LA REVOLUCION DE EMILIANO ZAPATA s/t (Therapeutic Records) lp 32.00
And the cool (if not cheap) vinyl reissues of vintage psych stuff roll on: we reviewed this album when there was a cd reish a few years ago, now here's an lp version...
This is a record that's reputed to be one of the best ever psych albums from south of the border, right up there with Los Dug Dugs (who'd be our personal pick). And oh yeah, it's from 1971! If you've got the Love, Peace and Poetry: Mexican Psychedelic Music comp then you've already heard some La Revolucion De Emiliano Zapata, though their track on that comes from their second album, Hoy, not this, their debut.
First off, there's plenty of stinging acid rock guitar awesomeness here, big time FUZZ action. But there's also mellower, more melodic side to them as well. Basically they cover all the bases of badass rockin' and rollin' California sixties psych influenced garage freakdom here. And they sing in English, whereas on Hoy they switched, mainly, to Spanish, which was a radical move as the conservative Mexican government/society of the '70s apparently would tolerate a lot of things sung in English but not in Spanish. Considering that two of the song titles here are "Nasty Sex" and "Shit City" maybe that's understandable...
Comes with poster insert.
MPEG Stream: "Si Tu Lo Quieres"
MPEG Stream: "Todavia Nada (Still Don't - Not Yet)"

LA SERA Never Come Around (Hardly Art) 7" 5.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Debut release from this Vivian Girls side project, and it most definitely sounds like it, gorgeous hazy Phil Spector-ish production, lush jangly guitars, simple stripped down drumming, and reverbed vocals, but La Sera does stand out in several ways, one is the addition of some strange (and lovely) synth melodies, which seem like they would clash with the overall throwback vibe, but somehow just make it sound more distinctive, and the other is the vocals, Katy Goodman aka La Sera sings here much more cleanly, her voice more ethereal and angelic, and the sounds definitely reflects that, conjuring up that nineties Slumberland vibe which meshes pretty perfectly with the Spector girl group sound. So nice!
MPEG Stream: "Never Come Around"

LA SERA s/t (Hardly Art) cd 12.98
After a fantastic single, the full length finally arrives from this Vivian Girls side project, and like the 7" (whose A side "Never Come Around" is present here too) this definitely sounds a lot like the Vivian Girls mothership, the sound is washed out, gauzy, softly reverby, that Phil Spector-ish production, the opening track is fantastic, ethereal and dreamy, guitars shimmering and jangling, lush vocal harmonies, all hazy and otherworldly, with crunchy guitars here and there, but for the most part, just gorgeously fuzzy soft focus drift, with some unexpected psychedelic guitar crunch and swirl near the end. Which is quickly followed by the single, all lush jangly guitars, simple stripped down drumming, and reverbed vocals, and even more of that Spector wall of sound, but as we mentioned in the review of the 7", La Sera takes the VG sound and adds some strange (and lovely) synth melodies, and the vocals of Katy Goodman aka La Sera are much more clean and pure, her voice more ethereal and angelic, which perfectly suits the sound, the overall feel like some mix of primitive K Records girl pop, nineties Slumberland shoegaze, and of course that classic sixties girl group song. There's nothing ramshackle or garage-y really about La Sera, instead it's much more polished, WAY more lush, hazy, shimmery, a lovely fuzzy, soft focus dreampop, that will no doubt appeal to fans of all the 'Girls (Vivian, Dum Dum and At Dawn) but also fans of the Pains Of Being Pure At Heart, and the sonically similar groups that came before like the Lilys, Velocity Girl, My Bloody Valentine, Heavenly, Pastels, etc.
MPEG Stream: "Beating Heart"
MPEG Stream: "Never Come Around"
MPEG Stream: "You're Going To Cry"

LA SERA s/t (Hardly Art) lp 13.98
After a fantastic single, the full length finally arrives from this Vivian Girls side project, and like the 7" (whose A side "Never Come Around" is present here too) this definitely sounds a lot like the Vivian Girls mothership, the sound is washed out, gauzy, softly reverby, that Phil Spector-ish production, the opening track is fantastic, ethereal and dreamy, guitars shimmering and jangling, lush vocal harmonies, all hazy and otherworldly, with crunchy guitars here and there, but for the most part, just gorgeously fuzzy soft focus drift, with some unexpected psychedelic guitar crunch and swirl near the end. Which is quickly followed by the single, all lush jangly guitars, simple stripped down drumming, and reverbed vocals, and even more of that Spector wall of sound, but as we mentioned in the review of the 7", La Sera takes the VG sound and adds some strange (and lovely) synth melodies, and the vocals of Katy Goodman aka La Sera are much more clean and pure, her voice more ethereal and angelic, which perfectly suits the sound, the overall feel like some mix of primitive K Records girl pop, nineties Slumberland shoegaze, and of course that classic sixties girl group song. There's nothing ramshackle or garage-y really about La Sera, instead it's much more polished, WAY more lush, hazy, shimmery, a lovely fuzzy, soft focus dreampop, that will no doubt appeal to fans of all the 'Girls (Vivian, Dum Dum and At Dawn) but also fans of the Pains Of Being Pure At Heart, and the sonically similar groups that came before like the Lilys, Velocity Girl, My Bloody Valentine, Heavenly, Pastels, etc.
MPEG Stream: "Beating Heart"
MPEG Stream: "Never Come Around"
MPEG Stream: "You're Going To Cry"

LA SERA Sees The Light (Hardly Art) cd 12.98
Katy Goodman, aka La Sera, aka one third of dream pop trio Vivian Girls, returns with here second solo full length, and as we mentioned in our review of the first, the fuzzy, Spector-ish, jangly musical apple doesn't fall far from the VG tree, although Sees The Light definitely takes the sound of the La Sera debut, and hones it even further, sonically more polished and lush, but without losing any of it's raw urgency or DIY charm, but it's quite obvious Goodman is becoming a pop songsmith to be reckoned with, whether she's weaving hazy old timey reverb drenched pop balladry like on opener "Love That's Gone", or kicking out the rambunctious fuzz-pop jams like on "Please Be My Third Eye", wrapping woozy dreamy jangle, and ethereal angelic vox around an almost punkish pound, or offering up hook-heavy Pixies/Breeders style indie rock on the should-be-a-hit "I Can't Keep You In My Mind", with Goodman ditching the reverb, and revealing her surprisingly powerful voice, as well as whipping up the sort of chorus/main hook most other bands would kill for, and crafting a song that sounds so catchy and immediately familiar it's hard to believe it's not a cover.
From there on out, Goodman never lets up, song after song, hook after hook, pretty much every song on Sees The Light is a total mixtape dream pop gem, deftly mixing the soft and fuzzy, with the buzzy and jangly, and at times, even a little bit of the dark and heavy (just check out the dreamy almost doom-pop dirgery of "How Far We've Come Now"), into an irresistible sonic concoction!
MPEG Stream: "Love That's Gone"
MPEG Stream: "Please Be My Third Eye"
MPEG Stream: "I Can't Keep You In My Mind"

LA SERA Sees The Light (Hardly Art) lp 13.98
Katy Goodman, aka La Sera, aka one third of dream pop trio Vivian Girls, returns with here second solo full length, and as we mentioned in our review of the first, the fuzzy, Spector-ish, jangly musical apple doesn't fall far from the VG tree, although Sees The Light definitely takes the sound of the La Sera debut, and hones it even further, sonically more polished and lush, but without losing any of it's raw urgency or DIY charm, but it's quite obvious Goodman is becoming a pop songsmith to be reckoned with, whether she's weaving hazy old timey reverb drenched pop balladry like on opener "Love That's Gone", or kicking out the rambunctious fuzz-pop jams like on "Please Be My Third Eye", wrapping woozy dreamy jangle, and ethereal angelic vox around an almost punkish pound, or offering up hook-heavy Pixies/Breeders style indie rock on the should-be-a-hit "I Can't Keep You In My Mind", with Goodman ditching the reverb, and revealing her surprisingly powerful voice, as well as whipping up the sort of chorus/main hook most other bands would kill for, and crafting a song that sounds so catchy and immediately familiar it's hard to believe it's not a cover.
From there on out, Goodman never lets up, song after song, hook after hook, pretty much every song on Sees The Light is a total mixtape dream pop gem, deftly mixing the soft and fuzzy, with the buzzy and jangly, and at times, even a little bit of the dark and heavy (just check out the dreamy almost doom-pop dirgery of "How Far We've Come Now"), into an irresistible sonic concoction!
MPEG Stream: "Love That's Gone"
MPEG Stream: "Please Be My Third Eye"
MPEG Stream: "I Can't Keep You In My Mind"

LA VAMPIRES BY OCTO OCTA Freedom 2K (100% Silk) 12" 14.98

LA VAMPIRES FEATURING MATRIX METALS So Unreal (Not Not Fun) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Imagine Ariel Pink, if he was a she, and crafted twisted warped lo-fi late night seventies FM radio, drug party, sci fi sexy soul music, and you'll begin to get an idea of what to expect from LA Vampires, teamed up here with fellow lo-fi beatscaper lo-fi groove architect Matrix Metals (of Outer Limits Recordings).
The two have created a haunting neon lit late night landscape of Casio keyboards primitive beats, warped warbly melodies, fractured synths, fuzzy bass, new wavey soundtrack swirl, loads of FX, the whole thing sounds like some warped disco 12" being played on one of those battery powered turntables and broadcast through a transistor radio, but then the whole thing plugged into some retro futuristic sound system, that somehow transforms the whole thing into some sort of twisted Goblin / Carpenter future disco, all of which is simply a backing track for Miss LA Vampires to croon over, her vocals, smokey and monotone, a sort of reverbed icy croon, more spoken than sung much of the time, you can almost imagine her as some sort of painted up cyber chanteuse, perched on a light up pyramid, wreathed in dry ice smoke, while all around her, gorgeous sparkly ladies and buff cybernetic boys shuffle rhythmically to here haunting coked up midnight jamzzzz. Dig it!
MPEG Stream: "Make Me Over"
MPEG Stream: "How Would U Know"

LA VAMPIRES GOES ITAL Streetwise (Not Not Fun) 12" 14.98
So interesting to see what new directions people take when faced with similar turning points. Out of the ashes of Pocahaunted, Bethany Cosentino embraced her love of pop and girl group garage glory, forming Best Coast. On the other hand, her former bandmate Amanda Brown went the other way, riffing off the layers of fractured/damaged sounds that Pocahaunted were creating into something more dubbed out and beat orientated. What's so cool is they both created such great music while taking utterly different paths.
LA Vampires seem to thrive on collaboration. Her record with Zola Jesus last year was a narcotic dubbed out slow burner and she also collaborated with Matrix Metals and shared a slice of vinyl with Psychic Reality. Ital is the new left-field dance project by former San Francisco resident Daniel McCormick (Mi Ami, Sex Worker). We were super excited when we heard McCormick was working on a new project focusing on weirdo electronic dance tracks. We knew he had such a great ear for the underworld of damaged dance sounds and damn does this collaboration between him and LA Vampires kill! Dubbed out, tripped out, swirling with infectious yet hazy melody and sensual rhythm. It's a 12" that merges the steaminess and sexiness of Throbbing Gristle's "Hot On The Heels Of Love" with the Chromatics "I Want Your Love." We've been playing this nonstop!

LA VAMPIRES MEETS ZOLA JESUS s/t (Not Not Fun) lp 14.98
Rumor has it that Nika Danilova will be moving to Los Angeles upon completing her studies in Madison, WI. Perhaps a precursor to things to come for Zola Jesus when she does land in SoCal is this 12" with Nika laying swoonsome goth vocals upon slow-motion codeine-dub tracks provided by Amanda Brown (here in the guise of LA Vampires, but perhaps better known as half of Pocahaunted.) Much like the last few Pocahaunted records with their ghetto-tech downer dub, casting an evil eye on any sunshine vibes, Brown's production comes across like a lo-fi, home-built Scorn with basslines that sulk and stalk from the nastiest of noir alleyways and beats that could be lifted straight from a Chopped & Screwed remix. It's well suited to what Zola Jesus has delivered on her earlier constructions of equally lo-tech industrialisms; and her voice as always is frigid, strong, and operatic. Many of the songs clock in at less than 3 minutes, which is pretty much just right for these looping skeletal tracks. The seven track ep ends with an incredible cover of Dawn Penn's "No No No" taking the already zombified rocksteady ballad to a narcotic, love-sick zenith (or nadir, depending on how you look at it) of woozy, chemically zonked dirge-n-dub.

LABRADFORD A Stable Reference (Kranky) cd 13.98
Upon a single listen, this second record sounds noisier, more dark and less new age than Labradford's debut.

LABRADFORD A Stable Reference (Kranky) lp 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Upon a single listen, this second record sounds noisier, more dark and less new age than Labradford's debut.

LABRADFORD E Luxo So (Kranky) cd 13.98
The fifth studio album from Labradford finds the band incorporating instrumentations of dulcimer, string section, and tape loops alongside their atmospherics for guitar, bass, and piano. Labradford may have beaten Andee (in his first solo project after A Minor Forest, Pee, and Tic War) to the punch with a blatant appropriation of George Winston / Shadowfax / Windham Hill onto a record for Kranky.
Beautiful, none the less.

LABRADFORD E Luxo So (Kranky) lp 10.98
The fifth studio album from Labradford finds the band incorporating instrumentations of dulcimer, string section, and tape loops alongside their atmospherics for guitar, bass, and piano. Labradford may have beaten Andee (in his first solo project after A Minor Forest, Pee, and Tic War) to the punch with a blatant appropriation of George Winston / Shadowfax / Windham Hill onto a record for Kranky.
Beautiful, none the less.

LABRADFORD Fixed :: Context (Kranky) cd 14.98
Brand new album of laid back, minimal, Bernardo Bertolucci-esque instrumentals from Labradford, including a slightly disturbing number that sounds a little too much like the Modern English's "Melt With You". There's really nothing new or different here from them on this one except that there's absolutely no singing on this album, not even mumbling buried in the mix -- which is a good thing. The bad part is that this album, though priced as a full length, clocks in a little short of one at 38 minutes.
RealAudio clip: "David"

LABRADFORD Mi Media Naranja (Kranky) cd 13.98
Their fourth record is way melodic, very nice.

LABRADFORD Mi Media Naranja (Kranky) lp 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Their fourth record is way melodic, very nice.

LABRADFORD s/t (Kranky) cd 13.98
Their third full length.

LABRECQUE, PAUL & VALERIE WEBB Trees, Chants And Hollers (Eclipse) lp 14.98
This reissue of a long out of print super limited (100 copies) edition, comes from two relative unknowns, Paul LaBrecque and Valerie Webb, but Trees, Chants And Hollers, recorded a few years back, finds the duo deftly navigating similar sonic terrain as the rest of the new free folk movement and the oft referenced new weird America. But unlike the clattery primitive ritualism of groups like No Neck Blues Band and Avarus, or the straight up Fahey worship of folks like Jack Rose and James Blackshaw, LaBrecque and Webb incorporate bits of both, dense fingerpicked neo Appalachia, and drifting fluttering free folk, into much more expansive soundscapes. Banjo and steel string guitars, flutes and ethereal vocals. Some tracks are almost traditional sounding, Appalachian hoedowns slowed down into dark contemplative moodiness, while others are super abstract, the guitar becomes a noisemaker, letting strange scrapes and sounds drift into the ether, huge swirls of smeared shimmer, melancholy melodies, deft complex picking, rendered totally indistinct. And just as quickly the duo will reel it back in, and offer up a near liturgical meditation, simple banjo and intertwined male female vocals, everything bathed in glistening reverb. So beautiful. Fans of Blackshaw, Rose, Ahmed, Bishop, Schmidt, DeGennaro, Valentine as well as groups like the Tower Recordings, P.G. Six and the like should definitely pick this up.

LACK OF KNOWLEDGE Grey (Southern) cd 11.98

LADD, MIKE Negrophilia [The Album] (Thirsty Ear) cd 16.98

LADD, MIKE Vernacular Homicide (Likemadd / Ozone) 10" 7.98

LADDIO BOLOCKO As If In Real Time (Hungarian) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've been championing Laddio Bollocko since we first heard their mighty 'Strange Warmings' album (which we finally managed to get back in, review later in the list) and inexplicably they have managed to elude the superstardom we predicted for them. But with their hyper-distorted-This-Heat-fronted-by-Albert-Ayler sound, they were definitely an acquired taste. It's been a couple years, and it's two releases later, and Laddio is kind of a different beast. This cd compiles the 'In Real Time' ep and the 'As If By Remote' sort-of-full-length, and shows an amazing amount of growth. They've all but completely abandoned the bludgeoning, pounding shrieking bombast, and instead stretch out, and explore rhythms and textures, creating lengthy krautrock jams, and hypnotic drones. And their noisey, in your face, live recording has been replaced by what sounds like a serious exploration of the studio as instrument, with at least half the record full of innovative production and gorgeous textures. Also, the sax, which on 'Strange Warmings', was more textural and not immediately identifiable as a saxophone, is more of a presence here, giving it more of a sort-of-jazz feel on several tracks.
Their sound these days is much more in the vein of This Heat and Circle. In fact, everyone who was blown away by the recent Circle releases should definitely check this out.
RealAudio clip: "Karl"
RealAudio clip: "As If By Remote"
RealAudio clip: "A Passing State Of Well Being"

LADDIO BOLOCKO Strange Warmings Of (Hungarian) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
This record is one of the most amazing we have ever heard, and of course, it's been practically impossible to get back in stock. But now we have it, and you should buy it. It's pummelling and heavy and beautiful. Not sure how long we'll have this in stock.
An ex-Dazzling Killmen (Blake Fleming) takes his penchant for angular discordance a step further, forgoing the ferocious heaviosity of his former outfit, and instead, explores lengthy semi-improvisational psychedelic freakouts and repetetive hypno-krautrock instrumentals ala Circle. Post rock jamscapes littered with shrieking and droning Albert Ayler-ish sax, jabs of no wave guitar, an overwhelming over-saturated super-distorted production and absolutely crushing drumming. Totally essential.
RealAudio clip: "Nurser"

LADDIO BOLOCKO The Life And Times Of... (No Quarter) 2cd 17.98
Finally re-pressed and back in stock!!
We have been championing this band since the very first time we heard their mighty 'Strange Warmings' debut years ago but continually faced the problem of all three of their releases being practically impossible to get. And my (Andee's) only possible complaint about this comprehensive career retrospective collection is that I WANTED TO PUT IT OUT ON tUMULt!!!! Arrrrgghhh. But kudos to AQ pal Mike who runs the mighty No Quarter label, for his amazing taste (Earth, Pharoah Overlord and now LB!) and ability to unearth/rerelease these out of print gems.
Laddio Bolocko were absolutely one of the most amazing bands we have ever heard, taking the bloated corpse of 'post rock' and filling it with squirming, ultra complex, super dynamic kraut rock and out rock and...uhhhh trout (mask replica) rock? Or whatever. Imagine a modern day This Heat, but with bigger amps, more lo-fi production, free-jazz scud missle saxophone, unlikely melodies, relentless rhythms, ear-ringing dynamics and a sound unlike anything you've ever heard. Sounds good huh? Well, it is. In fact. as far as I'm concerned LB were probably one of the most important and most original rock bands of the last 20 years. High praise indeed, but once you hear this stuff you'll be hard pressed to argue.
The Life & Times Of collects all three Laddio Bollocko releases, their devastating debut Strange Warmings Of and the two follow up eps, In Real Time and As If By Remote. Also included is a video playable on your computer (which, along with the nice digipak packaging, may even tempt those lucky enough to already have Laddio's hard to find releases).
Disc one is Strange Warmings Of, a pummelling and heavy drone rock masterpiece, in which an ex-Dazzling Killmen (Blake Fleming) takes his penchant for angular discordance a step further, forgoing the ferocious heaviosity of his former outfit, and instead, explores lengthy semi-improvisational psychedelic freakouts and repetetive hypno-krautrock instrumentals a la AQ faves Circle. Post rock jamscapes littered with shrieking and droning Albert Ayler-ish sax, jabs of no wave guitar, an overwhelming over-saturated super-distorted production and absolutely crushing drumming. Anyone into Circle or This Heat or Acid Mothers Temple or Faust or any or any of that, will be completely blown away.
Disc two containing the two later eps find Laddio Bolocko in a new space with a new sound. Showing an amazing amount of growth, LB have all but completely abandoned the bludgeoning, pounding shrieking bombast, and instead stretch out, and explore rhythms and textures, creating lengthy krautrock jams, and hypnotic drones. And their noisey, in your face, live recording has been replaced by what sounds like a serious exploration of the studio as instrument, with at least half the record full of innovative production and gorgeous textures. Also, the sax, which on Strange Warmings, was more textural and not immediately identifiable as a saxophone, is more of a presence here, giving it more of a sort-of-jazz feel on several tracks. This later, less ROOOOOOOAAAAARRRR sort of sound puts them even more comfortably in the sonic realm occupied by Faust, This Heat and Circle.
MPEG Stream: "Nurser"
MPEG Stream: "Karl"
MPEG Stream: "As If By Remote"
MPEG Stream: "A Passing State Of Well Being"

LADIES W.C. s/t (Essex) cd 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Compact disc reissue of super rare 1970 psych LP.
Remember this band's great song "People" from the Love, Peace & Poetry: Latin Amercian Psychedelia compilation? Well, that's the first track on here, followed by more bluesy jungle psych rock made by wandering Yankee hippy Stephen Scott (bass/vocals) and a group of fellow freak musicians he met in Venezuela. Although mostly full of fuzz geeetar, pounding garage-rawk energy, and wild harp blowing, there are also some moments of melancholic folk-rock gentleness.
It's obviously mastered from one of the rare vinyl copies, 'cause the sound is just a bit scratchy, but that's not particularily detrimental -- after all, this is an album with musique concrete elements that of course include the sound of a flushing toilet as the first thing you hear!
RealAudio clip: "People"
RealAudio clip: "And Everywhere I See The Shadow Of That Life"

LADIES W.C. s/t (Shadoks Music) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Compact disc reissue of super rare 1970 psych LP from Venezuela! We had a previous edition of this a while back, but now it's been reissued by Shadoks, with better packaging and a more legit "look". It now includes liner notes from two of the band members, reminiscing about their days in the band. And the sound quality is much better than before, not so crackly.
Remember this band's great song "People" from the Love, Peace & Poetry: Latin Amercian Psychedelia compilation? Well, that's the first track on here, followed by more bluesy jungle psych rock made by wandering Yankee hippy Stephen Scott (bass/vocals) and a group of fellow freak musicians he met in Venezuela. Although mostly full of fuzz geeetar, pounding garage-rawk energy, and wild harp blowing, there are also some moments of melancholic folk-rock gentleness -- which contrast nicely with the musique concrete elements that of course include the sound of a flushing toilet as the first thing you hear!
MPEG Stream: "People"
MPEG Stream: "And Everywhere I See The Shadow Of That Life"

LADIES WHO LUNCH Present: Kims We Love (Grand Royal) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
LwL is Kate Schellenbach (Luscious Jackson, Beastie Boys) and Josephine Wiggs (Breeders, Perfect Disaster) emitting plinky bleepy noises from children's synths. They cover 'Bull in the Heather' and 'Gigantic,' hence the record's title. Get it?

LADIES, THE They Mean Us (Temporary Residence Ltd.) cd 14.98
Rob Crow has been paying much more attention to his metallic leanings as of late. With his Goblin Cock release a few months back he was finally able to unleash a side of himself that the smooth sounds of Pinback don't really allow. Being HUGE fans of Mr. Crow back from his beginnings in Heavy Vegetable (-especially- in HM!) there is no doubt that Crow has always had a scrappy / scizophrenic / ADD element to his aesthetic, which definitely showed on those Heavy Vegetable records and even his records with Thingy. Being able to go from bursts of guitar and drums to the sweetest melody all at the drop of a coin. The Ladies find him re-exploring that chaotioc split personality, hard meets soft side of his song writing skills. The Ladies are two fellas, the abovementioned Mr. Crow and Mr. Zach Hill (of Hella). Sounds promising, doesn't it?
The two bring their totally recognizable and seemingly incompatible sounds together to create a record that's choppy, rocking, proggy, noisy, poppy, sweet and satisfying all at the same time. There are moments when Zach's Hella sounds comes to the front with intense drumming and noisy outbursts, but underneath it all Rob Crow shows again how no matter what elements he's working with, he has the ability to bring out whatever great pop song or hidden hook that lives underneath it all. Another exciting chapter in the always ongoing and prolific world of Rob Crow. And quite possibly our favorite batch of Crow tunes since Heavy Vegetable or the first Pinback record!
MPEG Stream: "Black Caesar / Red Sonja"
MPEG Stream: "Nice Chaps, Buddy"

LADIES, THE They Mean Us (Temporary Residence Ltd.) lp 13.98
Rob Crow has been paying much more attention to his metallic leanings as of late. With his Goblin Cock release a few months back he was finally able to unleash a side of himself that the smooth sounds of Pinback don't really allow. Being HUGE fans of Mr. Crow back from his beginnings in Heavy Vegetable (-especially- in HM!) there is no doubt that Crow has always had a scrappy / scizophrenic / ADD element to his aesthetic, which definitely showed on those Heavy Vegetable records and even his records with Thingy. Being able to go from bursts of guitar and drums to the sweetest melody all at the drop of a coin. The Ladies find him re-exploring that chaotioc split personality, hard meets soft side of his song writing skills. The Ladies are two fellas, the abovementioned Mr. Crow and Mr. Zach Hill (of Hella). Sounds promising, doesn't it?
The two bring their totally recognizable and seemingly incompatible sounds together to create a record that's choppy, rocking, proggy, noisy, poppy, sweet and satisfying all at the same time. There are moments when Zach's Hella sounds comes to the front with intense drumming and noisy outbursts, but underneath it all Rob Crow shows again how no matter what elements he's working with, he has the ability to bring out whatever great pop song or hidden hook that lives underneath it all. Another exciting chapter in the always ongoing and prolific world of Rob Crow. And quite possibly our favorite batch of Crow tunes since Heavy Vegetable or the first Pinback record!
MPEG Stream: "Black Caesar / Red Sonja"
MPEG Stream: "Nice Chaps, Buddy"

LADY GENIUS s/t (Gold Robot) 10" 7.98
Channeling the orchestral pop sound of many of the Elephant Six bands (Olivia Tremor Control, Neutral Milk Hotel, Apples In Stereo, The Minders) this Bay Area five piece has got some mighty fine pop chops of their own. "Saber Ace" is probably our favorite of the bunch which is so delightfully sweet & sour and benefits from the somewhat lo-fi and dirty recording. They do a really nice job of sprinkling tasteful horns on a few of these tracks. Six sweet songs grace this red vinyl record which also comes with a code for a free download.

LADY SOVEREIGN Blah Blah EP (Universal Island) cdep+dvd 11.98
It's hard to get a grime fix these days, at least on this side of the Atlantic. We got a grimy little tease last year with an ep we made aQ Record Of The Week last November. A dizzying, head spinning post hip hop whatthefuck. For those who have yet to sample the grime, imagine a super stripped down hip hop, sort of junglized, a very ragga like beat, lots of fuzzy synths, and then rapping that is totally tonguetwisting, lightning fast, marble mouthed. Lady Sovereign is the toast of the grime scene these days, having blown up BIG managing to pretty much totally eclipse M.I.A who was one of the first grime shooting stars. But deservedly so we have to say. Lady Sov's tracks are fierce and funky, funny and spunky, the beats are killer, the music is always weird and wild, and her flow is second to none, fast and furious flurries of disses, self deprecation, insane free association, all woven into impossibly tangled smears of mind melting wordplay. And "Blah Blah" might be here best track yet. The riff (yep, there are real insturments) is some weird Morricone guitar twang, almost like a grime Cramps or something, peppered with plenty of little Missy Elliott bleeps and rhythmic hiccups. And Lady Sov going fucking wild over the top. Never thought she could get faster, never thought the rhymes could get more bizarre and funny as hell. But they have, in a big way. It's a bit frustrating to get hit with another single, since we're all chomping at the bit for the upcoming Jay-Z full length, but when they're this good, it's hard to complain too much. Plus these singles are packed to the gills with extra goodies. The cd features the new track, a remix (by Adrock from the Beastie Boys) which also showed up on the Vertically Challenged ep, plus you get two live tracks, one an almost rocker, the other a simple stripped down beat, with Sov freestyling. Pretty cool. Plus you get a DVD with the video for "Blah Blah" as well as a making of short and a bunch of interviews with fans.
Just barely enough to hold us over, in fact we were definitely jonesing for more Lady Sov so this arrived just in time, but now we're even more anxious for the full length to drop, since we're pretty dang sure that Lady Sov / Jay-Z joint is gonna destroy.
SUPER LIMITED. Each disc is numbered. We got about 30 copies. Pretty sure they're gone for good after that.
MPEG Stream: "Blah Blah"

LADYBUG TRANSISTOR Live At Emmabodafestivalen 99 (Amigo) cd 8.98
An official "bootleg" released by the band themselves. As per the bootleg norm, the cover is a simple black and white Xerox-looking photo, and most song titles (and the band's name) are wonkily misspelled... intentionally. Lo-fi packaging aside, this is quite an impressive live recording. Both the sound quality and band performances are right on the mark. Elephant 6 Collective followers will be familiar with these kids, but if you haven't visited that crowded clubhouse yet, this is from the chamber pop branch of that musical arts'n'crafts collective. Mind you, if you are new to them you should first check out "The Albemarle Sound" album on which most of these songs originally appear. Plentiful orchestral pop flair. Fans of the grand stylings of Cinerama or Magnetic Fields, just might soon become fans of the LT. Includes a BeeGees cover to boot!
RealAudio clip: "Aleidas Theme"
RealAudio clip: "Masschussettes"
RealAudio clip: "Medow Port Arch"

LADYFINGER (NE) Dusk (Saddle Creek) cd 14.98
Sometimes you just need some guy rock (or should that be "Guy Rock"). Yeah, you do. The kind with tons of dudely testosterone with just a tiny squirt of fabric softener so that the ol' grey hoodie is comfy enough and not too stinky for the girlfriend. Whenever she hears this, Cup makes a beeline for her old Seaweed albums whose fierce yet catchy emo punk pop tunes are a clear influence. Chris Machmuller and Jamie Massey's muscular double-barrelled guitar riffin' flexes along with the sharp punch of Pat Oakes' drums while the deep boil of Ethan Jones' bass guitar provides the imposing scowl. What brings this band's music out of the '90s is the emotive scream-yelp-croon vocal range of Chris Machmuller which alternately brings to mind Seaweed's Aaron Stauffer and Queens Of The Stone Age's Josh Homme. Cool stuff!
MPEG Stream: "Over And Over"
MPEG Stream: "Bones"

LADYHAWK s/t (Jagjaguwar) cd 16.98
Debut album from a Canadian band that you can be sure has a healthy collection of both indie rock and classic rock records that they hold near and dear to their hearts. Crunchy guitar and emotive vocals that echo both '70s rock a la Neil Young & Crazy Horse/CSNY, as well as indie rock luminaries like Dinosaur Jr, Will Oldham, and later era Husker Du as well as roaming some of the same territory as label-mates Black Mountain (which makes sense since some of the folks in Ladyhawk also do time in Black Mountain).
MPEG Stream: "My Old Jacknife"
MPEG Stream: "Drunk Eyes"

LADYTRON 604 (Emperor Norton) cd 16.98
Pop music simply doesn't get much more stylin' than this euro-fashion plate quartet. 604 is packed with groovy moments that bring to mind the sound and mood of "Sexy Boy" by AIR (but with female vocals). Lots of retro-futuristic (yes, at times quite Giorgio Moroder, New Order and Kraftwerk-esque --- in fact, their song "He Took Her To A Movie" is a shameful deadringer for "The Model") synth fluffiness along with equally light, playful lyrics delivered by the two female vocalists in sweet breathiness cozied up next to almost-spoken drollness a la Flying Lizards. Add in the bouncing, boogie-worthy beats and - voila! - a perfect fit on the Emperor Norton roster (amid such kindred spirits as Fantastic Plastic Machine and Takako Minekawa). Although I do have to ask -- why? Why do something that was done to perfection in the '80s and not even add anything new to the formula?
RealAudio clip: "Discotraxx"
RealAudio clip: "The Way That I Found You"

LADYTRON Extended Play (RykoDisc) cd+dvd 11.98
Ladytron enter a bid to keep the kids on the dancefloor just a little bit longer with this remixes 'n' b-sides collection. The former are previously unreleased tracks in which the fluffy electronic pop foursome's music gets even more techno-fied, and the latter are drawn from their Witching Hour album's UK singles. One of the best cuts on the cd is the third. It's James Iha mix of "Weekend". He wisely keeps one of the best things about Ladytron in the foreground, that is, the gals' breathy kittenish vocals. It has a raved-up ending that would've been great on the Run Lola Run soundtrack. Another tasty track is what the group has dubbed the "Catholic Version" of their last album's single "Destroy Everything You Touch". They deliver the song's simple central synth line through a church organ sound and apply a heavy dose of echoe-y cathedral-esque reverb. Quite nice. An aside, we'd swear that in the second track ("Nothing To Hide" which is one of the b-sides, but actually seems more like a remix in its unstructuredness) they're singing "I huff and I puff". It could be our rain-addled minds, 'cause we kinda doubt that they'd be making any Three Little Pigs references.
Also included in the deal is a bonus dvd so that in between boogie sessions you can kick back for a half an hour or so and watch some vids and a short documentary.
MPEG Stream: "Nothing To Hide"
MPEG Stream: "Weekend (James Iha Mix)"

LADYTRON Gravity The Seducer (Nettwerk) cd 13.98

LADYTRON Gravity The Seducer (Nettwerk) lp 22.00

LADYTRON Light & Magic (Emperor Norton) cd 17.98
Here it is, the much-anticipated second full length from these four Euro-cats! Behold more pleasingly groovy, unbarbed club pop that's definitely not experimental nor groundbreaking although they've been frequently touted thusly by the media. Prepare yourself to see their name in even more electro-clash / '80s discussion-group threads! Yes, many have yet to forgive them for their shameless facsimile of Kraftwerk's "The Model" ("He Took Her To A Movie") and their general recreation of the '80s new wave dance sound, but seldom do you hear as loud an outcry about any of the recent guitar-based revivals and regurgitations. Hmmm, seems to be just a given that guitars - both acoustic and electric - are a mainstay, whereas synthesizers are somehow still viewed as novel and effortless button-pushing. Clearly it's what you do with your chosen instrument that's key, and you can do quite a lot with a guitar, but you can also do quite a lot, if not more, with a synthesizer. That said, this album does find the foursome venturing out a little further, and honing their songwriting and production skills. "Nuhorizons" and "Re:Agents" are prime examples of this. Yet overall, Ladytron still overflows with bubbly programmed beats and repetitive, uncomplicated arpeggiated melodies (the synthesized 'strings' sounds are put to rather abundant use). Their distinct soft'n'wispy versus droll'n'deadpan dual female vocals are much more effected and integrated into the mix, making the lyrics less decipherable than those on 604, and making the album, as a whole, less pop. Sadly however, there aren't any tracks that immediately made their presence known by locking their hooks in the way that "Playgirl" or "Paco!" did. Andee did remark however that "Turn It On" sounded like it could easily be "Axel's Theme Part Two" from Beverly Hills Cop. Whether this is a good or bad thing... dunno! Regardless, if you like sleek, stylish and playful dance music, Ladytron is for you.
RealAudio clip: "Seventeen"
RealAudio clip: "Turn It On"
RealAudio clip: "Nuhorizons"
RealAudio clip: "Re:Agents"

LADYTRON Light & Magic (Emperor Norton) 2lp 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on vinyl...
Here it is, the much-anticipated second full length from these four Euro-cats! Behold more pleasingly groovy, unbarbed club pop that's definitely not experimental nor groundbreaking although they've been frequently touted thusly by the media. Prepare yourself to see their name in even more electro-clash / '80s discussion-group threads! Yes, many have yet to forgive them for their shameless facsimile of Kraftwerk's "The Model" ("He Took Her To A Movie") and their general recreation of the '80s new wave dance sound, but seldom do you hear as loud an outcry about any of the recent guitar-based revivals and regurgitations. Hmmm, seems to be just a given that guitars - both acoustic and electric - are a mainstay, whereas synthesizers are somehow still viewed as novel and effortless button-pushing. Clearly it's what you do with your chosen instrument that's key, and you can do quite a lot with a guitar, but you can also do quite a lot, if not more, with a synthesizer. That said, this album does find the foursome venturing out a little further, and honing their songwriting and production skills. "Nuhorizons" and "Re:Agents" are prime examples of this. Yet overall, Ladytron still overflows with bubbly programmed beats and repetitive, uncomplicated arpeggiated melodies (the synthesized 'strings' sounds are put to rather abundant use). Their distinct soft'n'wispy versus droll'n'deadpan dual female vocals are much more effected and integrated into the mix, making the lyrics less decipherable than those on 604, and making the album, as a whole, less pop. Sadly however, there aren't any tracks that immediately made their presence known by locking their hooks in the way that "Playgirl" or "Paco!" did. Andee did remark however that "Turn It On" sounded like it could easily be "Axel's Theme Part Two" from Beverly Hills Cop. Whether this is a good or bad thing... dunno! Regardless, if you like sleek, stylish and playful dance music, Ladytron is for you.
RealAudio clip: "Seventeen"
RealAudio clip: "Turn It On"
RealAudio clip: "Nuhorizons"
RealAudio clip: "Re:Agents"

LADYTRON Velocifero (Netwerk) cd 16.98

LADYTRON Velocifero (Cobraside) 2lp 24.00

LADYTRON Witching Hour (Rykodisc) cd 16.98
Many changes greeted us when we put this new Ladytron album on for its inaugural spin. For one thing, they're much less electronic dance-oriented, for another they've beefed up their line-up and sound most noticeably by adding a human drummer. There's far less of their shameless Kraftwerk worship this time around, and some more edgier power pop sensibilities (think Elastica or more recently Canada's Metric). On this their third full length, Ladytron also venture more into the territory of space age euro-pop. Many songs on Witching Hour conjure images of lovely stylish 60's jetsetters whisking their way through Heathrow Airport on their way to the next exotic destination. Light, effervescent and pretty. If you liked their song "Playgirl" from their first album 604, there's a lot here that will tickle your fancy. This certainly continues on in that delightful vein with soft female vocals charming the pants off the listener from start to finish. Oooooh la la!
MPEG Stream: "High Rise"
MPEG Stream: "International Dateline"

LAGUARDA, PEP & TAPINERIA Brossa d'Ahir (Discmedi Blau) cd 17.98
Wow! What a dreamy Spanish psych-folk gem this is! A gorgeous sonic gem from the late 70's only making it to our eager ears nearly 30 years later. Turns out this is the only album that Pep Laguarda released, but what a timeless record left for future generations to enjoy. With production and assistance from Daevid Allen of Gong and Soft Machine, Brossa d'Ahir is the kind of record you put on and then just drift away and get lost with. So breezy and well crafted, these are songs designed for long daydreams, windows down as the wind comes rushing in and the scenery breezes by. Pep Laguarda & Tapineria is reminding us of the Chilean cosmic psych-folk of Congregacion, the tender touch of Caetano Veloso and the sprawling beauty of Neil Young albums like On The Beach or Comes A Time. We can imagine that if they aren't already, current day folks like Brightblack Morning Light, Devendra Banhart, Will Oldham and Vetiver would be drooling over the beautiful melodies and flowing ambience of this three decade old document of psych-folk perfection!
MPEG Stream: "Alceu Vos,Xe,Que Ja Es De Dia Sent"
MPEG Stream: "Cims Abismes"

LAIBACH Anthems (Mute) 2cd 25.00
The art of Laibach can be found in their precise engineering of context, as they specialize in the cross-pollenization of musical archetypes and political rhetoric in an effort to undermine the totalitarian forces at work within consumer culture. The Laibach iconography emerges as a complex and purposefully contradictory concoction of Nazi-kunst, Wagnerian pomp, and Teutonic disco. When Laibach gets their hands on them, these forms become especially absurd, as they fuse such industrialized, miltaristic aesthetics to the songs of The Beatles, The Rolling Stones, Queen, Pink Floyd, Europe, and Andrew Lloyd Webber. Yes, some of these Frankensteinian marches are a little clumsy; if you've heard their infamous reinterpretation of the Beatles' Let It Be, and particularly the comically fumbled version of "Get Back", then you know that Laibach's iron fist has the potential to crack a pretty bad joke from time to time.
Anthems is the self-explanitory anthology of Laibach's most bombastic, and well, anthemic work. In many ways, Anthems is a "best of" compilation for Laibach, dating back to such classics as "Brat Moj" a turgid, solemn oath delivered with the sanguine baritone voice that has become a trademark for Laibach. But the bulk of Anthems feature the jackhammered, post-Wax Trax rhythms, incendiary guitar riffs, and claustrophobic electronics which Rammstein shamelessly stole on their way to MTV domination. Laibach probably didn't care, as they obviously did it much better and with a smug intelligence that Rammstein wholly lacks. Along with a great retrospective of this self-proclaimed retro-garde band, Anthems also features a second disc of remixes which apply a greater dancefloor sheen to Laibach's sound.
MPEG Stream: "Die Liebe"
MPEG Stream: "Panorama"
MPEG Stream: "Sympathy For The Devil"
MPEG Stream: "Wirtschaft Is Tot"

LAIBACH Neu Konservatiw (Cold Spring) cd 14.98
From their very earliest audio documents and live performances, the Slovenian avant-industrial ensemble Laibach had developed an incredibly focused mythology around themselves as a provocative force acting upon the extremes of art and politics. Working particularly with the aesthetics of totalitarianism (which as a political institution had long been hammered into the psyche of the Slovenian people from the left, right, East, and West), Laibach reconstituted any number of myths which invoked both fear and fascination in their audience. They wrote manifestos calling for a depersonalization through their music; they cross-pollinated Stalinist and Nazi imagery (alongside occultish symbolism and increasingly absurdist pop-cultural references); and they qualified their concerts as presentations of "systematic psycho-physical terror as a principle of social organization." In 1985 when Laibach ventured out upon their Occupied Europe Tour, they were a truly scary band with nobody really knowing how to analyze what they were doing. Was it an ugly resurgence of fascism? Was it psychological warfare conducted in the public arena? Was it a post-modern strategy reconnecting signifiers of hollowed ideologies? It was probably all of those things and more.
In the live recordings from that tour that made their way onto Neu Konservatiw, Laibach's sound was a punishing collision of martial rhythms and megaphone vocal broadcasts, exhibiting none of the black humour found later in their Beatles covers or their take on Jesus Christ Superstar. With the insistent plod of the multiple drums and monochord bass thumps, Laibach paralleled the abject stomp that the Swans were producing at that time, even though both projects had vastly different artistic intentions. As their studio albums in the mid-'80s were mostly sample based and had a clipped rigidity that make some of their songs a little clumsy, the live setting forced Laibach to strip their music to the most essential stabs of anthemic bombast; and on Neu Konservatiw, Laibach pull it off with an executioner's cold stoicism. Forcefully blunt and uncompromisingly brilliant.
MPEG Stream: "Nova Akropola (live)"
MPEG Stream: "Die Liebe (live)"

LAIBACH Rekapitulacija 1980 + 1984 (NSK / EFA) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If one were to take the logic of appropriative artists like Warhol or Rauschenberg, to the extremities of absurdity and dehumanization through the procress of mechanical reproduction, you would have Laibach. Perhaps the most misunderstood post-modern project to infiltrate pop culture, Laibach has often been associated with the proliferation of totalitarianism and Nazi culture, simply because they used those higly charged symbols and images and projected them back into the mass culture. However, Laibach's intent is to reinvest not just those symbols, but any symbol of authority and power, with the question of why is this symbol important to our culture. In many ways, Laibach was continuing in the same paths of inquiry found in their British compatriots Throbbing Gristle and The Hafler Trio; however, Laibach never cracked a smile, an attitude exemplified in their triumphant reinterpretations of the Beatles "Let It Be" as a series of miliaristic dirges and patriotic medleys.
"Rekapitulacija 1980 + 1984" was their first album, released as a double LP set with a beautiful series of reproduced woodcuts, offering portraits of the noble spirit from the agrarian worker married to the industrial landscapes, mirroring the same totalitarian artforms that had been thrust upon their native Slovenia during the Nazi occupation and later behind the Iron Curtain, when Yugoslavia was a Communist country. Despite this being their earliest set of recordings, Laibach's skill in the studio is tremendous, as heard in their epic piece 'Ti, Ki Izzivas' transforming Bernhard Hermann's soundtrack for "Psycho" into a punishing uber-motif coupled with a relentless drum machine pound and discordant organ blasts. Other tracks such as 'Brat Moj' or 'Smrt Za Smrt' are brooding no wave constructions, taking the best and most haunting elements of early Swans and early Cabaret Voltaire and fusing them into a skeletal anti-groove laced with growling vocals and commanding basslines.
But Laibach themselves have said it best in their early masterpiece 'Perspektive' : "By darkening the consumers' mind, it drives them into a state of humble contrition and total obedience and self-sacrifice, by destroying every track of individuality, it melts the individuals into a mass and a mass into a humble collective body... Our basic inspiration (ideals which are not ideals through their form but the material of Laibach manipulation itself) remains an industrial production, the art of the third Reich, totalitarianism, taylorism, bruitism, disco... The disco rhythm as a regular repetition, is the purest / the most radical form of the militantly organized rhythmicity of technicist production, and as such the most appropriate means of media manipulation." To hear this recited in the style of a Russian propagandist over a ominous thud of drum machines and triumphant Wagnerian horns, one can't help but laugh at the absurdity of such a statement; however, the logic quickly sinks in that Laibach are 100% correct. A brilliant album.
Perhaps the greatest and most challenging pieces of conceptual art disguised as a pop album. Truly awesome.
MPEG Stream: "Brat Moj"
MPEG Stream: "Slovenska Zena"
MPEG Stream: "Ti, Ki Izzivas"

LAIBACH Wat (Mute) cd 16.98
What with the sad recent history of the former Yugoslovia -- conflicting ethnicities and religions, horrible atrocities, wars upon wars -- Laibach's perspectives on politics and culture appear as ghastly premonitions, which unfortunately have come true. Since the early '80s Laibach has located their Slovenia at the crossroads of the many forces (e.g. Nazi fascism, Communism, Western consumerism, fundamentalist religions, etc.) which all attempt to exact their wills upon the people of their nation, who in turn have had to adapt culturally, politically, or otherwise to such forces. In turn, Laibach and their larger organization NSK has embraced this behavior for adaptation and appropriation as a means of both celebrating the Slovenian spirit and criticizing the invasive forces. At times, the Laibach ethos spoke through grim industrial mantras (e.g. "Rekapitulacija" and "Nova Akropola"); yet others, Laibach's message came through the pastiche of their bizarrely comical cover album of the Beatles "Let It Be."
So strong are their convictions about their own concepts, politics, and aesthetics that Laibach runs dangerously close to self-parody. Of course, Laibach has plenty of rhetoric to defend their conceptual agenda; but it's hard for them to hide behind tautologies in defense of "Wat," a strange album that jack hammers 909 rhythms, Wagnerian samples, Chain Reactive synth pads, and growling vocals into a slick production not unlike a guitarless Rammstein, who in turn are the most egregious of Laibach copyists. That said, Laibach unwaveringly believes that "Wat" is a relevant pop album disguising their interrogative practices. The bombast of these ideals is what makes Laibach so effective, but at the same time Laibach can stumble over their own tongues.
MPEG Stream: "B Mashina"
MPEG Stream: "Du Bist Unser"
MPEG Stream: "Now You Will Pay"

LAIKA Good Looking Blues (Too Pure) cd 21.00
Margaret Fiedler and her Laika co-horts brings us another super-sultry album. The follow-up to Sound of The Satellites is full of the same sexy murmurred, whispered vocals, rich Rhodes keyboard, minimoog textures, and intricate rhythms. A wonderfully groovy collection.