MARK LANEGAN BAND Bubblegum (Beggars Banquet) lp 15.98
Originally released way back in 2004, now reissued on vinyl!
Mr. Lanegan sure invited all his buddies to be in his Mark Lanegan Band. Just check this roster out: Joshua Homme and Nick Oliveri (Queen Of The Stone Age), PJ Harvey, Izzy Stradlin and Duff McKagan (Guns'n Roses/Velvet Revolver), Greg Dulli (Afghan Whigs and Twilight Singers), Dean Ween and Chris Goss (Masters Of Reality)! Pretty hot shit! And whether rocked up (as on the album's first single "Sideways In Reverse") or slow'n'smoldering (check out "Wedding Dress"), the overall results are absolutely smokin'. The only wrinkles in the album are minor ones. First, Harvey's vocal performance on the second song "Hit The City" seems oddly detached, almost as if her backing vocals were an afterthought with her singing along over a finished recording. Their duet on "Come To Me" fares much much better. More troublesome are the occasional way-out-of-place soul diva background vocals that also marred earlier Twilight Singers records, and seem like some weird requisite big budget addition when an artist makes the shift from hyped indie veteran to hyped major label hopeful. That said, Bubblegum reveals Lanegan's broadest scope to date, incorporating elements from all the stages of his lengthy career (early trippy grunge-y rock to funereal dirge-twang). Throughout the fifteen songs, his unmistakable deep smoky rasp of a voice is in particular top form. Awesome!
MPEG Stream: "Sideways In Reverse"
MPEG Stream: "Come To Me"

MARK, CAROLYN Nothing Is Free (Mint) cd 16.98
Long associated as the 'other Corn Sister' (Neko Case is the other half of that vivacious duo) and collaborator with many other Canadian indie music luminaries, Carolyn Mark shines in her own spotlight on this, her fifth full length. She's a Canadian city slicker with comforting hillbilly charm, a goddess with gusto dishing out country pop delectibles with her trademark infectious spice of life. She's your closest bosom buddy. A perpetual hostess with the mostest, it's a well known fact that she can tell a baudily hilarious tale and then turn on a dime for a genuine forlorn heartbreaker and she can also down the hooch with the big boys. Who doesn't heart Ms Carolyn? She throws in a curve ball this time around, closing the album with something a little different, the Massive Attack-esque drowsily downtempo "Destination: You". It's a nice change, revealing yet another facet of this dynamo. A wonderful voice that comes as much from the gut as from the heart!
MPEG Stream: "The 1 That Got Away (With It)"
MPEG Stream: "Pink Moon And All The Ladies"

MARK, CAROLYN & N.Q. ARBUCKLE Let's Just Stay Here (Mint) cd 15.98
Yeah, we know it must get kinda tired, and it must be a blessing and a curse for Carolyn Mark to always have another artist mentioned in her albums' reviews even if that artist is a friend and collaborator. But if it helps get people to check out her great music, we hope she'll understand! The vivacious namesake of her pal Neko Case's early rollicking tune "Karoline", Carolyn Mark strikes a balance between the bold and the gentle, the ribald and the romantic. The lyrics of that song really nail it, "The path you walk is on fire, so wild and unashamed with a passion you inspire" and "The web you weave is so tender I'm tangled by your gaze". Spend a few moments in her presence and you'll be captivated and charmed too. She's such a great storyteller, both in spoken word and music, both in off-the-cuff impromptu and more composed settings. She can have your guts aching with laughter, and then your heart aching with sorrow.
Mark delivers the goods with her latest album, a collaboration with the awesomely named N.Q. Arbuckle who are not a person, but a band from Toronto. As you may know, Ms Mark has amassed quite an impressive body of homespun Canadiana all by her lonesome as well as in collaboration with her many incredibly talented musical friends. Over the years she's proven to be a splendid hostess, welcoming all into her musical kitchen with a giddy batting of her big false lashes, a generous glass of cheer, her home cookin' (psst, she makes cookbooks filled with her pals' and her own recipes too!) and plenty of song of course. You might recall the Tribute To Nashville cd re-enactment of the soundtrack to Robert Altman's 1975 film which she orchestrated a few years back. Such a curiously wonderful labor of love. So needless to say, any news of fresh collaborations with this lady is good news! Here, she and N.Q. Arbuckle make a great pairing, definitely kindred spirits. Despite the title, there's actually a sense of travel (she anecdotally namechecks Canadian cities along the way. Yes, you get a little geography lesson on each of her albums!), of movement, of restlessness, but also a yearning for the warm embrace of home. Call us crazy, but some of the songs (such as "Officer Down") conjured imaginings of a countrified Fleetwood Mac (Hmmm, we just noticed on the shrinkwrap sticker it sez "Carolyn lovingly calls it her Rumours". So we're not crazy!), while others (such as "Downtime") recall the electrified earthy hey day of Uncle Tupelo (but then again maybe that's because Neville Quinlan's voice is a deadringer for Jay Farrar's!). Both are very good points of reference in our books! Recommended.
MPEG Stream: "Officer Down"
MPEG Stream: "The 2nd Time"
MPEG Stream: "Canada Day/Toronto"

MARK, CAROLYN & N.Q. ARBUCKLE Let's Just Stay Here (Mint) lp 0.00
Now on vinyl! Yeah, we know it must get kinda tired, and it must be a blessing and a curse for Carolyn Mark to always have another artist mentioned in her albums' reviews even if that artist is a friend and collaborator. But if it helps get people to check out her great music, we hope she'll understand! The vivacious namesake of her pal Neko Case's early rollicking tune "Karoline", Carolyn Mark strikes a balance between the bold and the gentle, the ribald and the romantic. The lyrics of that song really nail it, "The path you walk is on fire, So wild and unashamed with a passion you inspire" and "The web you weave is so tender I'm tangled by your gaze". Spend a few moments in her presence and you'll be captivated and charmed too. She's such a great storyteller, both in spoken word and music, both in off-the-cuff impromptu and more composed settings. She can have your guts aching with laughter, and then your heart aching with sorrow. Mark delivers the goods with her latest album, a collaboration with the awesomely named N.Q. Arbuckle who are not a person, but a band from Toronto. As you may know, Ms Mark has amassed quite an impressive body of homespun Canadiana all by her lonesome as well as in collaboration with her many incredibly talented musical friends. Over the years she's proven to be a splendid hostess, welcoming all into her musical kitchen with a giddy batting of her big false lashes, a generous glass of cheer, her home cookin' (psst, she makes cookbooks filled with her pals' and her own recipes too!) and plenty of song of course. You might recall the Tribute To Nashville cd re-enactment of the soundtrack to Robert Altman's 1975 film which she orchestrated a few years back. Such a curiously wonderful labor of love. So needless to say, any news of fresh collaborations with this lady is good news! Here, she and N.Q. Arbuckle make a great pairing, definitely kindred spirits. Despite the title, there's actually a sense of travel (She anecdotally namechecks Canadian cities along the way. Yes, you get a little geography lesson on each of her albums!), of movement, of restlessness, but also a yearning for the warm embrace of home. Call us crazy, but some of the songs (such as "Officer Down") conjured imaginings of a countrified Fleetwood Mac (Hmmm, we just noticed on the shrinkwrap sticker it sez "Carolyn lovingly calls it her Rumours". So we're not crazy!), while others (such as "Downtime") recall the electrified earthy hey day of Uncle Tupelo (but then again maybe that's because Neville Quinlan's voice is a deadringer for Jay Farrar's!). Both are very good points of reference in our books! Recommended.
MPEG Stream: "Officer Down"
MPEG Stream: "The 2nd Time"
MPEG Stream: "Canada Day/Toronto"

MARK, CAROLYN & THE ROOM-MATES Terrible Hostess (Mint) cd 14.98
I can assure you that the title is by no means auto-biographical. Ms Carolyn is the lovely hostess with the most-est. Talk about a party girl! She along with her room-mates Tolan and Garth surely whip everyone else up into the mirthful merriment. Each on his or her own possesses a down to earth ease at entertaining that's something to behold, and together? Well, let's just say "get ready for the good times." Some of the best storytelling stage banter around. Her second album makes leaps and bounds from where her rough'n'tumble debut Party Girl left off. For one thing it's all studio recorded as opposed to her more lo-fi, song-in-every-city-across-Canada-in-a-Honda adventure. Since that album, she's performed a whole bunch in an ever-expanding range of venues and continued to play in the Corn Sisters with her good pal Neko Case (who, by the way, wrote a song about her - "Karoline" - on The Virginian). A much more polished, sophisticated lady who can still whoop it up and whomp yer butt! Much like fellow Canadian k.d. lang (yeah I know, aren't all Canadian female country artists compared to her?), she's able to slip gracefully from down home hillbilly stomp to elegant torch balladry and back again with nary a false step. This is most apparent on a particular three song stretch on this album ("Dirty Little Secret" through "Catscan"). With its warm horns, piano recorded in an old church across the street from the studio, a male chorus, there's an ever-present old tyme feel, bringing to mind the stage of the Grand Old Opry with its dapper gents and bouffanted ladies. The duet vocal interplay on "Catscan" rings with a fond familiarity much like that of George Jones and Tammy Wynette or Loretta Lynn and Conway Twitty. Very nice!
RealAudio clip: "Dirty Little Secret"
RealAudio clip: "Inevitable"
RealAudio clip: "Catscan"

MARKOWSKI, VINCENT Dirty Capsules (DC Recordings) 12" 13.98

MARQUIS DE TREN AND BONNY BILLY Get On Jolly (Palace Records) cdep 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The beloved Bonny Billy (a.k.a. Will Oldham / Palace) returns just in time to completely redeem his reputation after the rather unremarkable EP with Rian Murphy. On this new EP, Oldham collaborates with amazing guitarist Mick Turner (of Dirty Three fame). The results are six of the most beautifully elegant songs we've heard from Mr. Oldham in many moons. The dark overtones of "I See a Darkness" coupled with Turner's sparse, fractured melodies, delicately plucked -- and no twang, just stark atmosphere. The lyrics are adapted from a book of Indian love poems called GITANJALI (hence the play on words in the album title). Overall, a very, very beautiful record. Forget how sick you've gotten of Oldham, this is really lovely.
A sample of the lyrics:
when you ask me to sing
it feels like my heart
could burst with pride
when i look at your face
tears come to my eyes
i know you take pleasure
in my singing
i know that only when i sing
do you hear me

and drunk with the joy of singing
i forget myself
and call you my friend


RealAudio clip: "25"
RealAudio clip: "64"

MARR, JOHNNY AND THE HEATERS Boomslang (Artist Direct) cd 16.98
Upon first sight of this cd, we were taken aback by the odd identicalness of the band members' mouths. Byram proclaimed that they looked like seagulls flying off in the distance - thin inky curving lines - and they absolutely do. But enough about their petulant embouchures, this album marks not only the debut of Johnny Marr's new band but also of his premiere as a lead vocalist and frontman. As well, all but one of the songs are credited to Marr as the sole songwriter. The lone exception is "Inbetweens" which was co-written with bandmates bassist Alonzo Bevan (ex-Kula Shakur), guitarist Adam Grey and drummer Zac Starkey (who is indeed Ringo's son). Generally this is standard Brit rock fare (think watered down Stone Roses or Oasis) made notable only by the presence of Marr's name on it. Unfortunately the one thing we all hoped would be the highlight and defining factor of Boomslang is all in all absent - that is, Marr's guitar playing. Alas!
RealAudio clip: "The Last Ride"
RealAudio clip: "Inbetweens"

MARS The Complete Studio Recordings (Important) lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Of the four bands that graced the No New York compilation, Mars has always been the most enigmatic, having only recorded 32 minutes of music in the studio. Yet, their sound has been vastly influential upon the development of bands like Sonic Youth and the Swans as well as every single band that seeks to embrace the No Wave spirirt. In their very short career (spanning something like 18 months), the Mars sound was defined by psychotic / narcoleptic investigations into thoroughly damaged improvisations; yet, their early ventures into structured songs (i.e. "3E," "11,000 Volts," and "Helen Fordsdale,") are so jaw-droppingly energetic, complex, and curiously catchy that their evolution into the abstract can be a bit frustrating. Yet, it is precisely this tension between the the proto-Daydream Nation, avant-punk riffs they clearly had a knack for and the delirious throbs of noise that became Mars signature and that has made Mars so compelling after all these years. For die-hard Mars fans, these recordings are in fact the original masters that bassist Mark Cunningham found a few years back. The earlier Mars retrospective 78+ originally released on Lydia Lunch's Widowspeak and later on Atavistic found Jim "Foetus" Thirlwell reconstructing many of the recordings which had been considered lost. Regardless, Mars was an amazing band who was well ahead of their time, and this document clearly proves that. This deluxe LP is limited to 1000 copies, athough it is still available on cd as well.

MARS The Complete Studio Recordings NYC 1977-1978 (No More) cd 15.98
Of the four bands that graced the No New York compilation, Mars has always been the most enigmatic, having only recorded 32 minutes of music in the studio. Yet, their sound has been vastly influential upon the development of bands like Sonic Youth and the Swans as well as every single band that seeks to embrace the No Wave spirirt. In their very short career (spanning something like 18 months), the Mars sound was defined by psychotic / narcoleptic investigations into thoroughly damaged improvisations; yet, their early ventures into structured songs (i.e. "3E," "11,000 Volts," and "Helen Fordsdale,") are so jaw-droppingly energetic, complex, and curiously catchy that their evolution into the abstract can be a bit frustrating. Yet, it is precisely this tension between the the proto-Daydream Nation, avant-punk riffs they clearly had a knack for and the delirious throbs of noise that became Mars signature that has made Mars so compelling after all these years. For die-hard Mars fans, these recordings are in fact the original masters that bassist Mark Cunningham found a few years back. The earlier Mars retrospective 78+ originally published on Lydia Lunch's Widowspeak and later on Atavistic found Jim "Foetus" Thirlwell reconstructing many of the recordings which had been considered lost. Regardless, Mars was an amazing band who was well ahead of their time, and this document clearly proves that.

MARS VOLTA Amputechture (Universal) cd 15.98
The Mars Volta, the still relatively youthful captains of the league of recent prog progeny, have consistently presented themselves as a very promising sonic entity of cryptic cerebral progressive substance. However despite what they themselves might believe, it seems the shoes they're trying to fill still might require some growin' in. With Amputechture, they've sure shorn the last of their At The Drive-In-ness (both musically and appearance-wise including one large 'fro). Really, on paper it all sounds fantastic... sci-fi inspired, Latin salsa infused prog rock, but what comes out of the speakers sounds more like aimless prog-styled noodly guitar solos and ill-conceived pretentious posturing that lacks the direction, composition and fortitude of its forefathers. And to be honest, there are a million bands doing this modern metallic prog thing a whole lot better. Weirder, heavier, more complex, more energetic, more inspired, take your pick, Chiodos, Circa Survive, Coheed And Cambria... And while we love John Frusciante (at least his fucked up solo records, his presence on the album doesn't help matters much if at all. A high falutin' disappointment.
MPEG Stream: "Tetragrammaton"
MPEG Stream: "Day Of The Baphomets"

MARS VOLTA Amputechture (Universal) lp 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The Mars Volta, the still relatively youthful captains of the league of recent prog progeny, have consistently presented themselves as a very promising sonic entity of cryptic cerebral progressive substance. However despite what they themselves might believe, it seems the shoes they're trying to fill still might require some growin' in. With Amputechture, they've sure shorn the last of their At The Drive-In-ness (both musically and appearance-wise including one large 'fro). Really, on paper it all sounds fantastic... sci-fi inspired, Latin salsa infused prog rock, but what comes out of the speakers sounds more like aimless prog-styled noodly guitar solos and ill-conceived pretentious posturing that lacks the direction, composition and fortitude of its forefathers. And to be honest, there are a million bands doing this modern metallic prog thing a whole lot better. Weirder, heavier, more complex, more energetic, more inspired, take your pick, Chiodos, Circa Survive, Coheed And Cambria... And while we love John Frusciante (at least his fucked up solo records, his presence on the album doesn't help matters much if at all. A high falutin' disappointment.
MPEG Stream: "Tetragrammaton"
MPEG Stream: "Day Of The Baphomets"

MARS VOLTA Francis The Mute (GSL) 3lp 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on vinyl in the form of this ultra deluxe triple lp set!!!
Uh oh. Here we are again, with the band that creates lovers or haters more than any other I know. Although, I have to say, personally I'm kind of on the fence about them! Jon Theodore is one of the most amazing drummers I've ever seen or heard. Their live show is absolutely entertaining, especially when joined by John Frusciante, who's contribution of a second incessant guitar solo seems to make their music make sense. As well, Omar and Cedric's pants are just so tight, it is unbelievable. Their Tremulant EP was shocking. It was this full-on indie-power-prog, like nothing I'd heard before. Their music went somewhere... and kept on going... though, I don't think I understood exactly "where". Their debut full-length, Deloused In The Comatorium (with its odd name and pretty terrible artwork) was still totally beyond me. Not truly prog, not truly indie-pop... someplace in between, with technical insanity, near-constant meter-changes and polyrhythm incessantry. A lot of people seemed to take MV as though they were a total mess of music: ornate, pompous, not at all worthy of any ounce of praise, let alone the legions of "extreme" fans all over the world.
Now, Frances The Mute, their second full-length, is monolithic at 77 minutes long. Despite that length, it seems to be a bit more digestible. I would certainly have something that felt like jet-lag if I had to listen to the whole thing in one sitting, but to dedicated fans, of which there are many, this will hardly be enough power-progtastic-indie-pop. And of course, MV still features Lars Ulrich's and my favorite drummer, Jon Theodore.
MPEG Stream: "The Widow"
MPEG Stream: "Cassandra Geminni: A. Tarantism"

MARS VOLTA Inertiatic ESP / Drunkship Of Lanterns (Picture Disc) (GSL / Erika) 12" Picture Disc 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hey Mars Volta completists! Here's another striking picture disc from these post-prog cool kids. Not the place to start if you're just getting acquainted with these fellows. Head straight for their Tremulant EP first. Limited pressing of 5000.

MARS VOLTA Octahedron (Warner Bros. ) cd 13.98
This latest release from modern prog heroes Mars Volta finds them at their orchestrated and organized best. Omar Rodriguez Lopez lays on the guitar effects while Cedric Bixler Zavala's vocals soar above and beyond into the stratosphere. There's a lot of extended build ups (as one has grown to expect) and some really crazy drum work on this record (especially on "Cotopaxi"). Though most of the eight tracks rock almost beyond belief, there are a couple sloooow, dreamy jams that almost require closed eyes and a doobie to fully appreciate.
MPEG Stream: "Since We've Been Wrong"
MPEG Stream: "Teflon"
MPEG Stream: "Halo Of Nembutals"

MARS VOLTA Octahedron (Rodriguez Lopez Productions) 2lp 38.00
Now on not so cheap vinyl (special for this Saturday's Vinyl Record Store Day)... This latest release from modern prog heroes Mars Volta finds them at their orchestrated and organized best. Omar Rodriguez Lopez lays on the guitar effects while Cedric Bixler Zavala's vocals soar above and beyond into the stratosphere. There's a lot of extended build ups (as one has grown to expect) and some really crazy drum work on this record (especially on "Cotopaxi"). Though most of the eight tracks rock almost beyond belief, there are a couple sloooow, dreamy jams that almost require closed eyes and a doobie to fully appreciate.
MPEG Stream: "Since We've Been Wrong"
MPEG Stream: "Teflon"
MPEG Stream: "Halo Of Nembutals"

MARS VOLTA Scabdates (GSL / Universal ) cd 14.98
Eeep, that rather gnarly album title and one particularly excessive guitar solo in the 11th track aside, this live album from nouveau world proggy youths The Mars Volta will surely please their many fans (hell, maybe those two things won't bother you). Although it clocks in at just under 74 minutes (not really all that long for a prog-rock journey, is it?) of tripped-out jams, more structured songs and surprising little crowd noise, some of us found Scabdates to be somewhat long-winded and self-indulgent... but we're sure for the diehards the time will fly by. Not the first nor best place to start if you're just now getting around to a first encounter with these fellows though (if that's the case, check out their awesome debut Tremulant cdep -- a tight concise workout to launch you into the MV orbit).
MPEG Stream: "Abrasions Mount The Timpani"
MPEG Stream: "Cicatriz Pt. 3"

MARS VOLTA Televators (Picture Disc) (GSL / Erika) 12" Picture Disc 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hey Mars Volta completists! Here's another striking picture disc from these post-prog cool kids. Not the place to start if you're just getting acquainted with these fellows. Head straight for their Tremulant EP first. Limited pressing of 5000.

MARS VOLTA The Bedlam In Goliath (Universal) cd 14.98
Over the past six years The Mars Volta has always torn it up. Their roster has boasted some serious players with amazing chops, but their songs could be long-winded, self-indulgent and overtly wanky (example: 2006's Amputecture). Still, you can't knock 'em too hard. Since their awesome Tremulant debut back in 2002, they've tirelessly brought their often seemingly impervious ethno-proggy sounds to the youthful masses who in turn have devoured them and continue to clamber for more. Starting the year off with a fierce bang, The Bedlam In Goliath is this tight, well-oiled music machine's most infectious and accessible work since that first ep. Yet, it's still driven by the epic, the techy and the cerebral. Sure to please their devotees and win them some new ones too. Pssst, a little aside: Cedric's vocals are sounding their most pitchshifted-up-up-up into the shrill Chipmunks stratosphere. As far as we know they aren't processed but they are totally crazy!
MPEG Stream: "Goliath"
MPEG Stream: "Ouroborus"

MARS VOLTA, THE De-loused In The Comatorium (Universal) cd 15.98
Seeming galaxies away from their former band At The Drive-In, Cedric Bixler and Omar Rodriguez have crafted a most artful and expansive major label debut which surges forth beautifully from their 2002 "Tremulant" 3-song EP. Bixler's vocals take untethered flight into the upper stratosphere bringing to mind the highly affecting vocal acrobatics of forefathers Jon Anderson of Yes or Rush's Geddy Lee. Actually at some points, Bixler's voice soars to near-Bjork heights of emotionality. Rodriguez's songwriting moves even further into mind-spinning prog, psych and jazz-imbued complexities.
The Mars Volta stampedes unrelenting through most of this album only occasionally slowing things somewhat to draw the listener through mysterious subterranean drones and pulses. Looming like the most foreboding of thunderheads, and coming down in taut, torrential downpours, the stirring tech-rock maneuvers are precise and skillfully executed.
This release will undoubtably receive much attention for the band members' lineage as well as the notable individual playing bass -- Flea! -- however this is by no means the Flea Hour. His playing fits seamlessly, but it's the chemistry between the five core players which is the dynamic key. The two fellows were joined once again by Jon Theodore, Ikey Owens, and the late Jeremy Ward. Produced by Rodriguez and Rick Rubin. A most challenging and rewarding listen. An additional note: Cover design by Hipgnosis mainman Storm Thorgerson and Coil's Peter Christopherson.
MPEG Stream: "This Apparatus Must Be Unearthed"
MPEG Stream: "Televators"

MARS VOLTA, THE Frances The Mute (Universal) cd 15.98
Uh oh. Here we are again, with the band that creates lovers or haters more than any other I know. Although, I have to say, personally I'm kind of on the fence about them! Jon Theodore is one of the most amazing drummers I've ever seen or heard. Their live show is absolutely entertaining, especially when joined by John Frusciante, who's contribution of a second incessant guitar solo seems to make their music make sense. As well, Omar and Cedric's pants are just so tight, it is unbelievable. Their Tremulant EP was shocking. It was this full-on indie-power-prog, like nothing I'd heard before. Their music went somewhere... and kept on going... though, I don't think I understood exactly "where". Their debut full-length, Deloused In The Comatorium (with its odd name and pretty terrible artwork) was still totally beyond me. Not truly prog, not truly indie-pop... someplace in between, with technical insanity, near-constant meter-changes and polyrhythm incessantry. A lot of people seemed to take MV as though they were a total mess of music: ornate, pompous, not at all worthy of any ounce of praise, let alone the millions of "extreme" fans all over the world.
Now, Frances The Mute, their second full-length, is monolithic at 77 minutes long. Despite that length, it seems to be a bit more digestible. I would certainly have something that felt like jet-lag if I had to listen to the whole thing in one sitting, but to dedicated fans, of which there are many, this will hardly be enough power-progtastic-indie-pop. And of course, MV still features Lars Ulrich's and my favorite drummer, Jon Theodore.
MPEG Stream: "The Widow"
MPEG Stream: "Cassandra Geminni: A. Tarantism"

MARS VOLTA, THE Francis the Mute b/w The Widow (Live) (GSL) 12" 6.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hark, all ye kids and collectors! The B-side of this 12" single is a live version of The Mars Volta's heartfelt power-prog ballad "The Widow" recorded at LA's Wiltern Theater on May 6th, 2004. The album version can be heard on their latest release, Frances The Mute (which happens to also be the title of the A-side of this record), but you probably already knew that.

MARS VOLTA, THE Nocturniquet (Warner Brothers) cd 12.98

MARS VOLTA, THE Tremulant EP (GSL) cd ep 7.98
If you've been in search of some new and exciting sounds, you simply should not miss this introductory EP to The Mars Volta. Although this sextet will undoubtedly receive much attention for two of its members' past band (Omar and Cedric were the most recognizable members of At The Drive-In) not to mention the presence of Jon Theodore (of Golden and formerly of Royal Trux and Him) on drums, they fully deserve to be taken on their own ground.
The Mars Volta are determined *not* to take the path of least resistance by retracing the steps they've already trod. Instead, they're traversing a fresh, dynamic terrain. Crafting intricate, multi-layered songs with a definite *prog* angle. Shades of King Crimson and Yes (and U2 in the vocals, but it's not annoying at all). And they've got the chops to successfully execute their formidable mission. The vocals - so untethered, hoarse and fiery in ATDI - are here molded into an emotional falsetto that rings clear and strong with additional effected ones adding an air of alienation. The music is an amazing, intricate blend of ultra-tight drumming, deep bass, keyboards and guitar made even more potent and unsettling by carefully arranged, foreboding samples and electronics. Oh and in case I didn't make myself clear... They absolutely rock! If these three songs are any indication, they will be a force to be reckoned with. Blistering!
Please note: this is not to be confused with DeFacto (TMV members Omar, Cedric, Jeremy and Ikey's experimental dub side project).
RealAudio clip: "Eunuch Provocateur"
RealAudio clip: "Cut That City"

MARS VOLTA, THE Tremulant EP (GSL) lp 7.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
If you've been in search of some new and exciting sounds, you simply should not miss this introductory EP to The Mars Volta. Although this sextet will undoubtedly receive much attention for two of its members' past band (Omar and Cedric were the most recognizable members of At The Drive-In) not to mention the presence of Jon Theodore (of Golden and formerly of Royal Trux and Him) on drums, they fully deserve to be taken on their own ground.
The Mars Volta are determined *not* to take the path of least resistance by retracing the steps they've already trod. Instead, they're traversing a fresh, dynamic terrain. Crafting intricate, multi-layered songs with a definite *prog* angle. Shades of King Crimson and Yes (and U2 in the vocals, but it's not annoying at all). And they've got the chops to successfully execute their formidable mission. The vocals - so untethered, hoarse and fiery in ATDI - are here molded into an emotional falsetto that rings clear and strong with additional effected ones adding an air of alienation. The music is an amazing, complex blend of ultra-tight drumming, deep bass, keyboards and guitar made even more potent and unsettling by carefully arranged, foreboding samples and electronics. Oh and in case I didn't make myself clear... They absolutely rock! If these three songs are any indication, they will be a force to be reckoned with. Blistering!
Please note: this is not to be confused with DeFacto (TMV members Omar, Cedric, Jeremy and Ikey's experimental dub side project).
RealAudio clip: "Eunuch Provocateur"
RealAudio clip: "Cut That City"

MARSHMELLOW COAST Ing (Kindercore) cd 13.98
More elfin voices from the land of Kindercore Records. Very very mellow. No pun intended. Little tunes that meander around a bit with pretty harmonies and flourishes. Like frolicking aimlessly down a rambling path in the woods on a sunny afternoon pausing briefly for a dip in a creek or a bite of wild berries. Starring Julian Koster and Scott Spillane (Elephant 6 gadabouts) on musical saw and flugelhorn respectively.

MARTIAL CANTEREL Refuge Underneath (Wierd) cd 11.98
The minimal wave rolls on! Martial Canterel is the work of Sean McBride whose darkened electronic tunes have come to us by way of his work with Liz Wendelbo as Xeno & Oaklander; and this album actually predates the exceptional Saracen record from Xeno & Oaklander. That said, all of his productions could have come via some Belgian post-punk imprint circa 1982, so the exact timing of his records matters little. There's plenty of similarities between his solo work and his work in Xeno & Oaklander, meaning that if you loved that record, this will not disappoint. Recorded entirely on analogue sequencers, synthesizers, and drum machines and first released as a cassette (foreshadowing the current resurgence of tape releases by a couple of years!), Refuge Underground bristles with dark pulsing energy, snapped around whip-cracking drum programming, tinny metallic sequences, and seriously infectious melodic arppegiations (think the best of DAF, Dark Day, Nitzer Ebb, or Absolute Body Control). McBride's monotone somber delivery accentuates the moods set through his cold and sparse, synth-pop constructions. Another great recapitulation of the past-future from Wierd Records.
MPEG Stream: "Lips Not Listening"
MPEG Stream: "3 Ages"
MPEG Stream: "Two Before Four"

MARTIN DUPONT Lost And Late... (Minimal Wave) lp 24.00
Here's another lost gem from Minimal Wave, the label that has been digging deep, very deep into the realms of post-punk and new wave to uncover many a release that might have been lost. For those who have procured plenty of terminal obscurities from such blogspots as Mutant Sounds, No Longer Forgotten Music, or Systems of Romance, some of the reissues on Minimal Wave may be familiar. But these are no grey area reissues. Minimal Wave has assured us that they have taken great care to procure the rights for each of these recordings!
Martin Dupont was a French new wave band with a brief run in the mid '80s, and according to Minimal Wave, the band had acquired something of a cult status in their homeland for their peculiar take on synth-pop. Amidst the catchy melodies and mechanoid drum machines, Martin Dupont alternated between the wailing, barking vocals of Alain Seghir and the ethereal voices of Catherine Loy and Brigitte Balain. Kraftwerk and Joy Division are the references that the band claimed as their own; but their sound resembles the crypto-weirdness of Fad Gadget complete with splatters of trumpet, disjointed left-field rhythms, and purposefully over the top theatrics care of Seghir.

MARTIN, AARON & MACHINEFABRIEK Cello Recycling / Cello Drowning (Type) cd ep 15.98
With all the limited 3" cd-r releases and full lengths, it's amazing Machinefabriek, aka Rutger Zuydervelt could find time to collaborate, but boy are we glad he did. Two pieces, each a collaboration with American multi instrumentalist Aaron Martin, who recorded a series of cello pieces, which Zuydervelt proceeded to chop up, process, reassemble and twist into gorgeous haunting new shapes.
The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda.
As always, absolutely lovely.
MPEG Stream: "Cello Recycling"
MPEG Stream: "Cello Drowning"

MARTIN, AARON & MACHINEFABRIEK Cello Recycling / Cello Drowning (Type) 10" 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
With all the limited 3" cd-r releases and full lengths, it's amazing Machinefabriek, aka Rutger Zuydervelt could find time to collaborate, but boy are we glad he did. Two pieces, each a collaboration with American multi instrumentalist Aaron Martin, who recorded a series of cello pieces, which Zuydervelt proceeded to chop up, process, reassemble and twist into gorgeous haunting new shapes.
The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda.
As always, absolutely lovely.
MPEG Stream: "Cello Recycling"
MPEG Stream: "Cello Drowning"

MARTIN, PETER & FINCH Drouyn (EM Records) cd 21.00
Ah, yes it's summertime! Warm sunshine and trips to the beach! And what's more summery than surf music? Lo and behold, our favorite label for obscure and amazing reissues, Japan's EM Records, has a special new series of five, count 'em, five reissues devoted to lost "surf" music treasures. The first two, by Farm and Peter Martin & Finch, are out now, with the others to follow in short order. We're pretty sure all of 'em are awesome.
And if you're familiar with the eccentricity of this label, you'll know that this "EM Under Water" series isn't going to be about, y'know, "regular" surf music of the Jan & Dean or Ventures variety, nope. These first two releases are both soundtracks to rad '70s surfing movies, and are fully psychedelic, with tripped out grooves, synth experiments, and heavy rock jamming all part of the mix.
This album is the soundtrack to a cult 1974 documentary film entitled Drouyn, that followed champion Australian surfer Peter Drouyn (hmm, depending on how it's pronounced, Drouyn could be a bad name for a surfer!) on a globetrotting quest for the perfect wave, a journey that took him and his surfing pals to a variety of exotic locales -- as far afield as Africa and Japan -- over the course of the two years spent shooting the film. Filmmaker Bob Evans commissioned composer and classical guitarist Peter Finch to do the music, and also Sydney-based hard rockers Finch were brought in on the project as well. These songs and incidental music passages fully capture the lure of sun, sand and sea, as well as the sheer excitement of the wave-riding sport. You get orchestrated pop instrumentals, Eastern ethnic interludes, and even a laidback Beach Boyish cut ("Morning Comes The Sun") with harmony vocals. The contributions from Finch add a dose of fuzzed-out rock and roll energy as well, with their song "Roses" being a kick ass bit of hippy hard rock kitsch with lyrics that go: "Anyone can grow roses / but it takes a green thumb to grow grass" and "Everywhere you go you get busted by the fuzz / get out of the system, have a natural buzz". Peter Martin makes good use of the Finch boys on here, and also offers up arrangements for soulful horns, wigged out ARP synth, and strings... it flows wonderfully, sunny and melodic and mostly mellow. A summertime treat, like the Farm album it's own special thing, lovingly reissued by EM with all the bells and whistles.
MPEG Stream: "Sailaway"
MPEG Stream: "Cynthia"
MPEG Stream: "Morning Comes The Sun"

MARTSCH, DOUG Now You Know (Warner Bros.) cd 16.98
Mmmmm. This album is perfect for the lazy autumn-yet-still-summery-sunshine days that we're enjoying here in SF. Methinks you'll find it welcome no matter what time of the year, though. Doug Martsch, leader of Boise's Built to Spill, one of the only bands we can think of that *always* delivers incandescently glowing, gorgeous albums, has made a great solo album. Mostly Martsch on a twangy steel-stringed acoustic guitar that gives it a sunbaked, folksy backporch feel, he's occasionally accompanied by cello, simple snare drumming, delicate bass. Compared to the gloriously filled-out sound of the BTS records, the sound here is much more stripped down, but even though all of these tracks would have been great as proper BTS rock songs, they are just fine -- in fact, exquisite -- performed this way. Same minor key melodies, plaintively-voiced lyrics, and super emotional guitar solos that just leave ones heart aching.
"There isn't a way of deciding / which half of life's less inviting. / Awake or a dream. / 'Cos both of them lead you to suffer. / You wade from one into the other / twice a day."
The album is quietly dedicated to the recently-passed Chris Takino, head of Up Records, who'd always released the BTS vinyl versions. Highly recommended!
RealAudio clip: "Offer"
RealAudio clip: "Dream"
RealAudio clip: "Instrumental"

MARTSCH, DOUG Now You Know (Warner Bros.) lp 10.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now on LP! Mmmmm. This album is perfect for the lazy autumn-yet-still-summery-sunshine days that we're enjoying here in SF. Methinks you'll find it welcome no matter what time of the year, though. Doug Martsch, leader of Boise's Built to Spill, one of the only bands we can think of that *always* delivers incandescently glowing, gorgeous albums, has made a great solo album. Mostly Martsch on a twangy steel-stringed acoustic guitar that gives it a sunbaked, folksy backporch feel, he's occasionally accompanied by cello, simple snare drumming, delicate bass. Compared to the gloriously filled-out sound of the BTS records, the sound here is much more stripped down, but even though all of these tracks would have been great as proper BTS rock songs, they are just fine -- in fact, exquisite -- performed this way. Same minor key melodies, plaintively-voiced lyrics, and super emotional guitar solos that just leave ones heart aching.
"There isn't a way of deciding / which half of life's less inviting. / Awake or a dream. / 'Cos both of them lead you to suffer. / You wade from one into the other / twice a day."
RealAudio clip: "Offer"
RealAudio clip: "Dream"
RealAudio clip: "Instrumental"

MARTYN, JOHN The Church With One Bell (Thirsty Ear) cd 15.98
Brand new album by legendary folk guitarist, who was beautifully critiqued in a recent cover article in The Wire. He was the first white artist ever signed to Island Records, has made records with Lee Scratch Perry, Phil Collins, and Burning Spear, and covers both Billie Holiday and Portishead on the new record. Steeping his guitar in acid, Martyn allows the foreign bodies of free jazz and the infinity of dub to invade folk's fragile aesthetics. We also have some recent early 1970s reissues for 12.98 each: Bless the Weather, Inside Out, and Solid Air.

MARZ Wir Sind Hier (Karaoke Kalk) cd 15.98
Marz is the work of Ekkehard Ehlers and Albrecht Kunze, although fans of Ehler's gorgeous digital aerosolization on his Plays album or his collaboration with Stefan Mathieu would be hard pressed to find aesthetic similarities between the two projects. According to the press release, this album of delicate if obtuse, post-70s AM radio pop continues "to fashion their inviting and seductive landscapes out of folk, pop and club influences: explicit, prodigal, subtly differentiated, but also displaying a greater desire to take risks than on Love Streams, so much so that only an idiot would chose [sic] not to tarry here a while." Um, if this sounds like a description of Jim O'Rourke's smarty-pop albums Insignificance or Eureka, that's because Marz adequately redresses the same quizzically alluring schmalztiness as heard on O'Rourke's aforementioned pop constructs.
MPEG Stream: "Marz Im Park"
MPEG Stream: "Tropige Trauben"

MAS RAPIDO! Pity Party (Parasol) cd 15.98
Despite their moniker, Mas Rapido! aren't necessarily a speedy bunch. Were we anticipating some feverish punk popsters? Maybe so, but no, this veteran Seattle pop duo Donna Esposito and Frank Bednash (formerly known as Toothpaste 2000 and prior to that incarnation they were Cowboy And Spin Girl) take their own sweet time crafting toothsome, psych-tinged pop songs with a definite retro '60s feel. Much of their latest album Pity Party seems modeled after the top notch song craft of Big Star and Elephant Six which is a good thing in our books!
MPEG Stream: "Emily Lloyd"
MPEG Stream: "Girl Du Jour"

MASCIS, J Circle (Sub Pop) 7" 5.98

MASCIS, J Several Shades Of Why (Sub Pop) cd 13.98
It's finally here, the long threatened 'acoustic' solo record from Dinosaur Jr's J Mascis, and guess what? It sounds just like an acoustic Dinosaur record, which is not a bad thing at all, Mascis's distinctive raspy drawl is perfectly suited to a stripped down sound, and he's always been a fantastic songwriter, and that hasn't changed, in fact if anything, stripping away all the distorted guitars might make it even more evident.
And it's not strictly acoustic, and not strictly solo, there are lots of guests: Pall Jenkins from Black Heart Procession and 3 Mile Pilot, Matt Valentine from MVEE and Tower Recordings, Suzanne Thorpe from Mercury Rev, Kevin Drew from Broken Social Scene, and Kurt Vile from Kurt Vile, with instrumentation that includes violin, musical saw, optigan, dobro, flute, clarinet, lap steel and slide, and more, but those extra instruments, and the guests who wield them are employed judiciously for sure, the core sound is acoustic guitar and voice, just occasionally embellished with some swoonsome strings, some lush layers, or an extra set of melodies, the coolest addition is the extra vocalists, who add unlikely harmonies to a handful of tracks, the sound a little twangy, a little folky, but undeniably and distinctly Mascis/Dinosaur Jr. Obviously fans of the man and his band will dig this too, unless the wild distorted guitars were the only reason you were into Dinosaur (fair enough), but odds are the rest of you will dig this a lot. And if you like modern folkies/singer songwriters like Kurt Vile, and for some strange reason have never encountered J Mascis or Dinosaur Jr, then heck, this might be the introduction you've been waiting forÉ
MPEG Stream: "Listen To Me"
MPEG Stream: "Several Shades Of Why"
MPEG Stream: "Not Enough"

MASCIS, J Several Shades Of Why (Sub Pop) lp 16.98
It's finally here, the long threatened 'acoustic' solo record from Dinosaur Jr's J Mascis, and guess what? It sounds just like an acoustic Dinosaur record, which is not a bad thing at all, Mascis's distinctive raspy drawl is perfectly suited to a stripped down sound, and he's always been a fantastic songwriter, and that hasn't changed, in fact if anything, stripping away all the distorted guitars might make it even more evident.
And it's not strictly acoustic, and not strictly solo, there are lots of guests: Pall Jenkins from Black Heart Procession and 3 Mile Pilot, Matt Valentine from MVEE and Tower Recordings, Suzanne Thorpe from Mercury Rev, Kevin Drew from Broken Social Scene, and Kurt Vile from Kurt Vile, with instrumentation that includes violin, musical saw, optigan, dobro, flute, clarinet, lap steel and slide, and more, but those extra instruments, and the guests who wield them are employed judiciously for sure, the core sound is acoustic guitar and voice, just occasionally embellished with some swoonsome strings, some lush layers, or an extra set of melodies, the coolest addition is the extra vocalists, who add unlikely harmonies to a handful of tracks, the sound a little twangy, a little folky, but undeniably and distinctly Mascis/Dinosaur Jr. Obviously fans of the man and his band will dig this too, unless the wild distorted guitars were the only reason you were into Dinosaur (fair enough), but odds are the rest of you will dig this a lot. And if you like modern folkies/singer songwriters like Kurt Vile, and for some strange reason have never encountered J Mascis or Dinosaur Jr, then heck, this might be the introduction you've been waiting forÉ
MPEG Stream: "Listen To Me"
MPEG Stream: "Several Shades Of Why"
MPEG Stream: "Not Enough"

MASCIS, J & FRIENDS Sing + Chant For Amma (Baked Goods) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Hey, what's that?! Bongos, tambourine, acoustic guitar... why, it sounds like a Dinosaur Jr campfire singalong out in the woods! Wait, they even brought a generator (or very long extension cord) to power the electric guitar amplifier. All joking aside, while we recognize and respect that Mascis wrote and recorded these songs with deep reverence for Amma (the living Indian saint Sri Mata Amritanandamayi Devi aka the hugging saint), it doesn't mean we have to like it. Many of us didn't. Let's just say, a little goes a long way. Imagine Cat Stevens possessing the body of a more nasally congested than usual Mascis. Whoa. All proceeds from this self-released album will go towards Amma's humanitarian relief projects. Yes, Mascis' heart is in the right place, but we're afraid his music sure isn't. And if there's any question, please allow us to clarify that we're being critical of
the craft, not the message nor the cause.
MPEG Stream: "Please Remember That I'm Here"
MPEG Stream: "Help Me AMMA"

MASCIS, J + THE FOG Free So Free (Ultimatum / Artemis) cd 14.98
With his signature layers of fuzzy guitar and his whiny pleading drawl (meant in the nicest way of course), J Mascis comes through yet again. Looks like this record is J all by his lonesome, multitracking his way to a full band. And doing it quite beautifully I might add. It's been so long since I listened to Dinosaur, that listening to this totally brought me back. This record definitely has that trademark Dinosaur sound. All charming, lush and sad, but in that weirdly optimistic way.
RealAudio clip: "Freedom"
RealAudio clip: "If That's How It's Gotta Be"

MASCIS, J. + THE FOG More Light (Ultimatum Music) cd 15.98
Oh my, Kevin "My Bloody Valentine" Shields has joined forces with J. Mascis. Why?! Well, maybe 'cause they knew they'd make a great album together. With Shields' production help (and the assistance of various others, like some vocals from GBV's Robert Pollard) "More Light' is easily J.'s best work in years, since the heyday of Dinosaur Jr. Yeah, the cover art and graphic design still has the look of any number of crappy '90s Dinosaur Jr. records, but ignore that for the moment and listen. Get set for loads of fantastic Mascis guitar soloing, Neil Young-style vocal drawl, and catchy songwriting (some echoes of Nirvana in that dept.). The final blowout guitar overload cut (with Kevin Shields stepping up to the plate as guest guitarist) is only the icing on the cake. If you've given up on Mr. Mascis, it's time to reconsider; this is a winner.

MASERATI Inventions For The New Season (Temporary Residence Ltd.) cd 14.98
A simple check-list should help you to get an idea of what Maserati is all about: instrumental post-rock, released on the Temporary Residence Ltd. label, with a sports car name sorta like Trans Am... This album focuses a lot of psychedelic guitar distortion and krauty, rhythmic energy into eight sleek, speedy, and sometimes shoegazey tracks that sound like Frippertronics at the disco, or a coke-fuelled Circle/Tortoise/Zombi jam. It's a loud yet gentle ear-massage lit up by flashing, stroboscopic drumming. The drummer also plays in !!! and the Turing Machine, you could sorta see Maserati as a mix of those two bands, mathy propulsive post-rock with a bit of a groove-y, dance-y vibe. Portions of this could make a good Miami Vice soundtrack, like for a scene (filmed from a helicopter) of an exciting power-boat chase across a deep blue, beautiful, sunshiney sea. Also several of these tracks, Cup is convinced, could easily segue into a rendition of "Twilight Zone" by Golden Earring... which is cool by us.
MPEG Stream: "Inventions"
MPEG Stream: "This Is A Sight We Had One Day From The High Mountain"

MASERATI Inventions For The New Season (Temporary Residence Ltd.) 2lp 17.98
Maserati's 2007 full length, now reissued as a swank double lp. Here's our original review:
A simple check-list should help you to get an idea of what Maserati is all about: instrumental post-rock, released on the Temporary Residence Ltd. label, with a sports car name sorta like Trans Am... This album focuses a lot of psychedelic guitar distortion and krauty, rhythmic energy into eight sleek, speedy, and sometimes shoegazey tracks that sound like Frippertronics at the disco, or a coke-fuelled Circle/Tortoise/Zombi jam. It's a loud yet gentle ear-massage lit up by flashing, stroboscopic drumming. The drummer also played in !!! and the Turing Machine, you could sorta see Maserati as a mix of those two bands, mathy propulsive post-rock with a bit of a groove-y, dance-y vibe. Portions of this could make a good Miami Vice soundtrack, like for a scene (filmed from a helicopter) of an exciting power-boat chase across a deep blue, beautiful, sunshiney sea. Also several of these tracks, Cup is convinced, could easily segue into a rendition of "Twilight Zone" by Golden Earring... which is way cool by us.
MPEG Stream: "Inventions"
MPEG Stream: "This Is A Sight We Had One Day From The High Mountain"

MASERATI Passages (Temporary Residence Ltd.) cd 13.98
Rev it up! The Maserati boys are back with another compact disc installment of their instrumental, exceedingly rhythmic post rock, and unlike some bands who have run afoul of corporate intellectual property lawyers (Pansonic, Kleenex, Bipolaroid, etc.), they still haven't been sued by the manufacturers of the Italian sports car from whom they borrow their name (though perhaps it's also an obscure Ted Nugent lyrical reference? let's hope not). Probably the suits at the automaker Maserati's headquarters realize that this band's music is free, excellent advertising for their product!
This is definitely -driving- music, sometime a pleasant Sunday drive, sometimes a white knuckle ride over the speed limit, always propulsive, hypnotically repetitive, but dynamic as well. "Join Us, Mystic Sister" is a brief, ecstatic intro, that shines forth and then segues smoothly into "No More Sages", with its vaguely metallic, chucka-chucka guitars, motorik beats, and washes of shoegazery distortion. Other cuts venture further into purely kosmische, krautrock inspired territory, like the minimalist all-synth pulsations of "Thieves".
There's 8 tracks on this 40 minute disc, three of them remixes. However, all but two of the tracks previously appeared on limited edition, now out of print vinyl releases. The first four cuts are from Maserati's side of their 12" split with Zombi that we were never able to get enough of to list. And two of the remixes, by DFA's Tim Goldsworthy and !!!'s Justin Van Der Volgen, are from the Inventions Remixes 12". Both really dance it up, accentuating the cosmic disco vibe that Maserati already possess. The other remix, of a spacier take of this disc's "Monoliths", was done by Zombi's Steve Moore, and is exclusive to this release, as is album closer "Do You Hear The Nightbirds Calling You?". And if all that wasn't enough, this cd is further enhanced by the presence of two pretty cool Quicktime video clips. One's live, the other a cute, partly animated music video demonstrating Maserati's potential as workout music.
As always, VERY recommended for fans of Zombi, Trans Am, Circle, Salvatore, Tussle, Nisennenmondai, SF's own Jonas Reinhardt, and other likeminded coked up post rockers.
MPEG Stream: "No More Sages"
MPEG Stream: "Monoliths"

MASERATI Pyramid of the Moon (Temporary Residence Ltd.) 12" 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Recorded before the tragic death of drummer Jerry Fuchs, this 12" is a sort of teaser for the very very soon upcoming new record from post/math rockers Maserati, hence the similar title, but both tracks here are exclusive, and both make this well worth picking up.
The A side is another dose of that Maserati style post rock we can't ever seem to get enough of, sounding like some sort of impossible Circle / Zombi / Tortoise hybrid, krautrock rhythms, fuzzy Carpenter-y synths, KILLER drumming, all very hypnotic and mesmerizing, the main riff, a crunchy downtuned chug, wrapped around an almost danceable beat, those sci-fi Carpenter synths swirling in the background and occasionally wrapping themselves around the chugging guitars, the sound positions Maserati as a sort of heavier counterpoint to recent Record Of The Week-ers Majeure.
And if a brand new, exclusive sidelong track wasn't enough to convince you, that same track gets the remix treatment of the flipside from The Field, sampling the original, and transforming it into something much more woozy and washed out and hypnotic. The synths are cranked way up, the rhythm more machinelike, the chugging guitars reimagined as a blurred almost electronic sounding pulse. So great. We only have a handful of these, and it was super limited, so not sure how long we'll have these around...

MASERATI Pyramid Of The Sun (Temporary Residence Ltd.) cd 14.98
We've raved about instrumental post rockers Maserati in the past, and they just keep getting better and better, while oddly enough, they seem to gradually be moving away from their early sound, which was pretty much straight ahead nineties style post rock, which we love, toward something much more synthy and krautrocky, more groovy and almost dancey, which we also love. It probably has to do with the fact that drummer Jerry Fuchs (who tragically passed away last year) also played drums for !!! (Chik Chik Chik), so it was maybe inevitable that some of that funkiness might creep into his other group, since it's Fuchs' beats that pretty much drive this Maserati, propulsive and intricate, mathy and tight, but also super fluid. The guitars follow suit, looped and effected, cascading and chiming, all of that underpinned by some serious eighties style synths, pulsing like some supercharged John Carpenter soundtrack, and that's what makes Maserati sound so good, the collision of heavy crunchy guitars, propulsive motorik krautrock, and that sort of new age/wave-y synth. That's also why Maserati sound more like Zombi or Majeure these days, albeit a way more rocking, way heavier version. And hell, who could argue with a way heavier Zombi? Not us, that's for sure.
But really, to be fair, this new record is not all that far removed from past records, as far back as their Inventions For The New Season record, we were already describing some of their music as sounding like a "coke-fuelled Circle/Tortoise/Zombi jam" or as the perfect soundtrack for "an episode of Miami Vice, like for a scene (filmed from a helicopter) of an exciting power-boat chase across a deep blue, beautiful, sunshiney sea." And that vibe is still present, only now, it's for an episode of some futuristic sci-fi noir program, and instead of a speedboat chase, it's a hovership chase, between Bladerunner like buildings, culminating in a wild shootout in some sort of futuristic space disco. Which sounds pretty dang good to us.
Recommended for fans of Majeure, Zombi, Solar Bears, and other modern spacekraut sci-fi synth explorers, but also post/math/hypno rockers like Circle, Salvatore, Parlour, K-X-P, Magyar Posse, Cave, Russian Circles, etc.
MPEG Stream: "Pyramid Of The Sun"
MPEG Stream: "We Got The System To Fight The System"
MPEG Stream: "Bye M'Friend, Goodbye"

MASERATI Pyramid Of The Sun (Temporary Residence Ltd.) lp 15.98
NOW ON VINYL!!
We've raved about instrumental post rockers Maserati in the past, and they just keep getting better and better, while oddly enough, they seem to gradually be moving away from their early sound, which was pretty much straight ahead nineties style post rock, which we love, toward something much more synthy and krautrocky, more groovy and almost dancey, which we also love. It probably has to do with the fact that drummer Jerry Fuchs (who tragically passed away last year) also played drums for !!! (Chik Chik Chik), so it was maybe inevitable that some of that funkiness might creep into his other group, since it's Fuchs' beats that pretty much drive this Maserati, propulsive and intricate, mathy and tight, but also super fluid. The guitars follow suit, looped and effected, cascading and chiming, all of that underpinned by some serious eighties style synths, pulsing like some supercharged John Carpenter soundtrack, and that's what makes Maserati sound so good, the collision of heavy crunchy guitars, propulsive motorik krautrock, and that sort of new age/wave-y synth. That's also why Maserati sound more like Zombi or Majeure these days, albeit a way more rocking, way heavier version. And hell, who could argue with a way heavier Zombi? Not us, that's for sure.
But really, to be fair, this new record is not all that far removed from past records, as far back as their Inventions For The New Season record, we were already describing some of their music as sounding like a "coke-fuelled Circle/Tortoise/Zombi jam" or as the perfect soundtrack for "an episode of Miami Vice, like for a scene (filmed from a helicopter) of an exciting power-boat chase across a deep blue, beautiful, sunshiney sea." And that vibe is still present, only now, it's for an episode of some futuristic sci-fi noir program, and instead of a speedboat chase, it's a hovership chase, between Bladerunner like buildings, culminating in a wild shootout in some sort of futuristic space disco. Which sounds pretty dang good to us.
Recommended for fans of Majeure, Zombi, Solar Bears, and other modern spacekraut sci-fi synth explorers, but also post/math/hypno rockers like Circle, Salvatore, Parlour, K-X-P, Magyar Posse, Cave, Russian Circles, etc.
MPEG Stream: "Pyramid Of The Sun"
MPEG Stream: "We Got The System To Fight The System"
MPEG Stream: "Bye M'Friend, Goodbye"

MASMELO Madeline (self-released) cd-r 5.98
Madeline is the first release from these two Japanese gals currently calling SF their home. Prior to moving to the States, the pair were in a band called Small Universe, and one member is also currently the bassist for The Ass Baboons Of Venus! They dish out five very short (and only occasionally sweet) jolts of super raucous and lo-lo-fi, truly garage-style pop. Primitive thumpin' drumbeats, trashy guitar chords, girl gang vocals and the howl of uncontrolled feedback.
MPEG Stream: "Number Count"
MPEG Stream: "Here We Go"

MASS From Zero (Paratactile) cd 19.98
A truely extraordinary second release from the improv power trio Gary Smith, Gary Jeff, and Lou Ciccotelli (God, Spleen, etc.) on guitar, bass, electronics, and percussion.