem record, which was a gorgeous hybrid of grim frosty buzzing black metal and dark droney folk, and while conceptually, Black Wooden is in fact related to Elverum's interest in black metal, as well as time spent in Norway, sonically, it has much more in common with the other, less black metal records in Mount Eerie's catalog. And while we were maybe a tad disappointed, once we got over it, we were treated to another fantastic collection of brooding, haunting, introspective, minimal folk, the title Black Wooden suddenly revealing itself to be almost literal, taking elements and perhaps themes of black metal music, and rendering them via wood, on mostly acoustic guitar. The sound hushed and harrowing, introspective but slightly ominous, reminding us immediately of Elverum's collaboration with Julie Doiron, from a few years back, Lost Wisdom, so perfectly dark, moody and melodic, the acoustic guitars, augmented by warm swells of spidery, desert-y twang, and thick swirling soft focus buzz, infusing a bit of that later era Earth-iness, minor key and mesmerizing, Elverum's voice fragile and intimate, sometimes switching to an about-to-crack falsetto, the whole sound just so urgent and personal and dark and emotionally frayed. It's hard to believe these songs were put together and quickly recorded on tour, in the hours before a gig, but they were, like all the Latitudes releases, created to let bands write and record quickly, although we'd imagine in many cases, it probably doesn't come together so cohesively or so powerfully.
MPEG Stream: "Black Wooden"
MPEG Stream: "If We Knew"

MOUNT EERIE Clear Moon (P.W. Elverum & Sun) lp 17.98

MOUNT EERIE Distorted Cymbals (K) 7" 5.50

album cover MOUNT EERIE Fog Movies Live (P.W. Elverum & Sun) dvd-r 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We have just 3 copies of this, left over from Record Store Day. Never listed it. Only 100 copies made. It's movies of FOG. Yes. Perfect for Mt. Eerie's music. More specifically: it's Mount Eerie recorded live in the basement of City Hall, Anacortes, Washington, at What The Heck Fest, July 20th, 2007, "set to movies of the world looking slow and beautiful in bad weather".

MOUNT EERIE Ocean Roar (P.W. Elverum & Sun) lp 17.98

album cover MOUNT EERIE Wind's Poem (P.W. Elverum & Sun - Creators / Destroyers Of Music) cd 14.98
If there's one thing musicians, and heck, even fans of music hate, it's a dabbler. Someone well established in one arena who decides to dabble in some other sound or scene, often 'slumming', experimenting with a sound or style that they would never integrate into their actual sound. And no one hates dabblers more than metalheads, who came up with a new name for those dabblers, POSERS.
But without a little dabbling, music would remain stagnant, genres would go on forever unchanged, or more likely would die out because everything would have been done. The key is two fold, to dabble, or experiment respectfully, and to then incorporate those borrowed sounds into something new, and original, that while heavily indebted to the new sounds, is also firmly rooted in the original sound. It would make no sense for some punk band to just switch gears and come out with a country record (although it has happened), one would question that band's integrity for sure, how serious could they have been about punk if they could just chuck it for something else without a thought? It makes more sense for that band to infuse their punk with some twang, or add some slide guitar to the thrashing howl, and already, even just describing, it sounds way more interesting.
Needless to say, we were WAY skeptical when we heard that there was a Mount Eerie 'black metal' record in the works. We were never that into Mount Eerie, or the Microphones, it took the recent collaboration with Julie Dorion to win us over, and that record remains one of our favorites. But we had been reading about Mount Eerie mainman Phil Elverum discovering Xasthur and getting the black metal bug. Which is fine, that's sort of what this store is all about after all, but there's a difference between just digging black metal, and suddenly adding black metal to your dark bedroom folk. In theory it sounds like an intriguing combination, but we remained skeptical...
Which proved to be unnecessary, cuz wow, this is a strange and beautiful beast of a record. Right from the start, the title track explodes in a squall of thick corrosive buzz, where does a folky learn to kick up a sound like that? And since BM is not his first musical language, the result is truly unique and strange, there are some lurching strange arrangements, and then of course the black metal is peeled back to reveal some soulful crooning, and the hybrid is just as cool as we hoped it might be, a mournful sad boy Sebadoh like croon, buried amidst heaving walls of crumbling buzz, that explode into furious clouds of caustic crunch, only to recede once again, revealing those sad boy vocals again, and some strange plodding drums alongside a moaning minor key main melody, and the cool thing is, Elverum's distinct melodic style, immediately recognizable since we listened to Lost Wisdom so much, is perfectly fused with the buzzy blasts and blackened atmosphere. Really really cool. And that's only the first track.
As mentioned above, the key to successful dabbling is not abandoning your original sound, since theoretically, the music you make, you make because that's the sound you hear in your head, and your heart, and Elverum continues to craft gorgeous brooding dark folk, the second track, is a wheezing organ driven drone, with hushed angelic vocals, and a haunting deeeeep drone outro, which leads right into a gorgeous reverb drenched bit of mist shrouded drift, all spidery guitars, and warm whirring distant keyboards, and more crooned vocals, all subtly sinister and harrowing, but quite beautiful.
Fear not, that opener was not just a one shot. "The Hidden Stone" is another super distorted blast of blackened heaviness, and again, the magic here is that the buzz and fuzz is wrapped around distinctly UN-black metal melodies and song structures, the result sounds like a blackened Mount Eerie, lilting and sorrowful, but simultaneously distorted and blown out. And the record continues to strike the perfect balance between drifting, droney melodiousness and blackened buzzy crush, the best moments being when the two are fused, which thankfully is most of the time.
"The Mouth Of Sky" unleashes some incredibly cool, over saturated hyper distorted guitars and what sounds like processed cymbals, weaving them into a loping dark melody, the result is a super heavy, noise drenched, metallic shoegaze-y psychedelic blow out, the sort of track we wish was about 10 times longer. "(Something)" clocks in at a little over two minutes, and is obviously an experiment, but is one of our favorite tracks, a super strange, heavily panned, crunchy, distorted rhythmic, looped dronescape which gives way to a soft, shimmery, glistening dreamscape. "Lost Wisdom Pt. 2" is another killer blast of black folk buzz, about as frenzied as any of the blackness here gets, but divided into a strange lumbering tempo, which gives the whole song a sort of seasick vibe, lurching and lumbering and so EPIC, before all the distortion is stripped away, leaving just hushed vocals, a warm distant buzz, and some muted distortion, and the immediately recognizable melody from the original "Lost Wisdom", and finally the record finishes off with a long sprawling slow motion drone-folk drift, the bed of which is all warm organ and softly strummed acoustic guitar, interrupted only briefly before a slow motion explosion of super processed cymbal shimmer, leads into a gorgeous, outro of dark dreamy Neil Young-ness, finishing off like a Mount Eerie record should, haunting, resonant, mournful and melancholy.
Not sure what else to say. It should speak volumes that we were so skeptical and so cynical, and were actually not even all that interested in hearing this, and now here we are proclaiming it our Record Of The Week. We stand before you humbled, but happy, with ears full of this strange confusional sound. Which makes sense really, as lots of our favorite metal these days is some sort of hybrid, some strange mix, or twisted take, and while we will always love the primitive blasting raw buzz of true black metal, we'll never get tired of people pushing that sound, one of our FAVORITE sounds, in new, exciting and unlikely directions. And we definitely can't think of anything less likely than indie folk and black metal...
Incredible packaging, a fold out full color oversized accordion style matte finish booklet, with frosty forest images on one side, lyrics and liner notes on the other, the band name and album title in reflective gold metallic ink.
MPEG Stream: "Wind's Dark Poem"
MPEG Stream: "Through The Trees"
MPEG Stream: "The Mouth Of Sky"
MPEG Stream: "(Something)"

album cover MOUNT EERIE Wind's Poem (P.W. Elverum & Sun - Creators / Destroyers Of Music) 2lp 24.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If there's one thing musicians, and heck, even fans of music hate, it's a dabbler. Someone well established in one arena who decides to dabble in some other sound or scene, often 'slumming', experimenting with a sound or style that they would never integrate into their actual sound. And no one hates dabblers more than metalheads, who came up with a new name for those dabblers, POSERS.
But without a little dabbling, music would remain stagnant, genres would go on forever unchanged, or more likely would die out because everything would have been done. The key is two fold, to dabble, or experiment respectfully, and to then incorporate those borrowed sounds into something new, and original, that while heavily indebted to the new sounds, is also firmly rooted in the original sound. It would make no sense for some punk band to just switch gears and come out with a country record (although it has happened), one would question that band's integrity for sure, how serious could they have been about punk if they could just chuck it for something else without a thought? It makes more sense for that band to infuse their punk with some twang, or add some slide guitar to the thrashing howl, and already, even just describing, it sounds way more interesting.
Needless to say, we were WAY skeptical when we heard that there was a Mount Eerie 'black metal' record in the works. We were never that into Mount Eerie, or the Microphones, it took the recent collaboration with Julie Dorion to win us over, and that record remains one of our favorites. But we had been reading about Mount Eerie mainman Phil Elverum discovering Xasthur and getting the black metal bug. Which is fine, that's sort of what this store is all about after all, but there's a difference between just digging black metal, and suddenly adding black metal to your dark bedroom folk. In theory it sounds like an intriguing combination, but we remained skeptical...
Which proved to be unnecessary, cuz wow, this is a strange and beautiful beast of a record. Right from the start, the title track explodes in a squall of thick corrosive buzz, where does a folky learn to kick up a sound like that? And since BM is not his first musical language, the result is truly unique and strange, there are some lurching strange arrangements, and then of course the black metal is peeled back to reveal some soulful crooning, and the hybrid is just as cool as we hoped it might be, a mournful sad boy Sebadoh like croon, buried amidst heaving walls of crumbling buzz, that explode into furious clouds of caustic crunch, only to recede once again, revealing those sad boy vocals again, and some strange plodding drums alongside a moaning minor key main melody, and the cool thing is, Elverum's distinct melodic style, immediately recognizable since we listened to Lost Wisdom so much, is perfectly fused with the buzzy blasts and blackened atmosphere. Really really cool. And that's only the first track.
As mentioned above, the key to successful dabbling is not abandoning your original sound, since theoretically, the music you make, you make because that's the sound you hear in your head, and your heart, and Elverum continues to craft gorgeous brooding dark folk, the second track, is a wheezing organ driven drone, with hushed angelic vocals, and a haunting deeeeep drone outro, which leads right into a gorgeous reverb drenched bit of mist shrouded drift, all spidery guitars, and warm whirring distant keyboards, and more crooned vocals, all subtly sinister and harrowing, but quite beautiful.
Fear not, that opener was not just a one shot. "The Hidden Stone" is another super distorted blast of blackened heaviness, and again, the magic here is that the buzz and fuzz is wrapped around distinctly UN-black metal melodies and song structures, the result sounds like a blackened Mount Eerie, lilting and sorrowful, but simultaneously distorted and blown out. And the record continues to strike the perfect balance between drifting, droney melodiousness and blackened buzzy crush, the best moments being when the two are fused, which thankfully is most of the time.
"The Mouth Of Sky" unleashes some incredibly cool, over saturated hyper distorted guitars and what sounds like processed cymbals, weaving them into a loping dark melody, the result is a super heavy, noise drenched, metallic shoegaze-y psychedelic blow out, the sort of track we wish was about 10 times longer. "(Something)" clocks in at a little over two minutes, and is obviously an experiment, but is one of our favorite tracks, a super strange, heavily panned, crunchy, distorted rhythmic, looped dronescape which gives way to a soft, shimmery, glistening dreamscape. "Lost Wisdom Pt. 2" is another killer blast of black folk buzz, about as frenzied as any of the blackness here gets, but divided into a strange lumbering tempo, which gives the whole song a sort of seasick vibe, lurching and lumbering and so EPIC, before all the distortion is stripped away, leaving just hushed vocals, a warm distant buzz, and some muted distortion, and the immediately recognizable melody from the original "Lost Wisdom", and finally the record finishes off with a long sprawling slow motion drone-folk drift, the bed of which is all warm organ and softly strummed acoustic guitar, interrupted only briefly before a slow motion explosion of super processed cymbal shimmer, leads into a gorgeous, outro of dark dreamy Neil Young-ness, finishing off like a Mount Eerie record should, haunting, resonant, mournful and melancholy.
Not sure what else to say. It should speak volumes that we were so skeptical and so cynical, and were actually not even all that interested in hearing this, and now here we are proclaiming it our Record Of The Week. We stand before you humbled, but happy, with ears full of this strange confusional sound. Which makes sense really, as lots of our favorite metal these days is some sort of hybrid, some strange mix, or twisted take, and while we will always love the primitive blasting raw buzz of true black metal, we'll never get tired of people pushing that sound, one of our FAVORITE sounds, in new, exciting and unlikely directions. And we definitely can't think of anything less likely than indie folk and black metal...
Incredible packaging, a fold out full color oversized accordion style matte finish booklet, with frosty forest images on one side, lyrics and liner notes on the other, the band name and album title in reflective gold metallic ink.
MPEG Stream: "Wind's Dark Poem"
MPEG Stream: "Through The Trees"
MPEG Stream: "The Mouth Of Sky"
MPEG Stream: "(Something)"

album cover MOUNT EERIE WITH JULIE DOIRON & FRED SQUIRE Lost Wisdom (P.W. Elverum & Sun, Destroyers & Releasers Of Music & Worlds) cd 12.98
Mount Eerie has always been a bit hit or miss for us, same with the Microphones, both musical projects of the quite prolific Phil Elverum. The sound tends towards a hushed downer bedroom folk, simple instrumentation, heartfelt lyrics, vocals almost whispered, but various record have twisted that sound into different shapes, especially in the Microphones, where Elverum would add bursts of distorted psychedelic rock, jagged guitars, or horns, or Stereolab style Moog buzz, but the thing with the Microphones was that the sound was always better than the songs it was wrapped around. With Mount Eerie, it seemed Elverum was exploring a more intimate side to his sound, his Sentridoh to the Microphones' Sebadoh. But even then, we were never totally taken with any of the Mount Eerie releases. At least until now.
Lost Wisdom is absolutely gorgeous. We're tempted to credit the addition of Eric's Trip's Julie Doiron, but while that's a HUGE part of it, the songs here are fantastic. Recorded beautifully, wonderfully arranged. At times it sounds like an acoustic Built To Spill covering the first Iron & Wine record, if that makes any sense. Acoustic guitars, some subtle distorted crunch, simple barely there percussion, it's mostly about the vocals, Elverum and Doiron creating amazing harmonies, each wandering off on their own here and there, before returning once again only to get all wrapped up in each others' melodies. Sweet and sorrowful and sad, dreamy and melancholy, Elverum slips from warm soft croon to fluttery falsetto, Doiron's voice is fantastic as always, so melodic and rich, but also raw and rough around the edges, passionate and the perfect foil to Elverum's sad boy swoon. And the songs are gorgeous. Minor key and strangely lush for being so stripped down. The opening title track is worth the price of admission alone, just listen to the sound sample, so dark and beautiful, so wistful and haunting, a strange arrangement, full of tension and release, and some gorgeously obtuse melodies, even some strange room clatter in the background that ends up sounding like as much a part of the song as any of the instruments. We've been playing this whole record like crazy, but that first track, wow, just might be one of our favorite songs of the year.
WAY recommended.
MPEG Stream: "Lost Wisdom"
MPEG Stream: "Voice In Headphones"
MPEG Stream: "You Swan Go On"

album cover MOUNT EERIE WITH JULIE DOIRON & FRED SQUIRE Lost Wisdom (P.W. Elverum & Sun, Destroyers & Releasers Of Music & Worlds) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
One of our highlights from the last list (and oneof Andee's new favorite records) now available on vinyl:
Mount Eerie has always been a bit hit or miss for us, same with the Microphones, both musical projects of the quite prolific Phil Elverum. The sound tends towards a hushed downer bedroom folk, simple instrumentation, heartfelt lyrics, vocals almost whispered, but various record have twisted that sound into different shapes, especially in the Microphones, where Elverum would add bursts of distorted psychedelic rock, jagged guitars, or horns, or Stereolab style Moog buzz, but the thing with the Microphones was that the sound was always better than the songs it was wrapped around. With Mount Eerie, it seemed Elverum was exploring a more intimate side to his sound, his Sentridoh to the Microphones' Sebadoh. But even then, we were never totally taken with any of the Mount Eerie releases. At least until now.
Lost Wisdom is absolutely gorgeous. We're tempted to credit the addition of Eric's Trip's Julie Doiron, but while that's a HUGE part of it, the songs here are fantastic. Recorded beautifully, wonderfully arranged. At times it sounds like an acoustic Built To Spill covering the first Iron & Wine record, if that makes any sense. Acoustic guitars, some subtle distorted crunch, simple barely there percussion, it's mostly about the vocals, Elverum and Doiron creating amazing harmonies, each wandering off on their own here and there, before returning once again only to get all wrapped up in each others' melodies. Sweet and sorrowful and sad, dreamy and melancholy, Elverum slips from warm soft croon to fluttery falsetto, Doiron's voice is fantastic as always, so melodic and rich, but also raw and rough around the edges, passionate and the perfect foil to Elverum's sad boy swoon. And the songs are gorgeous. Minor key and strangely lush for being so stripped down. The opening title track is worth the price of admission alone, just listen to the sound sample, so dark and beautiful, so wistful and haunting, a strange arrangement, full of tension and release, and some gorgeously obtuse melodies, even some strange room clatter in the background that ends up sounding like as much a part of the song as any of the instruments. We've been playing this whole record like crazy, but that first track, wow, just might be one of our favorite songs of the year.
WAY recommended.
MPEG Stream: "Lost Wisdom"
MPEG Stream: "Voice In Headphones"
MPEG Stream: "You Swan Go On"

MOUNT EVEREST TRIO Waves from Albert Ayler (Atavistic / Unheard Music Series) cd 14.98

MOUNT FLORIDA Storm (Matador) 12" 9.98
Languid, slightly epic electronica from Scottish duo trying to attain the dramatic intensity of Massive Attack. Mixed results. Boy/girl vocals. Portishead vibe. On Matador!

MOUNT FLORIDA Storm (Matador) cdep 10.98
Languid, slightly epic electronica from Scottish duo trying to attain the dramatic intensity of Massive Attack. Mixed results. Boy/girl vocals. Portishead vibe. On Matador!

MOUNT FUJI DOOM JAZZ CORPORATION Succubus (Ad Noiseam) cd 23.00

album cover MOUNT FUJI DOOMJAZZ CORPORATION, THE Doomjazz Future Corpses! (Ad Noiseam) cd 17.98
Last year we reviewed a disc by the evocatively named Kilimanjaro Darkjazz Ensemble, who we described as "equal parts DJ Shadow's Endtroducing, seventies horror movie soundtracks, late night jazz and super sluggish blown out trip hop" which is exactly what it sounded like. Long languid musical excursions through some dark rainy late night film noir wasteland, ghostly moaning horns, skittering minimal percussion, haunting strings, all tangled into super cinematic musical drama. Another band, who if there was any justice, would be the ones scoring big Hollywood thrillers instead of Danny Elfman...
Anyway, we recently learned that the Kilimanjaro Darkjazz Ensemble had an alter ego, a more metallic dark side, called, appropriately enough The Mount Fuji Doomjazz Corporation, we were pretty much sold after just hearing the name, so evocative of some mysterious 'star chamber', holed up in a secret underground bunker, tucked in some cave in the mountains, where mysterious hooded figures work alchemical magic creating mysterious and monstrous 'doomjazz'...
Supposedly, this Kilimanjaro offshoot was meant to sound a bit like SUNNO))) or Earth, albeit run through with bits of jazziness and smoke-y ambience. Well, it's not quite that heavy, but it is a bit, definitely heavier and darker and more ominous than the KDJE mothership, a sort of drone-y dark ambient drift, long stretches of low tones and distant horns, of rumbling guitars and thick washes of swirling low end. Actually it sounds more like Kilimanjaro Darkjazz Ensemble with all the jazz sucked out, leaving nothing but a blackened husk, a skeletal landscape of bleak blissed out shimmer, and slow creeping nightmare melodies. In some ways it sounds like a jazzier, more ambient, less primitive and ritualistic version of the Taj Mahal Travellers... A couple tracks do rev up to a full on SUNNO)))-y dirge, with the guitars threatening to engulf the dark ambience beneath it, but they never truly explode into actual sludge drenched doom, instead, they sort of drift darkly, roiling like a sky full of thick black clouds... It is most definitely doomy though, just not in the traditional sense, the sounds here are more Lustmord, Nordvargr, Bohren und Der Club Of Gore, Cold Meat Industries, with some more melancholy melody mixed in, disembodied reverbed guitar, the occasional almost-jazzy creep, it's more a sort of ambient slow core, wait a minute, "slowcore ambient doom" might be exactly the descriptor we were searching for.
Definitely recommended for fans of any of the above mentioned bands, or anyone into slowcore ambient doom!
MPEG Stream: "2"
MPEG Stream: "5"
MPEG Stream: "8"

MOUNT KIMBIE Carbonated (Hot Flush) cd 14.98

album cover MOUNT KIMBIE Cold Spring Fault Less Youth (Warp) cd 16.98
The first record from this post dubstep duo was a bit hit around here, ditching much of the big bass and deep bass wobble of harder dubstep for something more chilled and soulful, all atmospheric and dreamy, plink plonky rhythms driving sweet smears of come-down string wash bliss, but to be honest, for some of the dubstep fans here, it was a little bit too soft, a little bit too light and soulful, which is precisely what makes this new one so weird, and so good, in that MK seem to have moved back to a sound that's harder, and darker, the beats more gristly, the atmospheres minor key and a little bit menacing, and while vocals on electronic records sometimes scare us, the vocals this time around are amazing (much of them provided by the genius King Krule), but even opener "Home Recording", wraps a gauzy sonic haze and some chiming spidery guitar melodies over a weird hissy dubby beat, which underpins some moody soulful vocals, shimmery and slithery, and darkly groovy, the gristle and hiss occasionally peeling back, revealing some pulsing almost housiness beneath, before slipping right back into that staticky skitter.
"You Took Your Time" introduces us to King Krule, his heavily accented sung/spoken vocal, wound around a skeletal beat, wrapped in swirls of woozy synth, and what sounds like accordion (!), a haunting electro ballad, that's soon joined by shuffling drums, and sinewy basslines, eventually busting into something much darker and more driving, KK's vocals getting raspier and more aggressive to match, but as fierce as it gets, remaining plenty woozy and laid back.
From there on out, the vibe remains dark, and a little shadowy, but the sounds and songs are all over the place, "Break Well", is all sequences synths, and percolating melodies, soaring swirls of high end shimmer, the beat not dropping until the last 60 seconds, accompanied by a super catchy melody, and a woozy, ultra funky bassline, most bands would stretch a part this catchy out into a whole song, but here it's just essentially an outro! "Blood And Form" sounds a bit like a super lo-fi Tricky, a weird muffled militaristic drum beat pounds away beneath glimmering FX, some soulful crooning, wild tangles of horn like melodies, while "Made To Stray" is all hushed murky skitter, but soon blossoms into some echo drenched electronic poppiness, with more soulful vocals, again, the hook swooping in right near the end of the track.
King Krule pops up again on "Meter, Pale, Tone", crooning over wheezing organs, cool tribal drumming, slipper basslines, a backing track that almost sounds like a dubstepped Icicle Works, dense and driving, super hypnotic, making us wish Mount Kimbie and King Krule would make a whole record together. The rest of the record flits from big block rocking beats, to murky dubbed out synth house slither, crackly pulsing industrial, laced with old school dubstep wobble, deep digidub pulses, Andy Stott like processed vocal ambience, and more hushed vocals, again, the vibe sort of downtempo and Tricky-ish, albeit a bit more woozy and dizzyingly produces, to what sounds like a Kompakt like groover that gradually morphs into a murkier dubbed out version of some lost eighties new wave pop song, which is how the record ends. Perfect!
MPEG Stream: "Home Recording"
MPEG Stream: "You Took Your Time"
MPEG Stream: "Meter, Pale, Tone"
MPEG Stream: "Sullen Ground"

album cover MOUNT KIMBIE Cold Spring Fault Less Youth (Warp) lp 28.00
The first record from this post dubstep duo was a bit hit around here, ditching much of the big bass and deep bass wobble of harder dubstep for something more chilled and soulful, all atmospheric and dreamy, plink plonky rhythms driving sweet smears of come-down string wash bliss, but to be honest, for some of the dubstep fans here, it was a little bit too soft, a little bit too light and soulful, which is precisely what makes this new one so weird, and so good, in that MK seem to have moved back to a sound that's harder, and darker, the beats more gristly, the atmospheres minor key and a little bit menacing, and while vocals on electronic records sometimes scare us, the vocals this time around are amazing (much of them provided by the genius King Krule), but even opener "Home Recording", wraps a gauzy sonic haze and some chiming spidery guitar melodies over a weird hissy dubby beat, which underpins some moody soulful vocals, shimmery and slithery, and darkly groovy, the gristle and hiss occasionally peeling back, revealing some pulsing almost housiness beneath, before slipping right back into that staticky skitter.
"You Took Your Time" introduces us to King Krule, his heavily accented sung/spoken vocal, wound around a skeletal beat, wrapped in swirls of woozy synth, and what sounds like accordion (!), a haunting electro ballad, that's soon joined by shuffling drums, and sinewy basslines, eventually busting into something much darker and more driving, KK's vocals getting raspier and more aggressive to match, but as fierce as it gets, remaining plenty woozy and laid back.
From there on out, the vibe remains dark, and a little shadowy, but the sounds and songs are all over the place, "Break Well", is all sequences synths, and percolating melodies, soaring swirls of high end shimmer, the beat not dropping until the last 60 seconds, accompanied by a super catchy melody, and a woozy, ultra funky bassline, most bands would stretch a part this catchy out into a whole song, but here it's just essentially an outro! "Blood And Form" sounds a bit like a super lo-fi Tricky, a weird muffled militaristic drum beat pounds away beneath glimmering FX, some soulful crooning, wild tangles of horn like melodies, while "Made To Stray" is all hushed murky skitter, but soon blossoms into some echo drenched electronic poppiness, with more soulful vocals, again, the hook swooping in right near the end of the track.
King Krule pops up again on "Meter, Pale, Tone", crooning over wheezing organs, cool tribal drumming, slipper basslines, a backing track that almost sounds like a dubstepped Icicle Works, dense and driving, super hypnotic, making us wish Mount Kimbie and King Krule would make a whole record together. The rest of the record flits from big block rocking beats, to murky dubbed out synth house slither, crackly pulsing industrial, laced with old school dubstep wobble, deep digidub pulses, Andy Stott like processed vocal ambience, and more hushed vocals, again, the vibe sort of downtempo and Tricky-ish, albeit a bit more woozy and dizzyingly produces, to what sounds like a Kompakt like groover that gradually morphs into a murkier dubbed out version of some lost eighties new wave pop song, which is how the record ends. Perfect!
MPEG Stream: "Home Recording"
MPEG Stream: "You Took Your Time"
MPEG Stream: "Meter, Pale, Tone"
MPEG Stream: "Sullen Ground"

album cover MOUNT KIMBIE Crooks & Lovers (Hot Flush) cd 17.98
Equal parts J Dilla, Flying Lotus and Actress, the full length debut of London-based "post-dubstep" duo Mount Kimbie is easily our new favorite night time listens. With stoned soul edits, heavenly string washes, wonky ping pong rhythms, underwater electronic atmospherics and an off-kilter but hazy production, Crooks and Lovers is all about the post-club come down. Chill and subdued, often dreamy and strange but super immersive and narcotically propulsive. The kind of sound that wraps around you, compels you along into its strange slippery rhythms, before finally lulling you into a beautifully warped hypnogogic sleep state. Highest Recommendation!
MPEG Stream: "Would Know"
MPEG Stream: "Before I Move Off"
MPEG Stream: "Carbonated"
MPEG Stream: "Mayor"

album cover MOUNT KIMBIE Crooks & Lovers (Hot Flush) 2lp 23.00
NOW ON VINYL!!!
Equal parts J Dilla, Flying Lotus and Actress, the full length debut of London-based "post-dubstep" duo Mount Kimbie is easily our new favorite night time listens. With stoned soul edits, heavenly string washes, wonky ping pong rhythms, underwater electronic atmospherics and an off-kilter but hazy production, Crooks and Lovers is all about the post-club come down. Chill and subdued, often dreamy and strange but super immersive and narcotically propulsive. The kind of sound that wraps around you, compels you along into its strange slippery rhythms, before finally lulling you into a beautifully warped hypnogogic sleep state. Highest Recommendation!
MPEG Stream: "Would Know"
MPEG Stream: "Before I Move Off"
MPEG Stream: "Carbonated"
MPEG Stream: "Mayor"

album cover MOUNT MORIAH Miracle Temple (Merge) cd 14.98
Not the doom country we were expecting seeing that this country rock outfit features one of the dudes (THEE dude in fact) from ambient doom drone lords Horseback on guitar. Probably best to forget that trivial tidbit as Mount Moriah sound miles away from Horseback's dirgey and blackened sonic miasma.
Instead, Mount Moriah mine a late eighties/early nineties female fronted alt-country sound like that of Lone Justice, Cowboy Junkies and a bit of early Mazzy Star. Fans of Neko Case will definitely dig this too. Like a modern Dolly Parton album with a hipper backing band. Pretty, well-written songs that smack of heartbreak and bitter regret.
MPEG Stream: "Younger Days"
MPEG Stream: "Bright Light"

album cover MOUNT MORIAH Miracle Temple (Merge) lp 17.98
Not the doom country we were expecting seeing that this country rock outfit features one of the dudes (THEE dude in fact) from ambient doom drone lords Horseback on guitar. Probably best to forget that trivial tidbit as Mount Moriah sound miles away from Horseback's dirgey and blackened sonic miasma.
Instead, Mount Moriah mine a late eighties/early nineties female fronted alt-country sound like that of Lone Justice, Cowboy Junkies and a bit of early Mazzy Star. Fans of Neko Case will definitely dig this too. Like a modern Dolly Parton album with a hipper backing band. Pretty, well-written songs that smack of heartbreak and bitter regret.
MPEG Stream: "Younger Days"
MPEG Stream: "Bright Light"

album cover MOUNT VERNON ASTRAL TEMPLE Musick That Destroys Itself (Eskaton) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Working under his Mount Vernon Arts Lab guise, Drew Mulholland had the good fortune to perform alongside Coil at the Megalithomania festival in London, thoroughly impressing them with his drug addled electronic psychedelia, so much so that Coil offered to put out an album. Mulholland showed his appreciation by referencing Coil's legendary dabbling in occult magick in his choice of the slightly altered mystical moniker Mount Vernon Astral Temple as well as within the music itself, producing Musick That Destroys Itself as ritualist pieces centered around occult numerology, which as far as we can tell has something to do with the palindrome of the date February 2, 2002, and a purported 'time machine' which exists in the Brompton cemetary(!). If you've dug Coil's recent experiments with analog synths or the tripped out, ring modulator work-outs of Acid Mother's Temple, Mount Vernon Astral Temple's cosmic jams of dense electronic percolations and gaping reverberations will definitely be the perfect soundtrack for your next pagan ritual or secret ceremony! Strictly limited to 1000 copies.
MPEG Stream: "Warner's Reverie (excerpt)"

album cover MOUNT VICIOUS Don't Be A Baby, Come And Get It (Seismic Wave) cd 9.98
Mount Vicious certainly have a lot of fun. Their live shows feature (count 'em) three guitar players, one of whom (Conan) usually rips his shirt off and throws his guitar down to more easily interact with the crowd. The other two often play back to back, axe necks bobbing in unison. Really, with song titles like "Steroid Unicorn," "Wherewolf," and "We Enjoy Fucking (To This Music)" how can YOU not have fun listening (or maybe fucking?) to this music? Mount Vicious features Conan Neutron and Chris Bolig of local loudnicks Replicator and Alli Pheteplace of The Holy Kiss, both of which are now, sadly, defunct. Mount Vicious plays a more straightforward (a.k.a. fistpumping) brand of hard rock than either of those two outfits, well utilizing the technique of the harmonized guitar solo. Conan sounds surprisingly like a Misfits-era Glenn Danzig, with a little Mike Patton thrown in for good measure. Listen to this record at high volume.
MPEG Stream: "Da Proposition"
MPEG Stream: "Princess of the Brodeo"
MPEG Stream: "Steroid Unicorn"

MOUNTAIN BROTHERS Self: Vol. 1 (Pimpstrut) cd 14.98
The Mountain Brothers are a Philly trio of Chinese American descent. Signed to powerhouse hip hop label Columbia/Ruffhouse a while back (only to realize how hard it can suck being on a major label), this is their selfreleased debut full length. Here's an excerpt from Ollie Wang's review from the Bay Guardian: "Self: Vol. 1, nearly three years in the making, hardly sounds dated, providing a refreshing alternative to the monotonous commercial drone. A brotherhood from another hood, the M.B.s are a welcome sign that with hip-hop's maturity comes diversity."

MOUNTAIN BROTHERS Self: Vol. 1 (Pimpstrut) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Mountain Brothers are a Philly trio of Chinese American descent. Signed to powerhouse hip hop label Columbia/Ruffhouse a while back (only to realize how hard it can suck being on a major label), this is their selfreleased debut full length. Here's an excerpt from Ollie Wang's review from the Bay Guardian: "Self: Vol. 1, nearly three years in the making, hardly sounds dated, providing a refreshing alternative to the monotonous commercial drone. A brotherhood from another hood, the M.B.s are a welcome sign that with hip-hop's maturity comes diversity."

album cover MOUNTAIN GOATS Come Come To The Sunset Tree (self-released) lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This is John Darnielle's wonderful home-spun alternate rendition of his latest album, The Sunset Tree, released on vinyl only. Taking into consideration the songs' rough-hewn state and the fact that there's also a studio recorded album consisting of most of these songs, some folks might refer to these recordings as demos. To that we utter a robust "Pshaw!" 'Cuz as with most every release in the history of Sir Darnielle, Come Come To The Sunset Tree stands as a finished work on its own merits. He recorded these eleven songs at his home in North Carolina, and he recorded the 4AD CD release version at Prairie Sun Studios in Cotati, CA. Keep in mind, apart from the obvious differences in production, you'll also find additional distinctions between the LP and CD in their respective song selections and running orders. If you're a serious Mountain Goats fan, you'll no doubt need both versions! The bare bones intimacy of these home recordings brings back fond memories of his early releases. Wonderful! Each record is packaged in a one-of-a-kind handcrafted cover (festooned with photos, comic strip panels, colored construction paper, paint and felt tip markers). Ultra limited pressing of which we only got a handful and they're going very very fast, so don't you dare snooze on this one!

album cover MOUNTAIN GOATS Get Lonely (4AD) cd 13.98
Another year, another Mountain Goats album? You betcha! Mr. John Darnielle keeps the goodness a-comin'. Yes, even though we thought he might take a breather following the heart-baringly personal catharsis of The Sunset Tree last year, he's swiftly come back with the comparative stability of Get Lonely. Right from the first listen, this album's like a good ol' friend, seeming utterly comforting and familiar, but seldomly redundant -- even within the massive body of music he's created to date. He's joined once again by his frequent collaborating pals Franklin Bruno and Peter Hughes. Their close almost familial bond shows in the ease with which they make music together. The songs sound so effortlessly off the cuff. Accompanying the trio are multi-instrumentalist/producer Scott Solter (whose latest fine solo album we got in a short time ago), cellist Erik Friedlander (whose own music you can find on John Zorn's Tzadik label) and nimble drummer Corey Fogel. Sure to please Mountain Goats fans new and old!
MPEG Stream: "New Monster Avenue"
MPEG Stream: "Maybe Sprout Wings"

album cover MOUNTAIN GOATS Get Lonely (4AD) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Another year, another Mountain Goats album? You betcha! Mr. John Darnielle keeps the goodness a-comin'. Yes, even though we thought he might take a breather following the heart-baringly personal catharsis of The Sunset Tree last year, he's swiftly come back with the comparative stability of Get Lonely. Right from the first listen, this album's like a good ol' friend, seeming utterly comforting and familiar, but seldomly redundant -- even within the massive body of music he's created to date. He's joined once again by his frequent collaborating pals Franklin Bruno and Peter Hughes. Their close almost familial bond shows in the ease with which they make music together. The songs sound so effortlessly off the cuff. Accompanying the trio are multi-instrumentalist/producer Scott Solter (whose latest fine solo album we got in a short time ago), cellist Erik Friedlander (whose own music you can find on John Zorn's Tzadik label) and nimble drummer Corey Fogel. Sure to please Mountain Goats fans new and old!

MPEG Stream: "New Monster Avenue"
MPEG Stream: "Maybe Sprout Wings"

album cover MOUNTAIN GOATS Tallahassee (4AD) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now re-pressed and available again on vinyl! Here's the review from when we first listed it way back in 2002:
Same ol' dependable John Darnielle making some of the most witty yet heartfelt singer songwriter material to tickle our fancy here at AQ. While he has forged a completely unique style all his own that is consistently evident here, this album is also a slight departure of sorts. It's on respected British label 4AD which means Vaughan Oliver (that M Oliver has designed one of his album covers sends Darnielle into paroxysms of ecstasy). Being on 4AD also afforded John the opportunity to go to England to record the album with Tony Doogan, who has worked with Belle & Sebastian. Thus the album has a more produced feel, but that's not bad. It's simply a long way from Darnielle's singing into a boombox days. There are unusual, for Mountain Goats, touches such as shimmering cymbals and (what sound like) occasional doubletracked vocals. We weren't disappointed, however, and neither will you be. Very nice.

album cover MOUNTAIN GOATS We Shall All Be Healed (4AD) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now re-pressed and available again on vinyl! Here's the review from when we first listed it way back in 2004:
Another beautiful, deeply moving album from longtime AQ faves Mountain Goats! Sounds like it was a pretty intense recording session -- Mr. John Darnielle along with Franklin Bruno (piano and organ), Peter Hughes (bass), Nora Danielson (violins), Christopher McGuire (drums) holed up in the studio for just ten days! -- resulting in sixteen completed songs, thirteen of which make up We Shall All Be Healed. Whew! By the way, has anyone else noticed that Mr. Darnielle's singing voice is sounding more and more like that of Daniel Bejar (of Destroyer and New Pornographers)? It used to seem the other way around, but perhaps it's simply the works of two kindred spirits drawing closer (although we've heard that Mr. Bejar has taken Destroyer in a radically different direction with his forthcoming album). There's certainly an affinity between the two fellows' songwriting -- poetic, earnest, and at once both starkly observative and richly imaginative. There's so many fine moments on this album, many of which glow even brighter with the pianowork of his Extra Glenns' partner in crime Mr. Bruno. Check out "Home Again Garden Grove" and "The Young Thousands". Seems like Mountain Goats have found a well-suited middle ground between his beloved bare bones early recordings and those that make up their more recent higher-fi 4AD releases. Wonderful! Produced by John Vanderslice (who also has a dandy new album out now!). Very recommended!
MPEG Stream: "The Young Thousands"
MPEG Stream: "Home Again Garden Grove"

album cover MOUNTAIN GOATS, THE All Eternals Deck (Merge) cd 14.98
It's easy to imagine Mountain Goats mainman (and in the beginning, ONLY man), John Darnielle, reaching a sort of crossroads in life. Having to decide between two callings, music, or writing. One likes to think that had Darnielle chosen writing, he would have taken his knack for hooks and melody, as well as his nerd worthy obsession with bands and records (death metal in particular) along with him, but lucky for the legions of MG fans, he instead chose music, but seemingly could never really make peace with that decision, which ended up being fine, as Darnielle is an unparalleled rock lyricist, pithy, clever, funny, heartfelt, approaching songs like novellas, each track elaborate in its story, whether ultra personal and intimate, or emblematic and rabble rousing. Folks like the Decemberists' Colin Meloy get lots of critical acclaim for they wordy, lit heavy lyrics, but few can hold a candle to Darnielle, besides like the best lyricists he's not just an intellectual, he's as deft as getting a laugh as he is at getting the listener to choke up.
Much gets written about Darnielle's lyrics, but none of that would mean shit if he didn't have the music to back it up, and in the early days, that music consisted of nothing but a beat up old acoustic guitar, strummed wildly while Darnielle belted out those lyrics in a super distinctive nasal yelp, all captured on a creepy old boom box. He helped define the whole Inland Empire / Shrimper sound of the nineties. And demonstrated even back then his knack for popsmithery.
And back then, as much as we loved the MG's, we could hardly predict the sort of trajectory Darnielle's career would take, ditching the acoustic guitar and boombox for a full band and a real studio, signing to 4AD, then Merge, performing on Letterman and Colbert, and essentially, becoming a real band, and a real popular one at that.
All Eternals Deck is the Mountain Goats' latest, and while Darnielle's vocals have definitely gotten more controlled over the years, it's still that same distinctive voice, and those incredible lyrics, and the music, well, anyone who has been listening these last few years, the music is a whole new ballgame, about as far from lo-fi as you can get, fantastic, BIG production, layered guitars, piano, great drumming (courtesy of Jon from Superchunk), all woven into epic strummy folky indie pop, a sound that's definitely on the commercial side, but then it's a logical progression for sure, and while some folks will continue to lament the loss of those super raw early MG recordings, it's been long enough that maybe it's best to consider that a whole other thing, MG mach I, meanwhile everyone else can dig into All Eternals Deck, yet another batch of killer Mountain Goats jams.
Also, we were lucky enough to get a small handful of the VERY limited, originally mailorder only, demo cassette, All Survivors Pack, featuring demo versions of songs from the album, as well as a handful of unreleased track! Plus each tape was hand colored by Mr. Darnielle himself. We got so few though, we're having a raffle, which you will be automatically entered in, by purchasing this, the new record, on either lp or cd. We'll pick the winners next week. Good luck!
MPEG Stream: "Damn These Vampires"
MPEG Stream: "Birth Of Serpents"
MPEG Stream: "Beautiful Gas Mask"
MPEG Stream: "Outer Scorpion Squadron"

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