[ aquarius records catalogue

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Showing results 1201 through 1250 of 2079.

Ani's "double live album containing over 2 hours of music and a spankin' 36 page photo book."

As the cd package clearly states "Two discs. 29 new songs. Two hours of music. One righteous babe." Do you really need any more? I didn't think so.

More live Ani.

The album cut "Swing" plus 4 otherwise unreleased songs, including a live Woody Guthrie cover with help from Gillian Welch and others. Also studio versions of songs by Phil Ochs and Bob Dylan, as America's #1 alt-folkie gives props to her heroes of the past.

Newest record from everyone's favorite folk rock heroine/ businesswoman/ entrepeneur. This time with special guests Maceo Parker and Prince (!).

When you think Bay Area and 'metal', you probably think Metallica, or Exodus, maybe even Testament. But had things gone a little differently, you might be thinking Dig That Body Up, It's Alive. Okay, well, maybe not, but if you were us, and you had been lucky enough to experience the freaked out metallic damage of this SF trio back in the day, this record would be having you losing your mind. And hell, even if you missed out on the DTBUIA years, which most folks probably did, one listen to this record, will immediately transport you to some dark sweaty hole in the wall, right into the middle of a heaving mass of sweaty kids, while right at the center, a guitarist and a drummer duel to the death, while the vocalist grunts and growls, climbing into the rafters, hanging� from pipes, leaping into the crowd, rolling around on the floor. You may not have been there, but it's easy to hear what it must have been like.� Dig The Body Up, It's Alive featured SF luminary John Dwyer (Coachwhips, OCS, Ohsees, Pink And Brown, Landed) on guitar and Oren Canfield (Child Abuse) on drums and the mighty Nate Denver (Total Shutdown, Nate Denver's Neck) on vocals. Dwyer's guitar is most definitely the focal point, his guitar emitting short bursts of convoluted metallic fury, the riffs squiggly and angular as often as downtuned and chugging, the drums the perfect foil, blasts of double kick, strange mathy grooves, full on blast beats, everything lurching and stumbling, stop start stop and start again, chaotic and furious, like some alien strain of death metal filtered through these three guys' cracked musical filter.�Above it all, Denver growling and grunting, death metal gurgles, telling tales of dragons and monsters and other completely off the wall stuff.� Side A is a serious of brief metallic bursts, riff after riff, squealing and grinding, thrashing and flailing. Dizzying and confusional, heavy and dense and completely damaged sounding. The flip side however is a whole 'nother thing entirely. A single side long jam. A single riff, repeating and looping, mesmerizing and hypnotic. Like a more aggro and angular Circle. Totally crushing, but strangely trancelike. Near the half way point, everything stops, Denver hisses out some creepy lyrics and the band launch right back into it. A couple more false endings, but each time the band head right back in, picking up right where they left off, pounding that riff into utter oblivion.� Finally, when the song really does end, the last note rings out, a shimmering ominous metallic drone, over which Denver recites a lengthy and super tweaked chunk of spoken word, more princesses and monsters and the like... So awesome.� Originally slated to come out on tUMULt before the band died a premature death, this is finally seeing the light of day thanks to the always killer Rock Is Hell label. Vinyl only, limited to 333 copies. The covers are hand screened, inside and out, and there's an insert with Denver's history of the band. And as if we even needed to say it, WAY RECOMMENDED!

Truth be told, back in the day we didn't pay too much attention to Digable Planets after their first record Reachin' (A New Refutation of Time and Space) from 1993 and its hit single "Rebirth of Slick (Cool Like Dat)". Their blend of jazz and hip hop was admirable and breezy, but they came across back then more as a novelty, than an act in it for the long haul. Listening now two decades later to their follow-up effort from 1994, Blowout Comb, we realize we should have paid way more attention. Newly reissued by Light In The Attic, Blowout Comb is a stellar missive from the nineties golden era of hip hop, right up there with the best of Tribe Called Quest, De La Soul, Jungle Brothers and The Pharcyde. The tone here more gritty, the beats harder. The jazz samples are still present, but augmented by live musicians and complex urban rap structures between the three main players, Ladybug, Butterfly (also of Shabazz Palaces), and Doodlebug. While Reachin' brought them a large audience, Blowout Comb is their masterpiece, and though they broke up soon after this release, it holds up amazingly well. Forget Daft Punk, this is our new summer jam right here!!!!

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The debut album from this German crunchy synth-rock duo fuses lots of analog keyboard, fuzzy guitar, open/closed post-punk hi-hat repetition, mantric vocoder vocals, and a pretty killer remixed "Fire In Cairo" (Cure) sample. Most songs build at a calculated pace giving listeners an overall sense that the circuit board is about to explode. Idealism is a really impressive first album that is highly recommended for fans of The Faint, Justice, M83, New Order, Daft Punk, Fatboy Slim, and The Rapture.

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Brand new batch of twisted psychedelic summery druggy dream pop from this oddly monikered UK one man band, and it's simply more of what we loved about the last record. If anything, this new one sounds way less lo-fi, the guitars are alternatingly warm and jangly, crumbly and crunchy and fuzzy, the vocals are multi tracked into strange harmonies, the sound simple but so sweetly shimmery, the vocals reverbed and draped over lilting major key jangle pop, sounding almost like a more home brewed bedroom version of aQ pop faves Telekinesis. But it's not all sunshine, the band do manage to get a little bit dour and minor key now and again, and those might be our favorites, "Like It Was Again" (a redone and polished up version of a song from the first record) is total mix tape heaven, simple propulsive drumming, fuzzy jangle, sweet vocals, and a haunting Cure like melody wrapped around everything, there's also a buzzy minimal guitar solo that just sort of replays the main melody. "Stream" is another one, a brooding strummer, with creepy fields of feedback, and a gorgeous main minor key melody, the song exploding into full psychedelia, the guitars distorted and heavily effected, before slipping right back into the lope and brood. And in fact, the record gets less and less summery feeling with each listen, maybe more like a rainy summer day, indoors, the sun hidden behind the clouds, the sound a little bit gloomy and barely cold wavey here and there, but so catchy, and as much as we dug Tendrils, this one sounds EVEN better. Most definitely a new fave. And fans of the Captured Tracks usual suspects (Beach Fossils, Blank Dogs, Hanoi Janes, Minks, Soft Moon), who have yet to check this guy out, well, this would be as good a place as any to start!

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Latest full length from UK garage poppers Dignan Porch, and like Tendrils before it, Nothing Bad Will Ever happen is another fantastic collection of sunshiney, jangly, crunchy, ramshackle pop, heavy on the hooks, lots of swirling keyboards, sad boy vox, and all the usual garage pop stuff we dig, but this time around, the band seems to rock a lot more (due in part to the fact that it really IS a band this time, whereas Tendrils was a one man band type deal), just check out "Sad Shape", which starts out all minor key and jangly, stripped down and spare, but soon, a heavily effected guitar swoops in, giving the song a seriously psychedelic vibe, and then the choruses, kind of crunchy and fuzzy, the drums busy, the guitars soaring, and then for the last minute, the band go full on psych rock freakout, and it sounds amazing! The swirling synths somehow keeping it grounded and firmly rooted in garage pop territory rather than psychedelic space rock, but it's a pretty potent combo, and one that suits DP pretty well. And while those moments tend to be fleeting, some crunchy riffing here, some weirdly sci-fi effected murky psychedelia there, stretches of super distorted fuzz guitar and some seriously heavy feedback drenched dirgery, they perfectly compliment the groups impeccable popsmithery, which is in full effect here, with the group delivering some of their catchiest songs yet, and even minus that extra heft, this record would be blowing up our stereo like crazy, but that extra fuzz and crunch just seals the deal. A new favorite for sure!

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One of FOUR new Captured Tracks 7"s on this week's list: Hanoi Janes, Cosmetics and Wetdog, all reviewed nearbly, but this one is from a UK outfit called weirdly Dignan Porch, whose sound is total summery feel good, lo-fi, jangly garage pop, with effects heavy guitars, rebverby lilting melancholic sad boy vocals, shuffly drums, very lo-fi but still in its own way a bit lush. Hazy, washed out, shuffly and slouchy and crazy catchy. The B-side is way more stripped down, with acoustic guitars, and a vibe that's a bit more dour and gothy, kind of like some cold wave groove mashed into a Sebadoh / Guided By Voices chunk of jangle pop. So catchy and fun, and definitely reminiscent of that era in the nineties, when this sort of thing filled our every mix tape! Another winner for sure.

Another Captured Tracks band, whose recent 7" had us all in a tizzy, with its reverby jangle and slouchy sad boy indie rock shuffle. We compared that Dignan Porch release to Sebadoh and Guided By Voices, which totally hit the spot. The full length offers up more of the same, but with some subtle changes, a swirling folky, jangly swirl of weirdo distorted vocals, heavily effected guitars, short short songs, most hovering around the two minute mark, the vibe melancholy and minor key, the sound raw and rough and lo-fi, the hooks subtle, but definitely there, the indie jangle of the 7" infused with more of a dour doom folk vibe here too, with lots of acoustic guitar, hazy reverb, washed out ambience, the songs lilting and darkly personal, with vocals that shift from cockney croon, to distorted howl, to high keening falsetto, the tracks laced with buzz, a patina of grit, layered and murky and mysterious, and definitely poppy, but almost as if the poppiness was an accident, a byproduct of this soul baring, home brewed folk pop, a darkly dreamlike, bedroom-recorded, old crummy cassette, late night, druggy, summery mixtape, of strummy, starry mystery. Whew!

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Finally, the long awaited full length from these eighties beholden jangle pop shoegazers, formerly known by the same name, but with a much more standard (and already taken apparently) spelling. This Brooklyn outfit features members of aQ faves the Beach Fossils and the Smith Westerns, and takes the sound of both of those previous groups, tangles it all up and douses it in thick swaths of reverb and lush layers of crystalline guitars, the vocals nearly buried in the mix, a hazy washed out croon, that more often than not is simply another lush layer to add to the already blurry, bleary dreamscape. Within this fuzzy dreampop soundworld, Diiv manage to conjure up some surprisingly disparate sounds, sweet twee indie pop one second, and loping, almost krautrock like mesmer the next (just check out "Air Conditioning"), but the sound remains consistent, like listening through ears full of cotton, everything deliriously and dreamily hazy, with various elements slipping surreptitiously to the fore, whether it's a twangy bit of guitar, a soaring bit of Big Country / U2 like melody, or some slithery Joy Divisiony bassline, the tracks rife with hooks, and perfect melody, the group nearly obscuring their deft pop songsmithery with their druggy production, but it makes for a potent combo, and on repeated listens, what at first sounded like another entry in the already crowded reverb heavy retro pop field, has blossomed into what is fast becoming a new pop favorite. WAY recommended.

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From the same label that released the amazing and now out of print live Growing cd, as well as exclusive, limited and long gone releases from Sunn 0))), Boris, and the mighty Keiji Haino. This most recent release comes from free jazz saxophonist John Dikeman. Four extended pieces. The first, a pecussion / sax duo, a beautiful moody, skronky romp, the final two tracks, extended jams with Dikeman and full quartet, wild and spastic, lots of chaotic drumming, splattery percussion and free jazz skronk. Our favorite though has to be the second track, a solo sax / harmonica piece for modern dance (the picture on the front of the sleeve shows dancer Zack Fuller all ablur along side Dikeman and his sax), the harmonica wheezes out extended drones, the sax careening through ear piercing high ends, moaning out rumbling bleating lowend, thw whole thing desnse with the big empty room reverb. Quite nice! Packaged in a gorgeous full color oversized sleeve. LIMITED TO 250 COPIES!!!

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This LA-based trio, made up of rappers Iriscience and Evidence, and world-class turntablist DJ Babu (also of BeatJunkies) drop their second full length. The rhymes are very deft, the hook-laden samples are creative and fun, and the record will appeal to

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This new(ish) SF quintet have some recognizable faces from the Bay Area music scene onboard. We suspect there might not be over a hundred tambourines on this album, but front man the mutton-chopped Joel Gion (formerly of Brian Jonestown Massacre) gives the one he's got a thorough workout here nonetheless. His band The Dilletantes blend the key sounds of all the '70s rock kingpins. Y'know, The Rolling Stones, David Bowie, MC5! The tambourine and maraca peppered results are the kind of loose bluesy rawk'n'roll that never goes out of style!

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New Mexico-based guitarist Stefan Dill has spent the better part of the last decade concentrating solely on solo acoustic flamenco guitar, and so recently felt the need to play some loud electric guitar again (presumably a return to his teenage roots?). With

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This metal-math-core band's first full-length album destroys with completely unbelievable musical dexterity combined with crushing riffs, blazing speed, calculus-style time shifts and a barely-under-the-surface jazz fusion obsession. Relapse's ads for this release have trumpeted the fact that the Dillinger boys were just taken out on tour by Mr. Bungle, and I can imagine that fans of that band looking for a metal fix might really be blown away by DEP!

The Dillinger Escape Plan has to be one of the weirdest coolest bands I have ever seen live. The last time I saw them was in NY, and there were three things I distinctly remember, besides how unbelievably complex and heavy they were. The first thing was the drummer, who was absolutely insane, playing impossibly complex stuff, but wearing a goofy bandana and smiling maniacally the whole time, as if he was exerting no effort at all. The second thing was the number of stage divers. I think maybe I was the only one in the crowd who didn't take a turn. At some points there were 40 people on stage. So much so you couldn't even see the band. But easily the most memorable part, was the guitarist, who had his guitar all the way up beneath his chin Buddy Holly style. And who repeatedly charged right off the edge of the stage, into the pit, and would constantly run full bore into folks in the pit, guitar and all, often ending up laying on his back in the middle of the pit, but NEVER MISSING A BEAT. Played every part perfectly. It was amazing! Okay, then. That was years ago, and since then, Dillinger has collaborated with Mike Patton, signed to Relapse, and gotten a new singer. So how do they stack up now? Pretty good actually. Musically they are still unbeatable. Ultra complex, and dizzingly complicated, with lots of angular riffing and hooky little bits that definitely lift this stuff above standard grind / metalcore / whateveryoucallit. And the new vocalist is not bad either. The only troubling bit is how much the new vocalist seems to be channelling Mike Patton. Conicidence? We think not. But that's okay. It suits the music actually. And when he's not doing patton he's a howling deathmetal / emo demon hovering somewhere between Guy from Fugazi and Sean from Coalesce. For a limited time, Miss Machine comes with a bonus DVD featuring behind the scenes "making of" footage and some other cool stuff.

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A new four-song ep from New Jersey's out-of-control mathcore metallers Dillinger Escape Plan, with Mike Patton (Bungle, Fantomas, Faith No More) as guest vocalist! With the unmistakable throat abuse and tuneful croon of Patton, this new Dillinger ep is a bit different from their previous recordings, which were some of the most extreme, complex metalcore efforts ever. Irony sounds more like a blend of Slipknot (especially with the yappy, almost rap-like vocal cadences of Patton), Melt Banana (again, the 'yiyiyiyiyi yi yi' vocals and sharp dynamic bursts), and Faith No More (when Patton's vocals and the music take turn into more melodic, lush realms). It's still extreme and complex, just less so, which Dillinger fan Andee found a little disappointing, but others might disagree. (Allan's always been *impressed* with Dillinger, but finds 'em hard to listen to, believe it or not -- so this is in some ways an improvement, to him.) Whether you like "Irony" will have a lot to do with your taste for Patton's vox. There will probably be a lot more to like here for fans of Mr. Bungle, Faith No More, Melt Banana, Fantomas or Slipknot than those just looking for a new metallic grind fix. But it could be Dillinger's ticket to a wider audience, which is definitely a good thing! Oddly enough, not released on Relapse (as with prior DEP discs) or through Patton's Ipecac imprint, but on big punk label Epitaph. Imagine, Tom Waits and Dillinger on the same label, that's getting weird!

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Wonderful! One of our favorite rocksteady vocalists who just might become one of yours. This posthumously released tribute album compiles a whopping twenty nine songs from Phyllis Dillon's early years spanning 1966 through 1971. The productions blend the traditional reggae and rocksteady sounds with the decade's smooth bright girl group pop. A perfect summertime album to be cherished. Absolutely recommended.

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THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. We're finally carrying my very favorite rocksteady (i.e. post ska, pre reggae) singer who had several hits in the late 1960's. Excruciatingly lovely, light, clear voice is part American soul stirrer, part Jamaican heartbreaker. Very highly recommended!

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Single disc reissue of two long out of print cd-r's, Seizure and Appalling and Alive 3, from Aaron Dilloway, 1/3 of noise-drone-electronic terrorists Wolf Eyes. This is for the noisy at heart, four slabs of sonic brutality, one a whirring low end electronic oscillation, with occasional instrumental crackle that slowly becomes a primitive techno-like throb before the whole thing is taken over by amplifier meltdown, damaged synth crunch and ear-to-a-jet-airliner-turbine skree. Another a cricket like chatter, cud chewing alien smack and splatter, warbling short wave loops, all swallowed whole by a million TV's spewing the sonic snow of no-channel fuzz. The third a chunk of miniature insect crinkle-scapes, clatter and click, creak and chirp, ultra distorted primal howls, chopped up and distorted to hell, splattered with all sorts of squiggly electronic interference and slabs of pink noise. The last a furious eight minute pummelling in the form of a synthesized Keiji Haino jamming with analog Merzbow recorded on a Fisher Price tape recorder at bowel melting volume. The kind of sonic brick to the face that leaves you smiling like a lunatic with a mouthful of broken teeth.

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A brand new blast of filthy fug from this ex member of noise rock legends Wolf Eyes. Since Dilloway left the fold, his solo work has gotten more and more interesting, and more and more far out. Culminating in the confusional chaos that is Chain Shot. A two track 12", created using just tape loops, metal and horns. And it sounds nothing like you could possible imagine. "Chain Shot" is a side long epic of grimey gruesome minimalism. A murky soundscape of creaking machinery, whirring industrial hum, and a loop of what sounds like that sound roller coasters make when the cars are being pulled up that first big hill, the various sounds looped and locked and repeated, sped up, slowed down, doused in grit and buzz and lots and lots of hiss. It sounds like some cracked field recording (which it sort of is), the various sounds and loops becoming more and more distorted, and getting louder and louder, eventually becoming more and more musical too, which seems sort of impossible, but it does. The harsher it gets, the more, listenable it gets. A symphony of grind and buzz and clank. The B side, another extended dirge, "Execution Dock" begins with processed vocals, drenched in effects and looped into some weird almost funky groove, but as it's repeated, just like when you say a word over and over, it starts to make less and less sense and sound less 'funky' and more haunting and hypnotic. And very very creepy. The track dissipates into more field recordings, bits of clatter and shuffle, all subtly looped, in the distance a horn plays a mournful melody, the loops ramp up slightly, creating weirdly dreamy minimal rhythms beneath that waiting horn, until that all falls apart, leaving a series of fragmented and rapidly decaying loops, overlapping, falling apart, and eventually grinding to a halt. Packaged in a SUPER thick, textured sleeve, with a bad ass painting of a pirate on the cover. Yaarrrrrrrr!

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

Two AQ favorites team up together for one great lp that shows a more pensive side to these noise rock heavyweights: Aaron Dilloway (Wolf Eyes) and C Spencer Yeh (Burning Star Core). Squid delivers on its title as the sounds on this lp make you feel like you're deep underwater tangled by up in the undersea world. Using tape loops, bowed tape, tape delay, violin, voice and electronics, Dilloway and Yeh create dark, moody textures brimming with mystery, suspense and restraint. We could totally hear this as the score to some Matthew Barney piece, as it shares much of the same influence as his films. As much as we love Wolf Eyes there is something pretty magical and always unexpected about what happens when Dilloway steps away from the world of his main band. And C Spencer Yeh continues to show that he has one of the most unique visions in the noise scene. And together it's pretty fucking magical. Excellent!

We loved this record when we first got it on LP which is sadly out of print now. But luckily it's finally been re-released on cd with a long bonus track tacked on for good measure! Two AQ favorites team up together for one great record that demonstrates a more pensive side to these noise rock heavyweights: Aaron Dilloway (Wolf Eyes) and C Spencer Yeh (Burning Star Core). Squid delivers on its title as the sounds on this lp make you feel like you're deep underwater tangled up in the undersea world. Using tape loops, bowed tape, tape delay, violin, voice and electronics, Dilloway and Yeh create dark, moody textures brimming with mystery, suspense and restraint. We could totally hear this as the score to some Matthew Barney piece, as it shares much of the same influence as his films. As much as we love Wolf Eyes there is something pretty magical and always unexpected about what happens when Dilloway steps away from his main band. And C Spencer Yeh continues to show us that he has one of the most unique visions in the noise scene. And together it's pretty fucking magical. Excellent!

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The Cali punk legends, live in 1980. (Plus their first single from '77.)

Long overdue collection from these punk rock pioneers. This is a collection spanning 1977-1981 and includes their three singles (that's all they ever released) as well as some demos! I (Sadie) didn't pay too much attention to the Dils in the past. I knew

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There's real stark emotion nakedly playing across the music of local quartet Dilute, whose totally epic tone recalls Flaming Lips, and vocalist Marty Anderson sounds just like a cross between Neil Young and the Lips' Wayne Coyne, a male version of the gentle

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Man oh man, with bands like The Church Steps, For Stars, Erase Errata, and Dilute (and many others), the Bay Area scene is getting to be so interesting and original again. None of this spacerock bulls---; people are writing songs again. There's real stark

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One of the Bay Area's most wonderful bands sees a reissue of its debut (and IMO best) album, here in a deeeeluxe Japanese pressing -- thick gatefold cover with obi, 2 full color artwork prints, and a 3" live disc, on Andee's pal Hama's new Toad label. There's real stark emotion nakedly playing across the music of Dilute, whose totally epic tone recalls Flaming Lips, and vocalist Marty Anderson sounds just like a cross between Neil Young and the Lips' Wayne Coyne. Yet Dilute strips out all the bombastic orchestration of, say, the Lips and instead leaves in just the lurching exclamation points, millisecond shards of noise, and fills in the rest of the music with serene fingerpicked arpeggios and sad romantic melodies. The songs remind me of Fuck's (in fact, fans of Fuck will *love* this) -- deconstructed and barely there; multisectioned with lots of hinted-at yet unstated segues and harmonies that your brain automatically fills in without the band having to. That takes smarts and a lot of musicianly restraint. This is a wonderful record! MPEG Download: "Bea" [/audio/dilutebea.mp3] MPEG Stream: "Bea" [/audio/dilutebea.m3u]

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We're always psyched on checking out black metal from places we don't normally associate with that sort of sound, whether it be Iceland or China, Iraq or India. There seems to be quite a metal underground happening in Israel too, with Arallu and Melechesh being some of the more well known outfits... But there are plenty of other groups worth checking out, Salem for one (not to be confused with the witch house outfit), Geist (whose new record is reviewed elsewhere on this week's list), and now these guys, brought to us but kick ass Israeli label Total Rust. R.U.S.T. is the debut release from this Israeli horde, who traffic in a seriously catchy and kick ass strain of old school orthodox blackness, heavy on the blasting and buzzing obviously, but equally heavy on the melody, which makes Dim Aura's sound totally reminiscent of the first and second waves of Scandinavian black metal. Not inventing the metal wheel by any stretch, but playing classic BM with a passion and energy that takes what could be a tired rehash and transforms it into something fierce and epic, catchy as fuck, rife with galloping tempos, awesome shrieked vokills, wild dense drumming, some seriously ruling riffs, plenty of classic metal-isms and epic melodies too, all wound into the otherwise roiling blackness, plus lots of midtempo stretches where the band dial back the blackness a bit and get downright riffy and groovy (reminding us of Khold at times), but the songs never seem to stray too far from their furious black buzz core. Awesome.

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MPEG stream: Knives Of Ice
MPEG stream: Great Worm Of Hell

We've been sort of tickled lately for some reason by the idea of two bands sharing a split release, when both of the bands are essentially made up of the same members or mostly the same members. It definitely makes sense, recording, production and distribution wise, a split release is way easier when on some level it's not really a split release at all. It's even better when the bands sound exactly the same. Not sure what got us on that train of thought, must have been this here split between black thrashers Dimentianon and long time AQ faves, slow motion ultra funeral doom sludgelords Rigor Sardonicous. We've been itching for more of RS's bizarre lugubrious swampy slither, and of course their array of 'most evil cymbals' (more on that in a minute), so we were psyched to discover this brand new split, and in our current state of mind, even more psyched to discover that�Dimentianon was in fact fronted by the same mangled mind behind Rigor Sardonicous (although it seems that he's since left�Dimentianon to focus full time on Rigor Sardonicous)... Anyway, we're sort of rambling, the point is, this is a double shot of brutal blackened heaviness, the�Dimentianon tracks are a super intense blackened death metal, lurching, furious, evil and heavy heavy heavy. Nothing super mind blowing, but definitely heavy and classic enough to keep our heds banging as we waited patiently for the epic slow motion trudge of the mighty�Rigor Sardonicous... We've already waxed poetic at great length and gushed like crazy in other reviews, check em out elsewhere on the AQ site, it's easy to see that these guys are one of our favorites in the glacial world of funereal doom. These guys are sooooooooooo sloooooooooooow, and sooooooooo HEAVY, they literally almost sound like any one else's ultradoom record, slowed even further down. The guitars are viscous and black, not so much riffs and the sound of someone dumping buckets of black tar� into your speakers, the vocals, an outrageously low demonic gurgle, more along the lines of some of the bizarre gore grind we dig so much, but it sounds perfect, draped like rotting black innards over the already oozing riffage. Then there's the drums, an impossibly slow motion plod, but with the strange distinction of having the cymbals be way louder than the rest of the kit, or in some weird way, they sound like the only part of the kit that hasn't been slowed down to a snail's pace, so the various stretches of dooooooooom are demarcated by a crashing trashcan lid, or a chain link fence clang or once in a while what sound like a gong made out of hubcaps. So we posited that they must be the most evil cymbals ever, thus theire prominent placement and the fact that they're so much louder than any of the other music. Sounds weird, and maybe like it would sound bad, but it doesn't, it's genius, it just further enhances the fact that�Rigor Sardonicous inhabit some totally unique, and ultra fucked up soundworld. And if you're like us, you CAN NOT get enough. The other thing about the RS tracks on this split is one of them, the closer, "Blood Of The Seraphim" features�Rigor Sardonicous fully rocking out, as in playing really fast, double kick drumming, almost blasting, sounding a lot like diSEMBOWELMENT actually, before crashing back down to a 2mph trudge. But it's cool to hear what something as subtle as speeding up can do to a sound, to a band, and to a band's whole identity.�Another black hole slab of glorious slow motion heaviness for the doom obsessed among you. Go forth, and doom on...

MPEG stream: It Never Ends
MPEG stream: Anima Interius

MPEG stream: Djavulens Tid Ar Kommen
MPEG stream: Manniskan - Det Stora Misslyckandet

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