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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.


MORTE MACABRE Symphonic Holocaust (Mellotronen) cd 23.00
This Swedish progrock supergroup got together to interpret great horror film soundtracks, like Komeda's theme to "Rosemary's Baby" and Frizzi's music from "City Of The Living Dead" and "The Beyond". This should definitely appeal to fans of Goblin (who get covered here too, of course). Includes an amazing, epic 20-minute piece that will even satisfy Godspeed You Black Emperor fans looking for their filmic music fix.

album cover MORTHOUND Mortology (Raubbau) 5cd 72.00
A precocious one, that BJ Nilsen! Morthound (sometimes spelled Morthond on a couple of releases) was Nilsen's project when he was just a teenager, producing some of the more abstract convulsions of dark ambient and collaged electronics that appeared on the seminal Swedish industrial label Cold Meat Industries. This anthology collects the four Morthound / Morthond records recorded from 1991-1994 before Nilsen dropped the moniker in favor of Hazard, through which he matriculated onto Ash International / Touch Music shortly there after. Nilsen appends most of the discs of Mortology with various tracks from the CMI compilations and rounds out the entire collection with a whole disc of unreleased material. Death Time was Nilsen's first outing - a cassette from 1991 on CMI imprint Sound Source - and speaks much beyond the years of a 15 year old kid in Sweden going down to the library to check out sound effects and wildlife recordings to run through his Akai sampler and into a four-track. Along with those source materials, Nilsen also relied heavily on his shortwave radio, whose detuned transmissions and numbers station broadcasts he liberally cut-up into eerie collages full of shadow, drone, and dread. This Crying Age (also from 1991) was the first widely available Morthound cd, with a deep soundtrackish sensibility that recalled more of the early soundtrack work of Graeme Revell / SPK especially the Zamia Lehmanni album with its esoteric / occult mysteriousness through hypnotic, metal klang loops, emotionally somber rumblings, and wispily opiated flute melodies which sporadically graced the dark electronics. In the liner notes, Nilsen explained that he has never wanted to stick within one particular aesthetic, and Spindrift (1992) was very much a departure for Nilsen with this foray into legitimate psychedelic pop, with "Stairhead" being something of a hypno-drone-pop track of glistening guitars and summery organs with much more in common with Ultra Vivid Scene or A.R. Kane than Brighter Death Now! This track is a bit of anomaly as much of the rest of Spindrift is fleshed out with baroque, synthetically orchestral pieces full of John Carpenter / Halloween arpeggiations, David Lynchian themes within the creepy / maudlin scores, and plenty of saddened atmosphere. The final album recorded as Morthound was The Goddess Who Could Make The Ugly World Beautiful (a quote from Taxi Driver, fyi!), finding Nilsen shifting closer to the sound he would soon perfect under the moniker Hazard with stealth-bomber drones and arctic field recordings, but not before unleashing a handful of tracks inspired in equal parts by early Coil and contemporary In Slaughter Natives with a baroque pagan bombast through thrashy guitar riffs and muscular drum programming. The disc of unreleased Morthound material is uniformly bleak, spacious, and eerily abstract. Again, the material here points closer to the Hazard tracks that soon followed; and actually stands as some of the best material that Nilsen recorded during this time period. We have very limited stock on this boxset!
MPEG Stream: "Death Time"
MPEG Stream: "Mithril"
MPEG Stream: "The Age Of Crying"
MPEG Stream: "Stairhead"
MPEG Stream: "Losing Ground"
MPEG Stream: "Thundra"

MORTIFERA Vastiia Tenebrd Mortifera (Goatowarex) 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 MORTIIS The Smell of Rain (Earache) cd 15.98
What can one say about Mortiis? Hmmm, he's apparently acquired a new set of ears since his last pair were stolen while on tour many moons ago. But one may ask, "has along with his new elfin ears come a new look and sound too?" An emphatic "yes!" From the cover of this album you'd think either Mortiis is trying to look like a mummified Ani Difranco or has decided to do a roots reggae album (he's gnarled up his glossy Norwegian tresses into matted ropes). Actually it's neither, in fact Mortiis wants to sex you up and shake your goth booty down. That's right, it seems Mortiis' days of haunting the stage to dat tapes are over. In favor of what? Well, the follow-up to 1999's dark ambient "The Stargate" is dominated by rock guitar, pounding programmed beats, a veritable synth orchestra, and his effected vocals front and center. He does bring it down though, all soft and sentimental like, for one track called "Everyone Leaves", and I'd swear he scooped the main melody from Harry Chapin's "Cat's In The Cradle" for "Antimental". Allan compared it to Gary Numan, The Faint and Fischerspooner. I'd agree with the first (but only his very recent efforts) and maybe the third (especially when the female vocals come in to counter Mortiis' very Peter Murphy-esque emoting - just give "Spirits In A Vacuum" a listen). Byram compared it to Ministry or Lords Of The New Church. This is Industrial Dance / Dark Wave, and strangely it's on Earache (the second of his four album contract)! Heck, it made Andee do the robot dance... a lot, and made a customer snap his fingers. At any rate, I'd definitely recommend oHgr's "Welt" album instead. Oh, I forget to mention that the closing track is titled "Smell The Witch".
RealAudio clip: "Spirit In A Vacuum"
RealAudio clip: "Antimental"

album cover MORTON, JELLY ROLL The Chant (Monk) lp 22.00
Ferdinand "Jelly Roll" Morton (1885-1941) is one of the most important musical figures of the twentieth century, a jazz pioneer and a gifted composer during the days of Vaudeville and one of the first musicians to take part in the new revolution in recorded music. A jack of all trades, Morton began his career in show business as a teenager in New Orleans, playing brothels and touring the American South, with later stints in major cities like New York, Chicago, Vancouver, and Washington DC. Along the way, he also racked up experience as a comedian and supposedly even as a pimp. He was also apparently pretty handy with a gun. But moreso with a piano!
These recordings were captured in Chicago in 1926 and 1927, showcasing Morton's staggering talents as a pianist, composer, and bandleader. The songs show off a style of "Hot" jazz that will be instantly familiar to many of you, with lots of blaring reed instruments and Morton's rhythmic piano serving as the anchor. The songs are fun, easy going romps with lots of humor thrown in and the occasional raspy Morton vocal. Things flow with a nice drunken sort of feel while still maintaining a high level of energy, with the instruments loping about constantly within the busy arrangements. Fortunately, Morton was given access to recording facilities that had the fidelity to match the complexity of his songs, and things sound great here. A few songs even make use of sound effects like old klaxon horns, which is certainly interesting considering that these may represent some of the earliest uses of non-musical sounds incorporated into commercial recordings. This winner comes to us courtesy of the good folks at Monk and serves as a great introduction to Morton's vast catalog.

MORTON, JOHN Outlier: Music for Music Boxes (Innova) cd 14.98
New York pianist / composer / instrument builder John Morton has composed 5 pieces based around electronic and physical augmentation of traditional music boxes. Thus, the whirring plinks and tiny melodies of his arsenal of music boxes are central to Morton's work, but have occasionally been modulated by computer synthesis into odd timbres or altered like a prepared piano with tiny pieces of metal shifting the tones into clumsy thuds. While his multiple music boxes have an interesting rhythmic and harmonic complexity, his additional instrumentaions for clarinet (which are particularly dorky), piano, guitar, and vibraphone are not as sonorously complementary as Morton would like them to be.

album cover MORTUALIA s/t (Northern Sky Productions / Greivantee) cd 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ultra grim and frosty, gloriously plodding midtempo black metal from Finland, dirgey and completely hypnotic. Featuring at least one member of the mighty Horna. This is ultra simple, dense and buzzing, with riffs that are more like static streaks of black buzz, the drums a caveman thud. Most of the tracks here break or come close to breaking the 15 minute mark, and most have no more than two parts, sometimes just one, usually a simple buzz, sometimes a haunting minor key melody, but always drenched in distortion, and always completely mesmerizing and dronelike. These sound like songs that have been playing forever, and will continue to play forever, and we've just stumbled across them, observing them briefly before moving on, leaving Mortualia to buzz and drone into the ether. But it's not just the riffing and the hypnotic plod, the vocals are utterly insane. Not Bethlehem insane, or even Silencer insane, they are much more feral and mewling, the closest we've come to capturing the sound of Mortualia is Burzum meets Oxbow!! An anguished, tortured shriek, equal parts demon, wild animal, and possessed child, draped over an endlessly blown out blackened droning riffscape. So good.
MPEG Stream: "The Blue Silence"
MPEG Stream: "In Bleak Loneliness"

album cover MORTUUS De Contemplanda Morte (Ajna) cd 13.98

MPEG Stream: "Penetrations Of Darkness"
MPEG Stream: "Astral Pandemonium"

album cover MORTUUS INFRADAEMONI Imis Avernis (Cold Dimensions) cd 14.98

album cover MORVERN CALLAR (SOUNDTRACK) (Warp) cd 17.98
Lynne Ramsay, director of "Morvern Callar" and the bleakly beautiful "Ratcatcher," is emerging as one of the most interesting and talented new directors on the international film scene. Her impeccable visual sensibilities and restrained approach to narrative truly set her films apart from other contemporary UK filmmakers' tired, flashy and substanceless Tarantino/ Trainspotting rip-offs, as well as from the more traditional British realism. "Morvern Callar" is the story of a young Scottish supermarket clerk (Samantha Morton) who finds her boyfriend dead, wrists slashed, under the christmas tree. She deals with it by telling her friends he's run off, burying him in the highlands herself, signing her name to the novel he's left behind on the computer and selling it to a publisher, and using the money he had left for a funeral to take a holiday in Spain. The actions of Morton's virtually silent, emotionally unreadable Morvern somehow make sense as a last-ditch escape channel from small-town malaise. Guiding Morvern through her journey is a mix tape left by her boyfriend, and this soundtrack is basically that mix tape, although there are a couple omissions, like the Mamas and the Papa's "This Is Dedicated to the One I Love," which was the first thing I pulled out of my record collection after hearing it in the movie. What did make it is a really excellent collection of songs by Aphex Twin, Boards Of Canada, Stereolab, Velvet Underground, Broadcast, Lee "Scratch" Perry, Ween, Nancy Sinatra and Lee Hazelwood (doing "Some Velvet Morning," always delightful!) and both Can and solo Holger Czukay. Unfortunately, none of the songs are exclusive to the soundtrack, although some of the tracks, such as the Boards of Canada track, made their previous appearences on eps or collections as opposed to proper albums. Still, this definitely functions as a really good mix tape, one whose tone of downer bliss worked perfectly in the film. If you haven't seen "Morvern Callar" yet, it's definitely recommended -- that goes doubly for "Ratcatcher," which is out on video now.
RealAudio clip: APHEX TWIN "Nannou"
RealAudio clip: VELVET UNDERGROUND "I'm Sticking With You"
RealAudio clip: LEE "SCRATCH" PERRY "Hold Of Death"

MORWELL UNLIMITED MEETS KING TUBBY Morpheus Special (Select Cuts) 12" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
12" from the second volume of Select Cuts From Blood & Fire featuring Kid Loco's contribution to the comp, plus a dub mix of his dub.

album cover MOS DEF The Ecstatic (Downtown Records) cd 16.98
Some of us were ready to concede the fact that Mos Def may have evolved into a much more important and amazing actor than rapper, but with The Ecstatic he grabs us forcefully and reminds us that he is most definitely still a potent musical force to be reckoned with! Any record that opens with a Malcolm X soundclip and goes right into a song that samples the music of Turkish psych singer Selda is setting the bar pretty high, and Mos Def just keeps pushing that bar higher and higher, as The Ecstatic is his most intense, immediate and powerful record in a long time.
The Ecstatic features some of the best hip-hop producers around (Madlib, Oh No, Georgia Ann Muldrow, Mr. Flash and even the late great J Dilla). While those producers help flesh out the strong beats and slightly Eastern vibe, the strength of the album is all about the presence of a rejuvenated Mos Def who sounds so commanding, in control and at ease on the mic. His flow and intensity on the record reminds us of classic Eric B. & Rakim, the kind of hip-hop that hits you hard on first listen but keeps unveiling more of its potency on repeated listens. Can't imagine a better hip-hop record coming out this year. So great!
MPEG Stream: "Supermagic"
MPEG Stream: "Revelations"
MPEG Stream: "Auditorium (Feat. The Ruler)"

album cover MOS DEF The New Danger (Geffen) cd 14.98
It's the much anticipated follow up to his highly acclaimed Black On Both Sides from way back in 1999. By his resume it was looking like Mr. Def was going to continue with his acting career and forsake his brief stint in the music business. With a cameo from Shuggie Otis on guitar, and production from the likes of Kanye West, we thought for sure we were going to hear something great. Did The New Danger meet our (high) expectations? Yes, and no. Some of us here were thrown a bit by how different this eclectic album is from its predecessor. And not everyone is a fan of all the styles that Mos Def throws into the mix on this genre-hopping disc. Whatever the case, others of us and our peeps think this record is one of the best pop music releases of 2004 -- yes, pop. Despite its heavy, slice-of-reality lyrics, and occasional use of metal riffs, this is a pop record.
The New Danger flows like a beautifully made mix-tape, moving through a variety of genres with remarkable continuity. From early Funkadelic funk/blues ("Black Jack") to gritty urban hip-hop ("The Rape Over"), to Marvin Gaye-inspired soul ("Modern Marvel") to catchy funk/metal ("Zimzallabim"), Mos Def pulls out all the stops... and manages to combine them into a cohesive whole. Part of that is directly attributable to the extremely talented Black Jack Johnson band that Mos Def has assembled. Talk about street cred, Black Jack Johnson has it all over the place. The roster reads as follows: funk keyboard legend Bernie Worrell (P-Funk), drummer Will Calhoun (Living Color), bassist Doug Wimbish (Sugarhill Records, Tackhead, Living Color), and guitar by none other than Gary "Dr. Know" Miller of Bad Brains! These guys insure that no one will ever mistake Black Jack Johnson for Body Count, as they combine taste and restraint along with their considerable chops. There is plenty of fine musicianship, but it's the songs that really stand out. Worrell, in particular, is great on "Freaky Black" which comes off like the best of Schoolly D as rapped over infectious funk-metal all held down by positively filthy funk keyboards.
Maybe this record isn't genius, maybe it isn't going to be as influential as Black On Both Sides, and maybe it does make too many concessions to being a pop record (endlessly repeated choruses etc.). The thing that is certain is that "The New Danger" is spectacularly produced, extremely well-played, full of surprises, and relentlessly listenable. This moved into heavy rotation at my house after only a couple of spins, and two weeks later it has yet to disappoint.
MPEG Stream: "Ghetto Rock"
MPEG Stream: "Sex, Love and Money"
MPEG Stream: "Modern Marvel"

album cover MOS DEF True Magic (Geffen) cd 15.98
DUMBEST IDEA EVER. A special "no art work" (no booklet!!) rushed version to beat the folks who leaked the album onto the internet before the actual release date... WTF?
MPEG Stream: "True Magic"
MPEG Stream: "Thug Is A Drug"

MOSCONI, DAVIDE La Musica dell'anno Zero (Alga Marghen) lp 28.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Unfortunately, we're unable to offer much information about Davide Mosconi, other than his affiliation with various Fluxus artists and that "La Musica dell'anno Zero" was constructed entirely from fog horns recorded off the Scottish coasts. This album appears to be a straight collage of those fog horns, without much processing or contextualization, although some of the fog horns do modulate in pitch (the result of tape manipulation? or do Scottish fog horns sound like cows?) Hmm. It would be nice to offer some pontification that this piece is a meditation on the cautionary sounds found at the border between sea and land, but this a lot more boring than that.

album cover MOSES Changes (Shadoks Music) cd 17.98
1971 strikes again! Proto-metal freaks, rejoice! Connoisseurs of the "early heavy" have reason to be excited about this, the lone album from this raw n' heavy psychedelic blues rock power trio from Denmark, originally released in '71, finally available as a legit cd reissue complete with liner notes and vintage photos in the cd booklet.
Recalling Vincebus Eruptum era Blue Cheer (big time!!) and early, bluesy Black Sabbath a bit too, Moses deliver blown-out, fuzz-bombed, acid-laced, hairy hippy proto-metal of Biblical proportions. Full of stoned vocals, loping riffs, and lots of wailing, wasted acid rock guitar soloing (worthy of Blue Cheer's Leigh Stephens and/or Randy Holden), Changes is highly recommended to anyone whose interest has been piqued by anything we've just mentioned or referenced. There's six songs here, nothing complex, certainly catchy though, what more to say? Each one provides the good vibes of ye olde primitive proto-metal, starting with the thudding blues brutality of title track "Changes" (which has nothing to do with the Black Sabbath piano ballad of the same name, by the way). Later on, "Beginning" gives the drummer some, ready for some DJ to mine for a crude breakbeat. "Skaev" is the only one here sung in Danish, but the lurching, surging riffage requires no translation. We're glad the final track, 7 minute track "Warning" is in English, though, 'cause we're getting a kick out of the lyrics, a story of a "straight" falling in with a turned-on crowd, which include lines like: "...and suddenly the girl gives him two feeling good pills, eat them if you can, a little after in a big discussion, forgotten everything about his wife, moving with the others in a big procession, he shouts out, this is life!" Awesome.
So, anyone into early Blue Cheer, Randy Holden's Population II, and the recently reissued Speed Glue & Shinki from Japan, stuff like that, will dig Moses for sure. Also, having just reviewed a bunch of '70s garage fuzz monsters from Africa, like Ngozi Family and Witch, we're hearing a lot of similarities here (minus the African thing, of course, but not the fuzz and groove). We bet if we said this was from Zambia or Nigeria, people would be freaking! Denmark is less "exotic", but that's not what's important when banging your head to these 1971 sounds.
MPEG Stream: "Changes"
MPEG Stream: "I'm Coming Home"
MPEG Stream: "Skaev"

album cover MOSES Changes (Valhalla) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
REISSUED ON VINYL!!
1971 strikes again! Proto-metal freaks, rejoice! Connoisseurs of the "early heavy" have reason to be excited about this, the lone album from this raw n' heavy psychedelic blues rock power trio from Denmark, originally released in '71.
Recalling Vincebus Eruptum era Blue Cheer (big time!!) and early, bluesy Black Sabbath a bit too, Moses deliver blown-out, fuzz-bombed, acid-laced, hairy hippy proto-metal of Biblical proportions. Full of stoned vocals, loping riffs, and lots of wailing, wasted acid rock guitar soloing (worthy of Blue Cheer's Leigh Stephens and/or Randy Holden), Changes is highly recommended to anyone whose interest has been piqued by anything we've just mentioned or referenced. There's six songs here, nothing complex, certainly catchy though, what more to say? Each one provides the good vibes of ye olde primitive proto-metal, starting with the thudding blues brutality of title track "Changes" (which has nothing to do with the Black Sabbath piano ballad of the same name, by the way). Later on, "Beginning" gives the drummer some, ready for some DJ to mine for a crude breakbeat. "Skaev" is the only one here sung in Danish, but the lurching, surging riffage requires no translation. We're glad the final track, 7 minute track "Warning" is in English, though, 'cause we're getting a kick out of the lyrics, a story of a "straight" falling in with a turned-on crowd, which include lines like: "...and suddenly the girl gives him two feeling good pills, eat them if you can, a little after in a big discussion, forgotten everything about his wife, moving with the others in a big procession, he shouts out, this is life!" Awesome.
So, anyone into early Blue Cheer, Randy Holden's Population II, Speed Glue & Shinki from Japan, stuff like that, will dig Moses for sure. Also, having reviewed a bunch of '70s garage fuzz monsters from Africa, like Ngozi Family and Witch, we're hearing a lot of similarities here (minus the African thing, of course, but not the fuzz and groove). We bet if we said this was from Zambia or Nigeria, people would be freaking! Denmark is less "exotic", but that's not what's important when banging your head to these 1971 sounds.
MPEG Stream: "Changes"
MPEG Stream: "I'm Coming Home"
MPEG Stream: "Skaev"

MOSES, BOB AND TISZIJI MU„OS Love Everlasting (Amulet Records) cd 13.98
1987 recording dedicated to John Coltrane and including three pieces by Moses, two by cult guitarist Mu–os and "Naima" by Saint Coltrane, himself. A very sincere performance featuring John Medeski on piano.

album cover MOSKIITTO, VILLE Retkikertomuksia (Barl Fire) cd-r 11.98
Another mysterious Finnish troubadour, Ville Forss aka Moskiitto, explores a moaning creaking acoustic ambience, a clattery free folk wilderness, much like his countrymen Avarus, Anaksimandros and Vapaa.
Simple muted guitars strum and shimmer beneath a forest of sawed violins and bowed cellos, creating a dreamy, ramshackle stumbling acoustic folk. A haunting assemblage of scraped strings and mumbled buzz and wheezing reed instruments. Lengthy overlapping melodies unfurl into deep drones drone and ambient drifts, majestic and strangely stately, like some ceremonial ritual. Reverberating steel strings are the framework for the whole disc, their overtones spreading out like ripples in a pond, above which flutter mournful melodies and abstract sonic shimmers. At one point accordions drift in, their melodies floating above a tangle of stretched out guitar melody. Very blissfully rustic, like sitting around some crackling campfire deep in the forest, the music slowly shifting and changing shape as various travellers arrive and produce their own unique musical offerings. Nice.
LIMITED TO 100 COPIES.
MPEG Stream: "Kuundentoista Kautta"
MPEG Stream: "Kappalainen"
MPEG Stream: "Tiikeri"

album cover MOSKITOO Drape (12K) cd 14.98

album cover MOSKITOO Remixes (12K) cd 8.98

MOSLANG & GUHL Knack On (Atavistic / Unheard Music) cd 14.98
Welcome reissue of this early work by Swiss musical madmen Norbert Moslang and Andy Guhl, better known by their later moniker, Voice Crack. This 1982 recording shows them on their way to the "cracked everyday electronics" sound of VC, coming out of the FMP / European free improv scene in which they got their start. Although "normal" instruments like soprano saxophone do make an appearance here, this disc is mostly dominated by the clatter and chaos of "left over" objects and electronics. While the sound-field is perhaps less dense than that eventually achieved by Voice Crack (particularily on their killer collaborations with Borbetomagus), it's just as intriguing and intense. Liner notes by Jim O'Rourke (how does he find the time?).

album cover MOSLANG & MULLER Wild Suzuki (For 4 Ears) cd 14.98
Norbert Moslang of Switzerland's Voice Crack teams up here with likeminded improvisor Gunter Muller, Norbert commanding his trademark array of "cracked everyday electronics" and Muller making noise with (just plain) electronics and (Apple plug) an iPod. No drums, selected or otherwise, from him this time out.
As you might imagine, it's a fairly abstract soundscape of unrecognizable electronic textures. Sounds like a continously, if mildly, upset stomach. Cool background glitch. Recorded on tour in Japan.

MOSLANG, NORBERT Burst Log (For 4 Ears) cd 14.98
Solo skree from one half of Voice Crack.

album cover MOSS Cthonic Rites (Aurora Borealis) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
An all time doooooom favorite finally back in print and back in stock. Now with revised and expanded artwork, including new text from Seldon Hunt.
Abject, miserable, mournful, agonized, anguished, tortured and tormented ultra mega doooooooooooooooooooooooooooooooooooooooom! That's right. We've officially reached an all time high in o's (40 in case you were counting), and an all time loooooow in DOOM. Every time we hear from these crushing creeps they've pushed it even further into the deep dark damnable depths, forcing us to add more and more o's. That's right, it's the return of Moss, the UK's heaviest, slowest, sludgiest slow motion downtuned doom metal behemoth. Moss take the paint peeling acidic abrasiveness of Khanate and combine it with the warm suffocating murk of bands like Skepticism or Thergothon, or even AQ faves Nadja (who did a split with Moss a while back). Ultra minimal and nearly static in its sludginess, with the simple caveman plod of the drums the only thing keeping this from turning into a full on drone, this is like one HUGE riff, pulled and stretched into two epic streaks of fuzz and pound, with vocals that might even give Alan Dubin from Khanate a bit of a fright, like a demon howling through a mouthful of broken glass and rusty bottlecaps, teeth black with the blood of a thousand vanquished souls, the sound that finally comes out is a noxious black cloud that causes everything it touches to wither and die, totally blown out and so harsh it makes our throats sore just listening to it.
But like the best sludge / doom, there is some sort of subtle melodic undercurrent going on, maybe it's deliberate and these guys are on some whole other musical level or maybe it's just some chance occurrence, some strange alignment of overtones or some lucky bit of abstract composition, it hardly matters, the end result is somehow both hauntingly beautiful and horrifically harsh, there's definitely some dark beauty hidden beneath Moss' black sludge exterior, but the joy of music like this is the fact that the music's beauty is buried and bruised, battered and brutalized, the sonic search for the beauty within is like wading waist deep through boiling hot pitch, ears plugged with hot tar, all the while being showered from above by the tears of angels.
MPEG Stream: "Crypts Of Somnambulance (excerpt)"
MPEG Stream: "The Gate (excerpt)"

album cover MOSS Cthonic Rites (Aurora Borealis) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This long time AQ dooooooooom classic now available on vinyl, a deluxe gatefold double lp, with all new artwork, including killer gatefold black and white grimnity from AQ customer and mind blowing artist Justin Bartlett, also a massive poster with more eye popping Bartlett brutality. Also includes a mysterious parchment insert, one side adorned with cryptic drawings and runes, unreadable text and evil diagrams, and some original text from Seldon Hunt on the other...
Abject, miserable, mournful, agonized, anguished, tortured and tormented ultra mega doooooooooooooooooooooooooooooooooooooooom! That's right. We've officially reached an all time high in o's (40 in case you were counting), and an all time loooooow in DOOM. Every time we hear from these crushing creeps they've pushed it even further into the deep dark damnable depths, forcing us to add more and more o's. That's right, it's the return of Moss, the UK's heaviest, slowest, sludgiest slow motion downtuned doom metal behemoth. Moss take the paint peeling acidic abrasiveness of Khanate and combine it with the warm suffocating murk of bands like Skepticism or Thergothon, or even AQ faves Nadja (who did a split with Moss a while back). Ultra minimal and nearly static in its sludginess, with the simple caveman plod of the drums the only thing keeping this from turning into a full on drone, this is like one HUGE riff, pulled and stretched into two epic streaks of fuzz and pound, with vocals that might even give Alan Dubin from Khanate a bit of a fright, like a demon howling through a mouthful of broken glass and rusty bottlecaps, teeth black with the blood of a thousand vanquished souls, the sound that finally comes out is a noxious black cloud that causes everything it touches to wither and die, totally blown out and so harsh it makes our throats sore just listening to it.
But like the best sludge / doom, there is some sort of subtle melodic undercurrent going on, maybe it's deliberate and these guys are on some whole other musical level or maybe it's just some chance occurrence, some strange alignment of overtones or some lucky bit of abstract composition, it hardly matters, the end result is somehow both hauntingly beautiful and horrifically harsh, there's definitely some dark beauty hidden beneath Moss' black sludge exterior, but the joy of music like this is the fact that the music's beauty is buried and bruised, battered and brutalized, the sonic search for the beauty within is like wading waist deep through boiling hot pitch, ears plugged with hot tar, all the while being showered from above by the tears of angels.
MPEG Stream: "Crypts Of Somnambulance (excerpt)"
MPEG Stream: "The Gate (excerpt)"

album cover MOSS Cthonic Rites (Aurora Borealis) 3lp 49.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We have exactly THREE COPIES of the super limited, and LONG OUT OF PRINT, -TRIPLE- lp version of Moss' Cthonic Rites. That's right, the double lp PLUS a whole extra lp! We never listed these, we got a handful for pre-orders, but we somehow ended up with three extras, so first three mailorders get em.
This long time AQ dooooooooom classic now available on vinyl, a deluxe gatefold TRIPLE lp, with all new artwork, including killer gatefold black and white grimnity from AQ customer and mind blowing artist Justin Bartlett, also a massive poster with more eye popping Bartlett brutality. Also includes a mysterious parchment insert, one side adorned with cryptic drawings and runes, unreadable text and evil diagrams, and some original text from Seldon Hunt on the other...
Abject, miserable, mournful, agonized, anguished, tortured and tormented ultra mega doooooooooooooooooooooooooooooooooooooooom! That's right. We've officially reached an all time high in o's (40 in case you were counting), and an all time loooooow in DOOM. Every time we hear from these crushing creeps they've pushed it even further into the deep dark damnable depths, forcing us to add more and more o's. That's right, it's the return of Moss, the UK's heaviest, slowest, sludgiest slow motion downtuned doom metal behemoth. Moss take the paint peeling acidic abrasiveness of Khanate and combine it with the warm suffocating murk of bands like Skepticism or Thergothon, or even AQ faves Nadja (who did a split with Moss a while back). Ultra minimal and nearly static in its sludginess, with the simple caveman plod of the drums the only thing keeping this from turning into a full on drone, this is like one HUGE riff, pulled and stretched into two epic streaks of fuzz and pound, with vocals that might even give Alan Dubin from Khanate a bit of a fright, like a demon howling through a mouthful of broken glass and rusty bottlecaps, teeth black with the blood of a thousand vanquished souls, the sound that finally comes out is a noxious black cloud that causes everything it touches to wither and die, totally blown out and so harsh it makes our throats sore just listening to it.
But like the best sludge / doom, there is some sort of subtle melodic undercurrent going on, maybe it's deliberate and these guys are on some whole other musical level or maybe it's just some chance occurrence, some strange alignment of overtones or some lucky bit of abstract composition, it hardly matters, the end result is somehow both hauntingly beautiful and horrifically harsh, there's definitely some dark beauty hidden beneath Moss' black sludge exterior, but the joy of music like this is the fact that the music's beauty is buried and bruised, battered and brutalized, the sonic search for the beauty within is like wading waist deep through boiling hot pitch, ears plugged with hot tar, all the while being showered from above by the tears of angels.
MPEG Stream: "Crypts Of Somnambulance (excerpt)"
MPEG Stream: "The Gate (excerpt)"

album cover MOSS Eternal Return (Fuck Yoga / SuperFi) lp 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The most recent Moss record, previous to this, besides being an awesome chunk of crusty ultra doom, was a bit of a debacle, at least in terms of release and format. The outrageously expensive 10" format, was in fact meant to be a DOUBLE 10", but was not, although the price seemed to still reflect the missing second record. Then the cd came out, including TWO extra tracks, a Discharge cover, which had already been on a split with Monarch, and the 11+ minute "Eternal Return", both of which were apparently meant to be included as that second 10". Or something like that. Needless to say, vinyl folks missed out on "Eternal Return", and the Discharge cover too if they missed out on the Monarch split, even though they sort of already paid for 'em. So the bad news, or maybe the good news, depending on your perspective, and financial situation, is that the third proper Blind Drugged Moss track, "Eternal Return", which was included on the Tombs Of The Blind Drugged cd, but has never been on vinyl, is NOW actually ON VINYL. And it's gorgeously packaged and elaborately presented, so the only downside of that is shelling out another $17 to finally get that track, "Eternal Return", on wax, but c'mon! It's Moss!!
The track itself is a killer, it's Moss, so by now most of the aQ faithful should know what you're getting into, crushing, pummeling, doom drone dirge heaviosity, or as we described them in the Blind Drugged review:
All anguished and distorted, with distended guitar and bass strings hanging loose and low, vokillizations of sheer misery and madness torn from the singer's throat like a still beating bloody heart ripped from the sacrifice, and bits of bent and battered drum kit scattered across the rancid tundra that is Moss's metallic soundspace!
Indeed. We love Moss, and they RULE, and this is definitely worth the price of admission, just seems a tiny bit frustrating having to piece together Tomb Of The Blind Drugged one expensive chunk of vinyl at a time, but hell, we think Moss are worth it.
And the packaging, wow! A thick fold out cardstock gatefold, with not one, but TWO Japanese style obis, one along the side, one holding the sleeve shut right in the middle, plus inserts, a poster, all pretty spiffy. And CRAZY LIMITED.

album cover MOSS Horrible Night (Metal Blade) cd 14.98
It's been a little while, but finally time to all out another complement of o's. That's right, UK doomlords Moss return with their latest batch of ultra mega doooooooooooooooom. And like their last record, Tombs Of The Blind Drugged, Horrible Night is another collection of slo-mo-sludge, sub-Sabbathian swing, glacial downtuned creep, and churning, lumbering low end heaviosity. The weird thing is, considering how heavy and sludgy these guys are, we only just now discovered they don't have a bass player, and the singer ONLY sings. We always assumed they were a proper three piece, guitar, bass, drums, with one of those blokes singing. Kinda insane that just guitar and drums can conjure up such a thick, blackened oozing sound. But we digress.
While much of the sound on Horrible Night is essentially a continuation of their multiple o'd ultra doom, there is one thing that has changed, and that's the vocals. There are in fact still some throat shredding howls, but the bulk of the vocals are clean, soaring proper singing. Suddenly Moss have a twinge of true doom to them. Vocalist (just vocalist) Olly Pearson does a decent Ozzy-ish wail, which most definitely changes the tenor and tone of the Moss musical universe. The opening title track eventually settles into some old style Mossiness, replete with the howled anguished vokills, there's even some super weird tripped out psychedelic leads at one point, but the whole first half is total old school true doom, slowed down to a crawl, Pearson belting it out. Not sure if we're imagining it or not, but with the clean vocals, even the music seems to swing a but more, sounding a little bit more Sabbathy and stonery. Hard to say if true ultra doomlords will be disappointed, but we're digging it a lot. Definitely adds some melody and musicality to the group's otherwise minimal but massively crushing dour dirgery, and it's interesting too, that the music hasn't changed all that much really, so it's still droned out and doomy, lumbering and trudging, funereal/funeral ultradoom, but now with proper vox. We can't help but feel like the sound's gonna explode into a galloping classic metal groove at any point, and it feels like that expectation imbues the music with a weird dark tension, cuz it never does, Moss have it locked down, keeping their BPM to a minimum, and tuning down as low as they can, unfurling thick sheets of undulating, crumbling, super distorted buzz, the riffs serpentine and slow motion, it's the sort of metal that doesn't inspire headbanging so much as a sort of swaying back and forth, hypnotic, mesmerizing, a many o'd dooooooooooom, given new life, and transformed into the world's slowest, and most abject, blackly psychedelic true ultra doom. And we DIG it.
MPEG Stream: "Horrible Night"
MPEG Stream: "The Bleeding Years"
MPEG Stream: "Dark Lady"

album cover MOSS Horrible Night (Metal Blade) 2lp 41.00
NOW ON GATEFOLD VINYL!
It's been a little while, but finally time to all out another complement of o's. That's right, UK doomlords Moss return with their latest batch of ultra mega doooooooooooooooom. And like their last record, Tombs Of The Blind Drugged, Horrible Night is another collection of slo-mo-sludge, sub-Sabbathian swing, glacial downtuned creep, and churning, lumbering low end heaviosity. The weird thing is, considering how heavy and sludgy these guys are, we only just now discovered they don't have a bass player, and the singer ONLY sings. We always assumed they were a proper three piece, guitar, bass, drums, with one of those blokes singing. Kinda insane that just guitar and drums can conjure up such a thick, blackened oozing sound. But we digress.
While much of the sound on Horrible Night is essentially a continuation of their multiple o'd ultra doom, there is one thing that has changed, and that's the vocals. There are in fact still some throat shredding howls, but the bulk of the vocals are clean, soaring proper singing. Suddenly Moss have a twinge of true doom to them. Vocalist (just vocalist) Olly Pearson does a decent Ozzy-ish wail, which most definitely changes the tenor and tone of the Moss musical universe. The opening title track eventually settles into some old style Mossiness, replete with the howled anguished vokills, there's even some super weird tripped out psychedelic leads at one point, but the whole first half is total old school true doom, slowed down to a crawl, Pearson belting it out. Not sure if we're imagining it or not, but with the clean vocals, even the music seems to swing a but more, sounding a little bit more Sabbathy and stonery. Hard to say if true ultra doomlords will be disappointed, but we're digging it a lot. Definitely adds some melody and musicality to the group's otherwise minimal but massively crushing dour dirgery, and it's interesting too, that the music hasn't changed all that much really, so it's still droned out and doomy, lumbering and trudging, funereal/funeral ultradoom, but now with proper vox. We can't help but feel like the sound's gonna explode into a galloping classic metal groove at any point, and it feels like that expectation imbues the music with a weird dark tension, cuz it never does, Moss have it locked down, keeping their BPM to a minimum, and tuning down as low as they can, unfurling thick sheets of undulating, crumbling, super distorted buzz, the riffs serpentine and slow motion, it's the sort of metal that doesn't inspire headbanging so much as a sort of swaying back and forth, hypnotic, mesmerizing, a many o'd dooooooooooom, given new life, and transformed into the world's slowest, and most abject, blackly psychedelic true ultra doom. And we DIG it.
MPEG Stream: "Horrible Night"
MPEG Stream: "The Bleeding Years"
MPEG Stream: "Dark Lady"

album cover MOSS Sub Templum (Candlelight) cd 14.98
It's been a while since we've had to employ multiple 'o's in a review. A bit of a death of doom it seems. Or at least the sort of doom that requires all those extra 'o's. A loyal customer of ours even whipped up this "doom chart" based on our usage of multiple 'o'd doom in reviews!
And if memory serves, Moss was one of the bands that routinely got described as doooom, or doooooooooom, and sometimes even doooooooooooooooooooooooom. So we were all ready to put finger to key and just let the 'o's roll out, one after the other after the other, until we felt we had conveyed the crushing doom of Moss. That is until we pressed play, and were treated to "Ritus", a five and a half minute soundscape of whirring synths and washed out ambience, of cymbal sizzle and proggy keyboard drones, of whispered voices and buzzing shimmer. Hmmm. The liner notes say it's inspired by Doris Norton, an electronic musician who's also a member of AQ faves Jacula!! An interesting start from one of the sludgiest, crustiest bands around. Doooooooooooooooooooooooooooooooooooooom. Ahh. That's better. The second track returns us to that dank dark sloooooooooow place Moss call home. Twenty three minutes of downtuned crush, the tempo only slightly faster than the growth of actual moss. But even all gnarled and sludge-y, something has definitely changed. It's not nearly as filthy, and harsh, it's actually weirdly pretty. Almost like it's some more melodic metal record being spun manually with one finger at 3 or 4 rpm. The distortion is still dense, the long drawn out chords seeming to crumble, the drums spaced way out, but somehow still more buys than you're average ultradoom drummer, the vocals are still harsh and howling, but somehow, they too seem to be a bit more smooth, further down in the mix, like another layer of sound, the howls allowed to unfurl into another layer of buzz. It's strange, but we definitely dig. And we're not saying this is NOTHING like old Moss, or folks into Bunkur and Esoteric and the like won't love it, you will, the differences are subtle, and the sound is just a little bit, well, prettier, if you can imagine something bleak and black and harsh and hateful being pretty. Which we can!
The next track, a nine minute dirge, is a bit more raw and rough, most of that prettiness we were blathering on about above is GONE. Shrieking feedback, the drums even slower and more spare, the guitars even more distorted and the vocals throat shreddingly harsh, the tempo slightly accelerated, bordering on Eyehategod territory.
But it's all bout the closer, "Gate III: Devils From The Outer Dark". Clocking in at 35 minutes + and beginning with a churning sea of downtuned rumble and buzz, before the drums finally kick in, and of course by kick in we mean pound sporadically. This track is WAY more than a dirge. It makes the track before it sound like thrash metal. This is slooooooow and so so so so dooooooooooooooooooomy. The guitars thick and corrosive, the chords allowed to ring way out and fade away before the next one drops in to take its place, but weirdly enough, this one too sounds sort of pretty, not like the opening track, but still very dreamlike and mesmerizing. Long streaks of feedback spread out over wide open expanses of minimal thud and warm warped slow motion buzz, when the vocals drop out, it becomes something entirely different, finishing off with several minutes of thick low end drone, the guitars rumbling and wrapped into a thick nearly static pulse, something truly hypnotic and almost spacey, but without sacrificing a single one of those extra 'o's.
Definitely a progression, a band can only pound and plod for so long, but so subtle that the casual listener might not even notice. "Oh yeah, heavy, slow, dooooooom", but as with most music, deep listening reveals a whole lot more going on beneath the surface, and once your ears lock on to that stuff, even the sounds on the surface begin to sound different.
WAY RECOMMENDED for the doom-ed amongst you. And just cuz we knew you were waiting for it, Sub Templum could very well be doooooooooooooooooooooooooooooooooooooooooooooooooom disc of the year!!
MPEG Stream: "Subterraen"
MPEG Stream: "Dragged To The Roots"

album cover MOSS Sub Templum (Rise Above) 2lp 29.00
Finally this dooooooooomy Record Of The Week from list #295 is available as a deluxe double lp!!
It's been a while since we've had to employ multiple 'o's in a review. A bit of a death of doom it seems. Or at least the sort of doom that requires all those extra 'o's. A loyal customer of ours even whipped up this "doom chart" based on our usage of multiple 'o'd doom in reviews!
And if memory serves, Moss was one of the bands that routinely got described as doooom, or doooooooooom, and sometimes even doooooooooooooooooooooooom. So we were all ready to put finger to key and just let the 'o's roll out, one after the other after the other, until we felt we had conveyed the crushing doom of Moss. That is until we pressed play, and were treated to "Ritus", a five and a half minute soundscape of whirring synths and washed out ambience, of cymbal sizzle and proggy keyboard drones, of whispered voices and buzzing shimmer. Hmmm. The liner notes say it's inspired by Doris Norton, an electronic musician who's also a member of AQ faves Jacula!! An interesting start from one of the sludgiest, crustiest bands around. Doooooooooooooooooooooooooooooooooooooom. Ahh. That's better. The second track returns us to that dank dark sloooooooooow place Moss call home. Twenty three minutes of downtuned crush, the tempo only slightly faster than the growth of actual moss. But even all gnarled and sludge-y, something has definitely changed. It's not nearly as filthy, and harsh, it's actually weirdly pretty. Almost like it's some more melodic metal record being spun manually with one finger at 3 or 4 rpm. The distortion is still dense, the long drawn out chords seeming to crumble, the drums spaced way out, but somehow still more buys than you're average ultradoom drummer, the vocals are still harsh and howling, but somehow, they too seem to be a bit more smooth, further down in the mix, like another layer of sound, the howls allowed to unfurl into another layer of buzz. It's strange, but we definitely dig. And we're not saying this is NOTHING like old Moss, or folks into Bunkur and Esoteric and the like won't love it, you will, the differences are subtle, and the sound is just a little bit, well, prettier, if you can imagine something bleak and black and harsh and hateful being pretty. Which we can!
The next track, a nine minute dirge, is a bit more raw and rough, most of that prettiness we were blathering on about above is GONE. Shrieking feedback, the drums even slower and more spare, the guitars even more distorted and the vocals throat shreddingly harsh, the tempo slightly accelerated, bordering on Eyehategod territory.
But it's all bout the closer, "Gate III: Devils From The Outer Dark". Clocking in at 35 minutes + and beginning with a churning sea of downtuned rumble and buzz, before the drums finally kick in, and f course by kick in we mean pound sporadically. This track is WAY more than a dirge. It makes the track before it sound like thrash metal. This is slooooooow and so so so so dooooooooooooooooooomy. The guitars thick and corrosive, the chords allowed to ring way out and fade away before the next one drops in to take its place, but weirdly enough, this one too sounds sort of pretty, not like the opening track, but still very dreamlike and mesmerizing. Long streaks of feedback spread out over wide open expanses of minimal thud and warm warped slow motion buzz, when the vocals drop out, it becomes something entirely different, finishing off with several minutes of thick low end drone, the guitars rumbling and wrapped into a thick nearly static pulse, something truly hypnotic and almost spacey, but without sacrificing a single one of those extra 'o's.
Definitely a progression, a band can only pound and plod for so long, but so subtle that the casual listener might not even notice. "Oh yeah, heavy, slow, dooooooom", but as with most music, deep listening reveals a whole lot more going on beneath the surface, and once your ears lock on to that stuff, even the sounds on the surface begin to sound different.
WAY RECOMMENDED for the doom-ed amongst you. And just cuz we knew you were waiting for it, Sub Templum could very well be doooooooooooooooooooooooooooooooooooooooooooooooooom disc of the year!!
MPEG Stream: "Subterraen"
MPEG Stream: "Dragged To The Roots"

album cover MOSS The Tormented (Apop) cassette 26.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Besides being one of the filthiest, sludgiest doom bands EVER, Moss also hold the uniquely AQ distinction of being the first band to get 40 'o's in an AQ review. That's right. Moss are most definitely the supreme masters of D-oooooooooooooooooooooooooooooooooooooooo-M. Only that many 'o's in doom can truly represent the sort of twisted anguished glacial drone drenched doom these guys are capable of unleashing. Every thing they touch turns to murky, dirgey mayhem. A blackened, hateful soundscape of slow motion thud and growl, a hellish trudge through a black sonic pit. But we're sure we already had you at 40 'o's!
So what could be more appropriate than a single ninety minute epic lo-fi doom dirge, captured on three microphones and recorded on a fourtrack, then pressed on to a cassette, the grimmest and most cult of formats? Well how about if each cassette was housed in an mindblowingly elaborate, and highly dangerous, welded iron, industrial sculpture-like case? And how about if each cassette 'case' was welded together from nails, and strange rusty hinges, and huge links of chain, stuffed with burnt parchment and actual moss? Doesn't get much more doomy than that.
Seriously though, when we cracked open the two HUGE boxes these tapes came shipped in, and began to unwrap these sharp and jagged works of art, everyone in the store gathered around to see what the next one would look like. Some were like Venus Flytraps made out of nails, others were huge bear trap things wrapped in chains, and spiked with nails. It was like discovering some long buried ancient armory. A dizzying array of sharp edges and hinged nails, weird greased axles that allow pieces of metal to slide open revealing the tape inside, or dense tangles of bent nails melted into tiny cassette coffins. So intense. And amazing looking. And so appropriate to the massive downtuned sludge inside. It's almost like these tapes occurred in nature, and the protective welded iron coating is a warning to wildlife to beware of what poisonous brutality lurks inside. Each case has the band's name welded or soldered on the side, and each contains a parchment like insert with the liner notes. And plenty of moss as well. So awesome.
So here's the complicated part. They're all totally different. Some are huge, and weigh close to 5 pounds, a massive chunk of metal, some are quite not so big, but still equally spikey and dangerously sharp. So the postage will vary depending on which one you get, and due to the intensely spikey and sharp nature of these beasts, if you order them along with anything else, they MUST be shipped separately. And thus will incur an extra shipping charge. Unless you don't mind all your other records having huge nail holes in them and everything ripped to shreds. But let's assume you do mind, and so we'll just figure on separate shipping. But hell, it's so worth it. These are amazing and creepy pieces of art. It's almost just a bonus that inside is a tape of some seriously damaged, harsh and crumbling lo-fi doom.
LIMITED TO 50 COPIES! WE GOT HALF OF THEM! When these are gone, they are gone forever.

album cover MOSS Tombs Of The Blind Drugged (Candlelight) cd ep 11.98
If we had to come up with a four-letter word for doom, that wasn't d-o-o-m, it would be m-o-s-s. MOSS! These UK sludgelords, whose previous full-length Sub Templum was a record of The Week last year, are about as heavy as it gets, Moss sinking to the bottom of the black tarpit of doom below almost all others. Of course, playing so slow, the mere three songs here manage to stretch this way beyond ordinary ep length, each of 'em upwards of ten minutes... and then there's a fourth, hidden bonus track that gets this up to about 40 minutes total, so it's actually almost a full album really. And it's the usual grief we get from Moss: these tracks all anguished and distorted, with distended guitar and bass strings hanging loose and low, vokillizations of sheer misery and madness torn from the singer's throat like a still beating bloody heart ripped from the sacrifice, and bits of bent and battered drum kit scattered across the rancid tundra that is Moss's metallic soundspace... sometimes it eventually all congeals into one massive, melancholic drone, a true thing of beauty, heard for instance towards the end of the title track, upon which Moss employ Hammond organ. What else would you expect from something titled Tombs Of The Blind Drugged?? Tombs to which Moss have the "Skeletal Keys" and plan an "Eternal Return"...
We mentioned a bonus track, it's the Discharge cover Moss did that originally appeared on their split 7" with Monarch. "Maimed And Slaughtered" is slowed from a 45rpm blitz to an unrecognizable 16rpm bludgeon... Here's what we said about it in our review of that now out-of-print 7": Moss transform Discharge's punky stomp into a barely moving morass of sludgy pound. Sounding very much like Eyehategod, with simple pummeling drums, howled vocals, and of course guitars tuned as low as they can go before the strings drop off like wet noodles. On top of all the murk, drift weird high end streaks of surprisingly melodic feedback, giving the whole track a haunting and ominous vibe.
FYI, Tomb Of The Blind Drugged is also coming out on vinyl, as a limited double 10" record, minus the Discharge cover we think. Also minus track three, "Eternal Return", which apparently appears on a separate 12" we've yet to track down. We DO have a bunch of the 10" preordered, but the ltd. digipack cd version got here first.
MPEG Stream: "Skeletal Keys"
MPEG Stream: "Tombs Of The Blind Drugged"

album cover MOSS Tombs Of The Blind Drugged (Candlelight) 10" 25.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
There's been a lot of drama about this, the vinyl version of the most recent Moss lp. It was apparently meant to be a DOUBLE 10", but ended up being a single (although the price makes it seem like it should still be a double, ugh), of the four songs on the cd, only TWO are on the 10". That said, it is on red vinyl, and comes in a bad ass gatefold sleeve. But it's expensive, and missing songs, but we know for some vinyl trumps all, if that's the case, we have 5 of these left, so grab one while you can.
If we had to come up with a four-letter word for doom, that wasn't d-o-o-m, it would be m-o-s-s. MOSS! These UK sludgelords, whose previous full-length Sub Templum was a record of The Week last year, are about as heavy as it gets, Moss sinking to the bottom of the black tarpit of doom below almost all others. Of course, playing so slow and low, the songs here manage to stretch this way beyond ordinary ep length, each of 'em upwards of ten minutes... And it's the usual grief we get from Moss: these tracks all anguished and distorted, with distended guitar and bass strings hanging loose and low, kokillizations of sheer misery and madness torn from the singer's throat like a still beating bloody heart ripped from the sacrifice, and bits of bent and battered drum kit scattered across the rancid tundra that is Moss's metallic soundspace... sometimes it eventually all congeals into one massive, melancholic drone, a true thing of beauty, heard for instance towards the end of the title track, upon which Moss employ Hammond organ. What else would you expect from something titled Tombs Of The Blind Drugged?? Tombs to which Moss have the "Skeletal Keys"...

album cover MOSS / MONARCH split (Rise Above) 7" 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Finally back in stock! The ultimate dooooooom tag team matchup. If they gave out Nobel prizes for doom metal, whoever it was that managed to get UK doomsludge combo Moss together with French Sanrio doomsters Monarch, would be a shoe in. And it's not just the killer combo, or the alliterative band names, it's the song choice. As if Moss doing Discharge weren't enough for you, Monarch tackle Turbonegro's all time classic "I Got Erection"!
Moss transform Discharge's punky stomp into a barely moving morass of sludgy pound. Sounding very much like Eyehategod, with simple pummeling drums, howled vocals, and of course guitars tuned as low as they can go before the strings drop off like wet noodles. On top of all the murk, drift weird high end streaks of surprisingly melodic feedback, giving the whole track a haunting and ominous vibe.
Where Moss, turned their song inside out and basically made it their own, Monarch, after a misleading ultra slow count in, do "Erection" pretty straight (ahem), the riff immediately recognizable, same with the "woooooah ooooh" background vocals, so it's up to vocalist Emilie, to make "Erection" her own, and she does, delivering the goofiest, most brilliant lines ever, in a raspy feminine snarl "When I dig a hole... Erection!" It's definitely Monarch at their speediest, and certainly most melodic, and we have to say it sort of suits them. Maybe even better than when black metallers Satyricon covered the same track on a Turbonegro tribute disc some years back, and that was pretty killer too.
And of course, SUPER LIMITED!

album cover MOSS / WOLFMANGLER split (Aurora Borealis) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
ULTRADOOOOOOOOOOOOOOOOOOOOOM. Or MEGADOOOOOOM. Whatever you want to call it, this is DOOM. Capital D. Lot's of o's. Lots of incredibly slow motion downtuned guitar sludge, pounding caveman drums, and a rumbling bowel churning low-end. This is the first recording we've been able to get enough of to list after a ton of super limited releases and demos. And if this doesn't hit the doom spot something good, then nothing will. Bunkur, Skepticism, Catacombs, Rigor Sardonicous, Esoteric, Planet Aids, Thergothon. And now Moss. The first track is a 15 minute slab of classic funereal doom. Soooooo sloooooow. Sooooooo heavy, crushing, pounding, chugging drone drenched sludge. Recorded live in 2004. The second track is taken from their long out of print split with Nadja, but here, the track is "fucked up and buried", and the result is a massive and abstract ambient soundscape, downtuned guitars are pushed way back into the distance, while in the foreground all sorts of rumble and crackle and what sounds like the burbling of a bong. A druggy, space-y ambient excursion through the massive decaying skeleton of what was once a doom metal beast.
Moss is joined by the brilliantly monickered Wolfmangler. Wolfmangler just happens to be the work of one Smolken who you might know as the man behind Dead Raven Choir! Weird but true. For all his Jewelled Antler folkiness, Smolken made no secret of his black metal obsession. As Wolfmangler, Smolken takes that love of metal and doom and tempers it with his love of folk and country, and the results are truly weird and wonderful. Best exemplified on the track "Survive" a doom-ed version of a Hank Williams Jr. song. Fuzzed out drone guitar, random percussion, weird rubbery bass lines, and growled raspy vocals. Like a black metal Souled American? Johnny Cash covering Skepticism. Something like that. The rest of the WM tracks are weird, slow motion, fuzz drone dirges, with strange barely there melodies, occasional guitar twang, and lots of ominous ambience!
Amazingly packaged in a vellum sleeve, printed in black on the outside, so the inside has a weird x-ray negative effect. Includes an insert for each band printed on thick vellum. SO NICE!
Limited to 500 copies. We got 50 of those and will not be able to get more! So act fast!
MPEG Stream: MOSS "Abortion Clinic"
MPEG Stream: WOLFMANGLER "Survive"

album cover MOSS ICON Complete Discography (Temporary Residence Ltd.) 2cd 19.98
Temporary Residence does it again, after the recent Record Of The Week reissue of the complete works from nineties math rock gods Bitch Magnet, comes yet another amazing archival release, this one digging back even a little further, from the same sonic pool that so obviously informs TRL's taste in contemporary sounds - it's the complete recorded works of the late great Moss Icon, who in the mid/late eighties were crafting a super unique strain of post punk / hardcore / math rock / emo / gloom pop, that while definitely sonically tied to other groups in the underground at the time, drew from super disparate influences, and created a sound most definitely all their own, a sound that would eventually influence a whole slew of bands to follow.
Imagine a mix of eighties hardcore and nineties post rock, a dizzying hybrid of the the Wipers, Bad Brains, Black Flag, Slint, Fugazi, Joy Division, all thick slithery low slung bass lines, jagged slashes of angular guitar, chiming chords and churning riffage, spidery melodies, the songs super intricate, and often nearly prog in their arrangements, super dynamic with soaring swell of near metallic heft, and long stretches of brooding mesmer, over which the usually howled vox slip into more of a spoken word, sometimes delivered in a haunting deadpan intonation, other times a fervent rant, the sound super tranced out, the band locking into long stretches of hypnotic almost looped riffing, driven by darkly propulsive rhythms, a sprawling moody psychedelia that's the perfect backdrop for vocalist Jonathan Vance's socio-political sonic shamanism. There are moments of surprising poppiness throughout, but usually tucked away amidst long stretches of droned out mesmer, fierce blasts of emotionally wounded heaviness and a relentless barrage of driving melodic crush and controlled sonic chaos. One of the great unsung bands from that era, and an incredible collection of sonically and emotionally powerful music that deserves to be (re)discovered.
PS: Guitarist Tonie Joy would go on to play in Born Against, the Great Unraveling, Universal Order Of Armageddon, The Convocation Of and others, and ALL of those bands were definitely a product of the sounds and songs here.
MPEG Stream: "Mirroe"
MPEG Stream: "I'm Back Sleeping, Or Fucking, Or Something"
MPEG Stream: "Divinity Cove"
MPEG Stream: "Lyburnum - Wit's End (Liberation Fly)"
MPEG Stream: "Guatemala"

album cover MOSS ICON Complete Discography (Temporary Residence Ltd.) 3lp 42.00
Temporary Residence does it again, after the recent Record Of The Week reissue of the complete works from nineties math rock gods Bitch Magnet, comes yet another amazing archival release, this one digging back even a little further, from the same sonic pool that so obviously informs TRL's taste in contemporary sounds - it's the complete recorded works of the late great Moss Icon, who in the mid/late eighties were crafting a super unique strain of post punk / hardcore / math rock / emo / gloom pop, that while definitely sonically tied to other groups in the underground at the time, drew from super disparate influences, and created a sound most definitely all their own, a sound that would eventually influence a whole slew of bands to follow.
Imagine a mix of eighties hardcore and nineties post rock, a dizzying hybrid of the the Wipers, Bad Brains, Black Flag, Slint, Fugazi, Joy Division, all thick slithery low slung bass lines, jagged slashes of angular guitar, chiming chords and churning riffage, spidery melodies, the songs super intricate, and often nearly prog in their arrangements, super dynamic with soaring swell of near metallic heft, and long stretches of brooding mesmer, over which the usually howled vox slip into more of a spoken word, sometimes delivered in a haunting deadpan intonation, other times a fervent rant, the sound super tranced out, the band locking into long stretches of hypnotic almost looped riffing, driven by darkly propulsive rhythms, a sprawling moody psychedelia that's the perfect backdrop for vocalist Jonathan Vance's socio-political sonic shamanism. There are moments of surprising poppiness throughout, but usually tucked away amidst long stretches of droned out mesmer, fierce blasts of emotionally wounded heaviness and a relentless barrage of driving melodic crush and controlled sonic chaos. One of the great unsung bands from that era, and an incredible collection of sonically and emotionally powerful music that deserves to be (re)discovered.
PS: Guitarist Tonie Joy would go on to play in Born Against, the Great Unraveling, Universal Order Of Armageddon, The Convocation Of and others, and ALL of those bands were definitely a product of the sounds and songs here.
MPEG Stream: "Mirroe"
MPEG Stream: "I'm Back Sleeping, Or Fucking, Or Something"
MPEG Stream: "Divinity Cove"
MPEG Stream: "Lyburnum - Wit's End (Liberation Fly)"
MPEG Stream: "Guatemala"

album cover MOSSENEK Sublingual Glossectum (Rock Is Hell) cassette 9.98
Only got a tiny handful of these, but couldn't pass up on a new project from aQ pal Mick Barr (Krallice, Oldest, Orthrelm, Ocrilim, etc.), who is teamed up here with former DC hardcore kid and current NYX avant gardist Chuck Bettis (credited here with "Throat + Electronics"), so you can probably imagine a Mick Barr driven duo of guitar and electronics and 'throat' won't be any sort of easy listening, and guess what? It doesn't take much more than a few seconds for that to be proven beyond a shadow of a doubt. That said, these two, while kicking up a serious skree, a wall of keening, glitched out noise, do manage to work the sound into something weirdly listenable, with Barr doing his super intense, frenzied almost black metal riffing, sheets of fast picked high end unfurl into tense sprawls of upper register drone, swooping into more 'traditional' riffage' before splintering into more WTF shrieking shreddery again. Bettis more than holds his own, wrapped Barr's guitar in dense swirling clouds of crumbling distortion, woozy low end thrum, wild squelches and glitches, electronic squiggles and malfunctioning electronic curlicues, heaving robotic bloops and bleeps, layers of analog blorp, percussive thumps and dense tangles of grinding psychedelic noise, Bettis' vocals woven into the roiling backdrop, occasionally leaping to the fore, and slipping back into harDCore howl mode, transforming the sound into some muscly alien sci-fi noise-punk, or something. Black metal shrieks buried beneath avalanches of furiously roiling riffage, the vibe weirdly heavy and almost metallic, but simultaneously abstract and free form, black noise, power electronics, a super twisted, skull caving, ear shredding, metallic psychedelic noise juggernaut, that pounds and pummels, drones and grinds, dense and intense, and kinda fucking awesome! Definitely recommended for the iron eared, long time Barr fans will feel right at home, and noiseniks might dig Barr and Bettis' warped strain of noise, which while right on the edge of harsh noise, remains textured and dynamic, subtly melodic, like some super intense avant metal record, pulled apart, reassembled into strange shapes and then melted down into a swirling pool of caustic blackened sonic crush. Super cool. And SUPER limited... TO JUST 66 COPIES!!!!!

album cover MOSSMAN Vs. Mr. Tsunami At Dub Corner (Dispensation) cd 15.98
Montreal's dub outfit Mossman returns with their softmore effort and it doesn't disappoint. Like the first album "Vs. The World Bank", Mossman and crew keep their sound solidly in the tradition of the masters, but refuse to rest on their laurels content with their sound. For "Vs. Mr. Tsunami" the group is paired down to a mere two people: founding member Mossman (percussion, melodica, keys, vocals) & Tsunami (guitar, bass, keys, percussion and occaisional vocalist), with a few cameos from some guest musicians. What the group has lost in live musicians, it has made up for in studio wizardry. While full of modern digital effects and synths the sound is never cheesy or lifeless.
RealAudio clip: "Quixotic"
RealAudio clip: "Slave Mason"

MOSSMAN Vs. the World Bank (Dispensation) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"I can't believe it's not Scratch." Bringing together the holy trinity of Lee Perry, King Tubby & Scientist (the cover even features a classic Scientist-esque cartoon drawing of Mossman smashing the World Bank and squaring off against hostile military forces) the group known as Mossman (led by percussionist and turntablist "Moss") are to dub / roots what Brooklyn's Antibalas are to Fela Kuti and afro-beat. Based in Montreal, Canada, Mossman is a full fledged 10 piece band devoted to dub as protest, considering this album a "dub contribution" to protest of the summit of the Americas that was held in Quebec City in April this year. The execution is excellent and with the exception of some extraneous use of time stretch and a teeny, tiny bit scratching (which never gets in the way of the dubs), you wouldn't guess this was a product of Canada in the year 01 (nothing against Canada, we mean it sounds authentically Jamaican). Though the greater part of their success is due to their devotion to the genre by honing their musicianship skills around the myriad examples laid to wax over the years by the masters, they also apply an attention to detail in their use of the vintage equipment that Perry et al used such as old organs, ancient drum boxes and even (our reggae distributer claims) recording on the same model of mixing console that Perry used in the Ark! Highly recommended.
RealAudio clip: "Tumble Weed"
RealAudio clip: "Spanish Alpha"
RealAudio clip: "It's Nice"

MOSSMAN & BUNNY Message For The World Dub (Dublounge) lp 16.98

album cover MOSSMAN & BUNNY Message In the Dub (Dispensation) cd 15.98
Message In the Dub is not actually a new recording by Mossman, but it is the first time it has been made available. It was actually Mossman's first recording effort, made back in 1999, but for unknown reasons it was never officially released. For those unfamiliar with Mossman, he and a loosely knit group of musicians are a Montreal, Quebec outift dedicated -- it appears -- to the furthering of the classic mid-seventies roots dub sound. And we're far from complaining about that. We'll take our water wherever we can get it. While maybe a little more rough around the edges as Mossman's first "official" album, Vs. The World Bank, this one (unlike their later release Vs. Mr. Tsunami) features a host of musicians -- bass, guitar, percussion, drums, keys, melodica, and smidgen of vocals -- which adds to the authenticity of the flavor.
MPEG Stream: "Dub Dem Say"
MPEG Stream: "Freedom Version"

album cover MOST SERENE REPUBLIC, THE Underwater Cinematographer (Arts & Crafts) cd 15.98
Meet the new kids on the block at this Canadian label home to Broken Social Scene and their Torontonian kin Apostle Of Hustle and Stars. The Most Serene Republic are just a hop, skip and a jump away, based in the small town of Milton on the western outskirts of the greater Toronto area. Due to the bands' proximity both geographically and label-wise, comparisons are definitely gonna flourish, and what can we say? They aren't unfounded. Once you hear Underwater Cinematographer, we're sure you'll agree. In many ways The Most Serene Republic's music does resemble the rest of the Arts & Crafts' roster, but with lead vocals that also remind us of Benjamin Gibbard of Death Cab For Cutie/Postal Service. This is not a bad thing! No, drawing from such an exuberant mish mash of influences and styles, their album fits in well between You Forgot It In People and Set Yourself On Fire. Actually with their subtle eccentricities scurrying out here and there, The Most Serene Republic's music brings to mind BSS and Frog Eyes having a low-key get-together... which is a mighty pleasing thought, indeed.
MPEG Stream: "Proposition 61"
MPEG Stream: "Where Cedar Nouns And Adverbs Walk"

MOST, THE Welcome To The Breakfast Show (self-released) cd-r 4.98

album cover MOTH 1997-2003 (Rhizome) cd-r 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been digging around lately and discovering all kinds of cool things that somehow never made it onto the list or even the website, this one is yet another long out of print cd-r that slipped through the cracks, a compilation of sorts, gathering up early recordings from Moth, aka Jon Dale, Rhizome label head honcho, an incredible collection of deep, dark dronemusic, lush soundscapes of chiming heavily reverbed metals and warm whirling sonorous tones, this is actually breathtakingly beautiful, we're sort of kicking ourselves for not listing this when it first came out and making a big deal out of it, but since we only have maybe 8 copies, we'll just say, anyone into gorgeous minimal dreamlike dronemusic, grab one of these while you can, and if you dig any of these folks: Stars of The Lid, Peter Wright, Belong, Organum, Expo 70, Jefre Cantu-Ledesma, Grasslung, En, Jeck, Tunnels, BJ Nilsen, Jasper TX, Dialing In, Machinefabriek, Aidan Baker, you'll probably dig this too.
Long out of print, we have about 8 copies, then they're gone for good.
MPEG Stream: "Track 1"
MPEG Stream: "Track 2"

MOTH COCK s/t (Tusco / Embassy) cassette 12.98

album cover MOTH ELECTRET lil (Mystery Sea) cd-r 10.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
**SALE **SALE* *SALE**
Yet another brief, but engaging stop in our ongoing journey through the mysterious seas of sound, an expansive world gradually being charted and recorded by the fine folks at Mystery Sea. Constantly in search of "night-ocean drones", hungry to discover another bit of unheard beauty, a new drifting soundworld of ambient dronemusic, that had been heretofore unexplored.
Moth Electret is the strange monicker of the artist responsible for this latest disc in Mystery Sea's long running (going on nearly 40 releases!) series of deep tranquility and beautiful drift. The man responsible is Stig Berg (who has recorded as R|A|A|N in the past) and who for his Moth Electret project has fashioned his own undersea soundworld almost entirely from field recordings, captured in Barcelona, the isle of Sandoy and of all places, Eureka, California!
Unlike the rest of the Mystery Sea series, Moth Electret might just be the least minimal, with lots of stuff going on, this isn't murky or droney exactly, instead it's thick clouds of sound, jagged and sparkling, grinding and looped, muted and smeared into long stretches of soft-noise, still sort of underwater sounding, but a bit more abrasive, more industrial almost, if you could imagine the softer, gentler side of Wolf Eyes maybe, expansive soundscapes of glimmer and shimmer, lots of metallic tinkles and high end buzz, all drifting above static sheets of slow shifting sound, very tidal, but on the skree side of things, like Birchville or Sunroof! more than Chalk or Coleclough. Every track is layered and dense, repeated listens find the listener sinking deeper and deeper, discovering hidden melodies, and surprising little sonic events, even though it's noisier than the rest of the series, it's no less compelling, or listenable, in someways even moreso. So much more going on, and so much sound to explore. Another perfect soundtrack for late night dreamy drift or early evening daylight fade...
Like all Mystery Sea releases, LIMITED TO 100 COPIES, each disc numbered, and gorgeously packaged in striking full color artwork, with a strange half sized booklet revealing the disc face within. So nice!
MPEG Stream: "Cygal"
MPEG Stream: "Kalaa"
MPEG Stream: "Lyel"

album cover MOTH WRANGLERS Never Mind the Context (Magnetic) cd 12.98
The debut full length from the Moth Wranglers, otherwise known as AQ-pal Chris Xefos (ex-King Missile) and LD Beghtol (Flare, and also one of the four vocalists from the Magnetic Fields 69 Love Songs box). They have made a polished mellow record in a variety of styles -- downer lounge exotica country rock. With guests Stephin Merritt and Claudia Gonson (Magnetic Fields), Ken Stringfellow (The Posies), and members of Loud Family, Camper Van Beethoven, Klezmatics, etc.
RealAudio clip: "Miss Fire"
RealAudio clip: "I Never Will Marry"

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