[ aquarius records catalogue

IMPORTANT (Please read to avoid confusion): Some items below may be tagged with a bold, red, all-caps OUT OF PRINT/UNAVAILABLE notice. This does NOT mean that all other items not so tagged are, in fact, in stock — or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us — please email our mailorder department for availability status — or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.

Showing results 151 through 200 of 1150.

Nas is back. That unmistakable flow. Old school beats and looped strings. Epic and intense and completely classic sounding without feeling dated. Features the completely brutal 'Ether', probably the best 'dis' song in a while, a scathing lyrical 'fuck you' to

RealAudio clip: Ether
RealAudio clip: Got Ur Self A...

This is the one! If you've ever heard someone playing Milton Nascimento, some sweet soothing sounds dazzling your ears, chances are it was this record. As many of us can attest to, just picking out any Milton Nascimento record can be a bit risky as his entire back catalog is quite varied and there are some not so hot moments, but all sins are forgiven with this record, an album that we dare say ranks as one of our favorite albums of all time! Clube Da Esquina is a stunning disc of psychedelic pop that manage to be as dreamy and pastoral as it is tropical and full of life. Bursting with warmth and rich color this is a record we will never get sick of. It's not psychedelic in an obvious look-how-weird-I-can-be way, but instead it's about a slow melting lull, soft swirls and subtle shifts in sounds. One moment it's the dreamiest most lovely song you've ever heard and the next the warm sun is shining and all you want to be doing is running and twirling in the sand. As lush, gorgeous and dynamic as anything Caetano Veloso has created. We can't praise this record enough! Lo Borges is the big unsung hero of this album, not even 20 years old when it was made he helped with many of the arrangements, sang and wrote many of the songs... Truly a perfect album from start to finish, an hour long trip filled with sunshine and surprise, melody and sophisticated glory. It's no surprise that songs on this record have been covered by the likes of Savath & Savalas and Tortoise and Bonnie Prince Billy. As these are songs that will always sound so alive and of the moment. Undoubtedly it's a record that's had a huge impact on everyone from Devendra Banhart, The Shins, Eden Express, Beck, Brightblack, Vetiver, Jose Gonzales, etc. And a must have for anyone who loves folks like Veloso, Gerard Manset, Eduardo Mateo, Congregacion, Alceu Valenca, Serge Gainsbourg, The Beatles, Melting Glass Box, Magical Power Mako, etc. No matter how obscure or mainstream your tastes tend to be, this is one of those records whose beauty and genius just can't be denied. We know we're always telling you about so many amazing records that you really just can't live without, but this time (again!) we really mean it!

MPEG stream: Sa�das E Bandeiras N� 2
MPEG stream: Cravo E Canela
MPEG stream: Lilia
MPEG stream: O Trem Azul

Milton Nascimento's North American debut record from 1969 came at the end of the huge wave of the bossa nova movement that had infiltrated the American imagination since Astrud Gilberto's "Girl From Ipanema" with Stan Getz in 1963. A&M records and producer Creed Taylor were behind some of the best records of this period including albums by Antonio Carlos Jobim, Sergio Mendes and Joao Gilberto, and Nascimento's Courage is no exception. Beautifully arranged and sung, this is where many of his most popular Brazilian songs were heard for the first time including "Vera Cruz", "Morro Velho" and "Bridges (Travessia)". Singing in Portuguese, English and sometimes wordlessly, this is a breathtaking record. While it doesn't have the psych flourishes and Tropicalia bent of Cluba Da Esquina, from a few years later (a unanimous store favorite!) it's still an essential record and perfect for lazy and wistful summer evenings.

MPEG stream: Vera Cruz
MPEG stream: Rio Vermelho
MPEG stream: Cancao Do Sol

This is not new, wasn't just reissued, but was just discovered. And sometimes the process of discovery with music, or movies or whatever, can be just as interesting and strange as the music itself. And sometimes that process enables you to discover music you might not give a second listen to otherwise, and lets you be more objective, lets you disregard your normal musical biases. Thus... we've never been that big into Crosby, Stills, Nash And Young. And yeah, before you email all in a tizzy, we've already gotten plenty of suggestions for CSN+Y records we NEED to hear, but for the most part we were just never really big fans. Consequently, we tended to ignore the various members' solo records (not counting Mr, Young of course) as well. We recently (re)discovered Terry Reid via the soundtrack to Rob Zombie's killer 'killer' flick The Devil's Rejects, which is already sort of a random way of getting turned on to an artist we had at least known about for ages. But there was something special about those specific tracks Zombie chose for the soundtrack. Further exploration of Terry Reid's various releases, revealed that those three tracks were all from the same album, Seed Of Memory, and while we love pretty much all the Terry Reid records, Seed Of Memory is by far our favorite. The dreamiest, the catchiest, the most country (and somewhat frustratingly, the most difficult to get). So what was it exactly that made that record so special. Well, and here's where it connects, it was produced by Graham Nash, who also played and contributed various parts and pieces. So, recently an aQ customer suggested we check out Songs For Beginners, which they told us was Nash's best solo record, and while we haven't heard enough of Nash's releases to say for sure, we can at least say we really really like it! A LOT! To begin with Songs For Beginners was originally released in the mystical magical year of 1971, a year when pretty much every great record was released (at least according to Allan) from Black Sabbath to Flower Travellin Band to Van Der Graaf Generator to Comus and on and on. While Nash's record is obviously not as weird or heavy or psychedelic as any of those, it's still pretty fucking awesome. Sunny, sweet, singer songwriter soft rock dream pop. With a streak of dark melancholy moodiness. Think Billy Joel, the Beatles, Bob Dylan, the Byrds, Bread, America, Donovan and even more esoteric folk folks like Bill Fay, Terry Reid, Fred Neil and the like. Each track is a gorgeously simple folky pop gem, with harmony vocals, lilting melodies, gentle piano, lush strings, soaring lap steel, a little bit of twang, a little bit of swoonsome sweetness, all dreamily draped over minor key Beatlesque pop or soft shimmery folkpop ballads, While the sound is immediately recognizable, that ubiquitous seventies FM radio soft rock from our childhoods, it's just weird enough, and the songs are just so goddamn good, that it totally transcends the seventies schlock that surrounded it. And by now we've all been blessed with a healthy diet of modern psychedelic folk, bizarre Finnish forest folk, neo-Appalachia, folky droney pop weirdness, plenty of Six Organs and Current 93's and Vetivers and Banharts and Newsoms and Feathers and Wooden Wands that we can look back with wide eyes at the sort of folky pop that was the seed for the dense folky foliage we love rolling around in these days...

MPEG stream: I Used To Be King
MPEG stream: Wounded Bird
MPEG stream: Military Madness

We listed the Graham Nash record Songs For Beginners a few weeks back, having only just heard it for the first time recently. Not soon after we decided to check out this one as well and were just as blown away. Our introduction to Graham Nash came not via Crosby, Stills, Nash & Young, but by the soundtrack to Rob Zombie's Devil's Rejects movie. You can read all about it in our review of Nash's Songs For Beginners record elsewhere on the AQ site. But in a nutshell, no, Graham Nash wasn't on the soundtrack, but Terry Reid was, and the three Terry Reid tracks on the soundtrack were taken from his best record, Seed Of Memory. And while all the Terry Reid records rule, Seed Of Memory is the most beautiful, the most country, the most haunting, due in no small part to Graham Nash's arrangement and production work, which, along with a recommendation from AQ pal Shayde, was enough to get us to check out some Nash records. Those in the know, tell us that Songs For Beginners and this one, Wild Tales are his best, and are both essential, and we'd have to agree. Don't be expecting any far out weirdness. Nope this is just gorgeous, dreamy, sunny, singer songwriter soft rock, but with a definite dark, minor key and melancholy dreaminess running through it. If you're familiar with the Devil's Rejects soundtrack, and for chrissakes you should be, any of these songs would have fit on there perfectly alongside tracks by the Allman Brothers, Terry Reid, the James Gang, Elvin Bishop, Joe Walsh and Lynrd Skynyrd. Perfect seventies FM radio rock, you can just imagine sitting in the backseat, on the way to Death Valley or the Grand Canyon with your folks, watching the desert fly by outside, just sort of daydreaming and drifting off. Sun dappled and windblown and sweetly fuzzy and totally evocative of lost childhood. Each song somehow carries the listener off to a world of starry skies, grassy fields, dusty roads, broken down cars, slow moving trains, long highways, all conveyed through a deft arrangement of soft jangling riffs, slippery lap steel, tinkling piano, Dylan-esque harmonica, totally dreamy harmonies, plenty of twang, but some serious rocking mixed in there too. The Eagles obviously comes to mind (as Nash's voice is often a dead ringer for Joe Walsh), as does Elton John, but it IS weird and dark enough to make us think of more esoteric folk troubadours as well. But the bottom line is this is just a perfect pop record. The songs are totally catchy, sweetly melancholy, they sort of lope and drift, occasionally rocking out, but for the most part, Wild Tales is hot summer day, back porch, radio playing through the open window music. Or music for driving aimlessly along rainslicked streets, the radio on low, the streetlights casting strange shadows, driving all night, no particular place to go. There is a definite sadness about all of these songs, even when they're wrapped in the sunniest of pop. And a lot of it has to do with the idea of this as 'radio' music. Reminiscent of a time where the radio was where we went to hear new music, to be emotionally moved, to rock out, to listen to while parked and making out, to feel sad about a breakup or get pumped for a rock show, and because most of us experienced most of our radio listening in a car, the music seems to have evolved into a sound that inherently evokes feelings of displacement, travel, wandering and being lost as much as it does a loose and free rock and roll world of hooks and drums and guitars. The perfect soundtrack to any sort of journey, physical or metaphorical. Which is what makes Wild Tales so appealing. A musical look back, that sounds as fresh coming out of this computer, or your stereo at home as it did blasting out of the radio with the blown speakers in that crappy old car you got when you turned sixteen, just you and your friends driving around, windows down without a care in the world, thinking that there is no place in the world you'd rather be than right there. Nothing you'd rather be listening to. Than this.

MPEG stream: Wild Tales
MPEG stream: Hey You (Looking At The Moon)
MPEG stream: Grave Concern

The new album by critically acclaimed folk singer Nina Nastasia ia brimming with lush instrumentation and pretty Lilith Fair folk vocals. Didn't strike me as anything really special, but I know that some people would absolutely love it. Touching and pretty, it

RealAudio clip: I Go With Him
RealAudio clip: Run, All You.....

Nina Nastasia's latest album has arrived (a little while ago, actually) and it's pretty darn great. On Leaving's one dozen Spartan folk-pop arrangements of her strong, lilting voice with simple piano or guitar accompaniment are imbued with absolute heartfelt yearning. Check out the potent "Counting Up Your Bones". She really nails it. This darkly beautiful album is graced with intricate, suitably stark black'n'white paper-cut cover art. Fans of both Cat Power and Lisa Germano's more recent recordings should definitely lend an eye and an ear to Ms Nastasia and vice versa.

MPEG stream: Brad Haunts A Party
MPEG stream: Counting Up Your Bones

What a perfect pairing! Together the Dirty Three's Jim White and Ms Nina Nastasia strip things down to their bare essentials -- drums, guitar and voice -- to lay their musical hearts bare. With the additional positive of producer Steve Albini, You Follow Me is at once vulnerable and powerful. On songs such as "In The Evening", Nastasia sings with a much more steadfast, resolute strength than usual, and it fits well with the album's overall starkness. Meanwhile White accompanies and punctuates her vocals with dynamic restraint. For fans of dusky, raw melancholia.

MPEG stream: In The Evening
MPEG stream: I Come After You

What should have been a joyous celebration of pounding grinding metal madness and a massive tribute to one of the greatest grind bands ever, instead is a eulogy of sorts for Nasum frontman Mieszko Talarczyk who was killed in the South East Asian tsunami of two years ago while vacationing in Thailand. A dark day indeed for friends and family, but also for their legions of fans all over the world. And they were indeed legion, even our own Elliott (formerly of the aQ mailorder team) would be the first to proclaim Nasum one if, if not THE, best grind bands in the world. Tough to argue. They might not be the fastest or the sickest, but as a complete grind package they're tough to beat. Buzzing, snarling guitars, blasting beats, and Mieszko's glass gargling growl swooping madly from punk rock bark to black metal screech to death metal grunt. Most of the songs hover around one minute, but are jam packed with riff after riff, part after part, heavy and dizzyingly aggressive, and pretty dang catchy too. No self respecting grindfreak should ever be caught dead without every bit of Nasum thay can find stuffed into their collection. This double disc set collects EVERYTHING the band ever recorded (besides their full lengths proper): split 7"s, compilation tracks, unreleased tracks, demos, rare out of print tracks, outtakes, cover songs, Japanese bonus tracks and more! 152 tracks! Two hours! All amazing. Packaged in a beautiful mini hardcover book, with loads of photos, song credits, heartfelt liner notes from the other two band members, extensive notes and reflections on each recording session/song as well as all the lyrics!

MPEG stream: Scarecrows
MPEG stream: Corpse Flesh Genitals
MPEG stream: Fur
MPEG stream: Distortion And Disinformation
MPEG stream: Dreamland

It goes without saying that the extent of death and destruction in Southeast and Sub-Continental Asia following the recent tsunami was catastrophic beyond measure, and to single out one death among many stands the potential of belittling the tragedy of others. But Nasum were and are one of my (Elliott's) all-time favorite bands, and this list is meant to inform of musical happenings. So in case fans of the genre haven't heard by now- Mieszko Talarczyk, singer, guitarist and co-founder of one the longest running and most influential grindcore bands in the world -- Sweden's Nasum-- was still missing and presumed dead in Ko Phi Phi, Thailand. It still seems unreal that a community as seemingly far removed from the quake's epicenter as the Scandinavian grindcore scene would be so gravely affected by the disaster, but perhaps this is as demonstrative as anything just how wide-spread was the destruction. And so we are left with Shift. What was to be simply their fourth stunning full-length of unmatched aural ferocity is instead an inadvertent swan song and an elegy to the voice of its fury. Still setting new land-speed records in the genre they helped define, Nasum were newly a four-piece for the Shift sessions with a second guitarist from Regurgitate and a new bassist from the similarly brutal Sayyadina. Recorded only a year after 2003's masterly Helvete record, Shift features some of the strongest and most diverse songs yet from the band, with all four members contributing to the song-writing -- though of course the default speed of most every song is still set to FUCKING FAST. Blast beats careen nearly out of control until a surgically precise breakdown cuts in to let you know Nasum are never anything less than fully in control of the whirlwind maelstroms their songs evince. Comparable only to the band's own previous output, the sheer mastery of this relentless portrait of violent virtuosity is a constant painful reminder of how dearly Mieszko and his music will be missed by his fans worldwide, and of equivalent losses to thousands more worldwide.

MPEG stream: The Deepest Hole
MPEG stream: Pathetic

Like the Jemaa El Fna DVD on Sublime Frequencies, the Nat Pwe DVD also contains no voice over, authoritative or not, to mis-guide you through the festivities. Instead, using the camera in the same way someone might make a field recording in the traditional auditory realm, you are led merely by the camera angles and edits chosen. As a way of background, here's what Sublime Frequencies writes about the event contained here: "In Burma, many people believe in ghost spirits called NATs. These spirits are historical figures who met tragic or violent deaths. They are said to possess the power to assist or devastate the lives of those who recognize them. A PWE is a ceremony held to appease a Nat. Pwes are arranged daily throughout Burma for many purposes including the achievement of success in business, a happy marriage, or improving one's health. A Nat is summoned through a Kadaw; the flamboyent and charismatic master of the Pwe dressed in elegant costume. The Kadaw is a spirit medium, dancer, storyteller, and magician who exposes the crowd to a living incarnation of the Nat brought forth through opening ritual and careful observance of tradition. Many of the Kadaws are male crossdressers performing the role of female Nats and the Nat culture attracts the homosexual, occult, artistically expressive and more outgoing elements of the Burmese population. Cash money is thrown and cigarettes and whiskey are hand delivered by the Kadaw to the willing faithful. Audience participants are often ecstatic, spontaneously launching into trance as the Nat spirit possesses their bodies while the melodically ornamental and thundering sound of the Nat Pwe orchestra plays on as perhaps the last, great unknown musical juggernaut existing anywhere. Each Pwe has its own mood and Nats can dictate a variety of happenings and unpredictable phenomenon. Since the 11th century, there have been 37 officially recognized Nats and every August, in the village of Taungbyon, there is a festival dedicated to two of them. This festival is one of the greatest spectacles on earth. At the peak of the Taungbyon celebration, there are dozens of very intimate venues holding continuous Pwe's for 48 hours without interruption bubbling with excitement and intensity all within the narrow alleys of bamboo shelters amidst a vibe of mysterious, electric charm. What results is the magnetic, unexplainable concoction of conservative tradition, free expression, music, dance, spirit possession, and anomolous synchronicities of Burma's Carnival Of Spirit Soul." Insane stuff. The film begins in the daytime following hundreds of pilgrims as they make their way to the event and ends late into the night after the festivities have reached a zenith of frenzied performance and audience participation. The camera wanders from tent to tent, each one containing a Kadaw, a Nat Pwe Orchestra (a completely crazed percussion ensemble about as removed from Burmese Harp music as you can get) and crammed with people making offerings (mostly pinning money to the Kadaw's head dress and blouse). There's really no way to do it justice in describing this event. If there were ever a comparison in the U.S. it would have to be like a transvestite tent revival held in a New Orleans graveyard with musical accompaniment by the Ruins. Running 85 minutes, I've found this disc also works nicely just as an audio recording. For those of you with a multi-format disc player, it makes a truly cool CD as well. While we forwarn those living overseas that this disc is NTSC, it is also region-free, so if you can handle the format you're in like Flint. Comes with an 8 page booklet of notes and photos.

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

SORRY. This band from Argentina, at times are a dead ringer for desert rockers Kyuss, while at others, they blend an unbelievably lush tapestry of hypnotic rhythms and droning tribal space rock, to make this probably the best thing Man's Ruin has released in ages.

I love discovering stuff, be it bands or movies or whatever, by mistake. Especially when it's a really stupid mistake. For example, once when I was travelling in Europe, we read about a music festival, me and a friend of mine desperately wanted to go to this festival to see a band we both loved (Enslaved, if you must know) so somehow we convinced our travelling companions to drive overnight through 2 countries to make it to this festival. So of course we get there, and the band comes on stage and they don't look at all how they looked in pictures. And they didn't really sound like we remembered them sounding. Well, we eventually figured out it was another band with the same name! We never told the friends we were travelling with, but we -were- punished by not being able to find the house we were staying at and forced to sleep in the freezing van with no blankets or anything. Actually, I guess we didn't really discover anything, did we. Maybe how much the other Enslaved sucked. Okay so that wasn't a perfect example. Where was I going with this? Oh yeah, a while back I was at another record store and I saw a record by Natas, and assuming it was a new record by AQ faves Natas, an awesome Argentinian stoner metal band, I snapped it up. Got home to discover that -this- Natas, was actually a super damaged, lo-fi, insanely produced, demented hip hop group. This is their newest record and it is fucking amazing. Super fucked production, extreme stereo panning, overblown hyper distorted casio beats, wailing electric guitar licks, demented sounding minor key pianos and 3 of the coolest, weirdest rappers ever. Definitely for fans of Fever, Sensational, Wordsound and all that sort of out there hip hop! And if you come in the store and can't find it, make sure to look in the metal section too, 'cause people seem to want to put this evil looking cd, complete with satanic (pitchforks crossed) logo, in there next to Nagelfar and Necro Schizma, which actually makes some weird sort of sense.

RealAudio clip: Thatz What Makes Me Feel Better
RealAudio clip: Bloody 'Em Up
RealAudio clip: When Will I See Your Face Again
RealAudio clip: Get Mo Cheddar

MPEG stream: World's Apart
MPEG stream: Dead Men Don't Sing
MPEG stream: Long As I Live

MPEG stream: World's Apart
MPEG stream: Dead Men Don't Sing
MPEG stream: Long As I Live

Stoner rock split cd from these two South American bands, both falling somewhere in the Kyuss/Sabbath realm.

When we first heard this we had no idea what the heck it was, all we knew was that it RULED. Lots of short tracks, constructed from looped, sped up soul samples, stuttery 808 drum machines, and short snippets of vocals, chopped up and looped into rapid fire weirdly hypnotic mantras. Like the backing tracks to some lost Kanye West record, looped and then rapped over, but the rapping is just the same phrase repeated ad infinitum. Seems weird, and it is, but it's also totally cool and bizarre. Only later did we discover that this collection of tracks, created by 20 year old DJ Nate, gathers up all of Nate's Footwork tracks, tracks specifically created for 'Footwurking', maybe better known as Jukin', a Chicago dance style that's frantic and frenzied and is a big part of local dance battles. These tracks are gathered up from various tapes and cd-r's and YouTube videos, and are so good, warped and mysterious, the drum programming super complex, little bursts of rhythmic complexity laced over the main beat, and those sampled vocals, so intense, often laid over each other to create strange melodic passages that eventually stop sounding like words at all, and those repeated phrases are meant to hype up the dancers during battles. It's not just the vocals either, the samples, those soul loops, are sped up and slowed down, distorted, layered, often shifting back and forth repeatedly in the same song, making everything sound woozy and warped and weirdly druggy and psychedelic. Total ADD hip hop trip out. Listen to the samples. We can't stop listening to this, but it seems to drive some folks crazy, although most of our favorite records do!

MPEG stream: Footwurk Homicide
MPEG stream: Back Up Kid
MPEG stream: Call Me When You're Sober
MPEG stream: Fade Da Black Trak
MPEG stream: Sexual Healing
MPEG stream: Halloween Wurks

Finally! This out of print, vinyl only aQ fave gets re-issued on cd! On a brief break from bursting ear drums and shredding synthesizers and destroying clubs in Wolf Eyes, Aaron Dilloway spent a brief period living in Nepal with his wife. While she studied, Dilloway wandered the streets, where he encountered the Nath family, Titu, Kala, Sukha and Ram Chendra, three generations, all street performers, hustlers, and SNAKE CHARMERS. Well, Dilloway quickly befriended the family, hung out, drank, smoked and most importantly recorded their amazing talents. Haunting and dizzying Eastern melodies, performed on traditional bamboo reed instruments called pungis and accompanied by a stringed percussion instrument called a premtal. So lovely, swaying and swooning, droney and buzzy, all hovering above a fluctuating framework of tribal percussion and shuffling, rattling rhythms. At times playful and bouncy (supposedly that's some Bollywood music) but more often mesmerizing and hypnotic, a wavering warbling drone. You can't really hear the swaying cobras, but if you listen really close you can hear folks walking past, talking, cars, all adding to the feeling that you are right there, in an alley in Nepal, seated before huge hooded snakes, being lulled into a trance by the endlessly droning Eastern buzz.

MPEG stream: One
MPEG stream: Two

Way back in 2005, we reviewed the first volume of the Nath Family's Sounds Of The Indian Snake Charmer, a collection of recordings made by Wolf Eyes' Aaron Dilloway, when he was living in Nepal with his wife. While she was in school, Dilloway befriended the Nath family, a group of hustlers / street performers / snake charmers, and spent virtually all his time, in a tiny alley, recording the family's performances. The first volume was a collection of proper recording, captured on a digital recorder, and mixed in stereo, with various instruments panned to create a super stereo (and super psychedelic) sound field. For volume two, Dilloway selected recordings culled from video tapes and cassette tapes, so the recordings this time around are more raw and lo-fi, but no less psychedelic and mesmerizing. And like the first volume, these three tracks are dizzyingly melodic and exotic, multiple horns unfurling buzzing, bleating melodies, all tangled up into strange harmonies, draped over super tranced out percussion, propulsive and hypnotic, woozy and wildly psychedelic, it's not hard to imagine cobras being mesmerized by these amazing sounds, cuz even we humans find it pretty difficult to resist. These recordings also offer up a little slice of life in Nepal, as street sounds are everywhere, voices, honking horns, shouting, footsteps, and those sounds seem to be as much a part of the Nath Family's music, as that music is a part of the fabric of daily life. Gorgeous, mysterious, magical stuff, that's so highly recommended! Originally released on cassette in 2005, now available on vinyl, LIMITED TO 600 COPIES, and housed in a super swank silkscreened sleeve.

On a brief break from bursting ear drums and shredding synthesizers and destroying clubs in Wolf Eyes, Aaron Dilloway spent a brief period living in Nepal with his wife. While she studied, Dilloway wandered the streets, where he encountered the Nath family, Titu, Kala, Sukha and Ram Chendra, three generations, all street performers, hustlers, and SNAKE CHARMERS. Well, Dilloway quickly befriended the family, hung out, drank, smoked and most importantly recorded their amazing talents. Haunting and dizzying Eastern melodies, performed on traditional bamboo reed instruments called pungis and accompanied by a stringed percussion instrument called a premtal. So lovely, swaying and swooning, droney and buzzy, all hovering above a fluctuating framework of tribal pecussion and shuffling, rattling rhythms. At times playful and bouncy (supposedly that's some Bollywood music) but more often mesmerizing and hypnotic, a wavering warbling drone. You can't really hear the swaying cobras, but if you listen really close you can hear folks walking past, talking, cars, all adding to the feeling that you are right there, in an alley in Nepal, seated before huge hooded snakes, being lulled into a trance by the endlessly droning Eastern buzz. Comes in a super snazzy three color silkscreened sleeve. Vinyl only, and limited!!

***MISSISSIPPI RECORDS!!!***MISSISSIPPI RECORDS!!!***MISSISSIPPI RECORDS!!!***MISSISSIPPI RECORDS!!!*** Like a Pavlovian bell, just the mere utterance of this vinyl-only Portland label gets everyone aflutter, ready to eagerly acquire, no matter what the sounds contained inside. We suppose if they put out a record solely of sounds made by cement mixers, back-hoes or traffic noises and packaged it in a sweet homemade album cover with nostalgic photos of antique construction equipment, and called it something like "My Heart Belongs To The Public Works", we'd sell out of them just as fast as their awesome compilations of pre-war blues or their reissues of obscure post-punk groups. As cool as that actually sounds, the not one, but TWO Mississippi releases we have this week are both super stellar and we know everyone is going to want at least one if not both of them. Earth Groove is a reissue of the debut 1968 recording by Master Hindustani classical singer Pandit Pran Nath. Considering his major influence on the giants of twentieth-century minimalist composition and drone music of all forms, as well as the amazing dearth of available recordings on cd let alone on vinyl, this is a MUST HAVE!! Featuring two fantastic side long ragas, Raaga Bhoopali designed for meditation after sunset and Raaga Asavari designed for meditation after sunrise, this is spiritual music of the highest order made for the purpose of destroying negative energy. But it is its amazing sounds of buzzing tamboura drones and tabla rhythms with Pran Nath's perfectly intonated and slowly unfolding vocal style that should please all fans of otherworldly cosmic sounds. Master of the Kirana Ghirana school, it is believed that Pran Nath spent five years of his life in a cave perfecting his austere intonated singing style. Heavily emphasizing the alap, the opening section of the raga that is unmetered, improvised and unaccompanied (except for the tamboura drone), that sets up a slow tempo and can often last more than an hour. Pran Nath's unwavering adherence to the principles of his vocal style was not that popular to the ears of modern Indians, but it is this recording that reached the open minds of minimalist composer La Monte Young and visual artist Marion Zazeela who persuaded Pran Nath to move to America and start his own school of music in New York. Just rattling off the names of his top students shows what an indelible influence Pran Nath was to late twentieth century music: Terry Riley, Charlemagne Palestine, Henry Flynt, Jon Hassell, Douglas Leedy, Don Cherry, Lee Konitz, Jon Gibson, Yoshi Wada, Rhys Chatham, Michael Harrison, W. A. Mathieu, Sufi Pir Shabda Kahn, Catherine Christer Hennix, and Simone Forti. Enough said. After being completely enraptured with the extensive and expensive double disc Midnight we reviewed a while back, some folks may not have had the time or means to see what we were raving about, so it's really nice to have this perfect and affordable introduction to Pran Nath's intense and penetratingly beautiful sound world, while they last!

This recording, the musical life of Pandit Pran Nath, his influence on Western minimalism, his importance to music, both modern and traditional, is steeped in history, but just as important, if not harder to describe, is the sound. A warm drifting dreamscape, layers of buzz and hum and drone, Nath's perfectly intonated vocals, hovering weightless above a thick swirl of Sitar string buzz and slowly shifting drones. This is true drone music. Warm and rich, thick and effervescent. Densely layered but light and airy. Truly difficult to describe, but a record that has immmediately become one of the most played / listened to records around these parts. Nath spent most of his life studying and performing in India, and became well known for his strict adherence to the authentic rendering of traditional ragas and an unwillingness to change his style or sound to be more 'modern'. His focus on the slower 'alap' sections of ragas was an obvious influence on seventies minimalists like La Monte Young and Terry Riley (both students of his), and other students / followers included Don Cherry, Rhys Chatham, Henry Flynt and many others. He eventually became a US citizen and continued performing, composing and teaching right up until his death. There is a definite dearth of recordings, considering how long Nath had been performing, this 2 disc set was originally released in 2002, and has luckily been reissued. The price tag is steep, but once these sounds hit your ears, any thoughts of price or money as well as all of your other earthly worries will just drift away. Both of these performances, one from 1971 recorded in San Francisco, the other in NYC in 1976, feautre Nath accompanied by Western musicians, Terry Riley, Ann Riley, La Monte Young and Marian Zazeela, who seem perfectly in tune with Nath's sound and vision. Anyone who loves the music of Chalk, Coleclough, Mirror, Ora, Organum, any of that minimal drone music, would do well to dig deep and discover the roots of that music. This is most definitely some of the most beautiful, transcendental drone music we have ever heard.

MPEG stream: Midnight (4 VIII 71 SF)

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

SORRY.

MPEG stream: Untitled 1 (Excerpt 1)
MPEG stream: Untitled 1 (Excerpt 2)

What's this?! New N.O.U. on Dischord? Yes, it's true. These are 4-track recordings from back in '92 committed to tape at their Embassy. Be forewarned, the sound quality isn't perfect. As you probably know the members can now be heard in The Fucking Champs and The Make-Up, but back then the tightly-wound musical chemistry between these four young men was undeniable. The results were an awesome, furious collection of songs and a live show that kicked my ass... hard. Ten songs of volatile, untethered music.

Yes, it's that time of year again, where all we hear outside the store is the worst Christmas music imaginable playing incessantly everywhere. Luckily over the years, we've been able to find a few select holiday gems to play in the store that don't make our skin crawl. Like John Fahey's The New Possibility, A John Waters' Christmas, Basinski's Silent Night (now sadly out of print) and Low's beautifully solemn Christmas album. This year we got a new treat in the form of this strangely monikered National Jazz Trio Of Scotland. We say strangely monikered because this is neither a trio nor is it jazz, but really what it is is Scottish musician Bill Wells and a handful of like-minded musical compatriots taking apart and rebuilding (respectfully) the traditional Christmas carol canon. Musically, Wells brings an eerie hushed chill and a charming vibrant peacefulness to the proceedings that sound like carols heard shortly after a quiet early morning snowfall. With just keyboards, piano, viola and voices, this is definitely great for keeping the ire of holiday tension down to a sedate manageable minimum. Lovely!

MPEG stream: God Rest Ye Merry Gentlemen
MPEG stream: Winter Wonderland
MPEG stream: We Three Kings

We know nothing about these guys, other than this is the latest release on LoBit Landscapes, who released the recent aQ Record Of The Week from Nihiti, For Ostland, and while there are some sonic similarities, NPS is a much more beat driven, dancefloor driven affair. Although from the opening of "Silver Miner", you might be forgiven for expecting something much more murky and abstract, beginning as it does with a weird pulsing landscape of squelches and swirls, a blurred smear of textures, but one that quickly blossoms into a weird sort of future funk, all motorik groove, and noisy, super distorted melodies, which almost sound like wild animal cries fashioned into tones, the result is something at once electronic, but also dense and psychedelic and a bit noisy. The second track too lays down a crumbling, distorted beat, and lays sheets of distorted electric guitar buzz over the top, and this time weaves in some mumbled vox, buried in the mix. It's a hard sound to classify, it's a sort of gloomy electro pop, but one that's both a bit gothy, and a bit noisy. "Flying Penguin" unfurls a weird barrage of metallic melody, before in swoops a fractured, and convoluted stuttery beat, as well as swirling synths, and some alien vocodered vox, the end result being equal parts dreamy electro pop and experimental avant electronica, but with a definite caustic crunch. Although the closer, the awesomely titled "Sad And Fucked (Not Moving)" might be our favorite of the bunch, a swirling squall of metallic buzz, and dense chordal shimmer, seriously kosmische, the sounds airy and ethereal at first, but gradually growing more distorted and blown out, only to seemingly melt before our ears into a woozy, keening, droned out murky drift.

MPEG stream: Silver Miner
MPEG stream: Sad And Fucked (Not Moving)

Oh man are people freaking out over this one. Admittedly, we hadn't heard this record, but people kept coming in the store and asking for it so we decided to give it a go. With a name like The National and having seen pictures of the five well-dressed boys from Brooklyn, we half expected another bland '80s rock redux sound that has continued to get more and more popular over the last few years. It started out innocently enough with some good records from The Rapture, Interpol, Bloc Party etc. but it's gotten a little tired by now. We're guessing many agree with this assessment considering all of the hype surrounding The National's Boxer which might be a much needed variation on the theme started by the aforementioned bands and continued on and on and on and on and on by many others. Boxer contains a coupla songs that push the post-new wave cart, but most are slowed down considerably. Some songs border on Americana folk, while others see the band painting a perfect alt-rock picture pairing chugging rock with arranged orchestral strings, piano, and horns to compliment the beautifully baritone voice of lead singer Matt Berninger. Berninger's voice may be the selling point for many (as it was for some of us) and could easily be compared to Leonard Cohen or Tom Waits at times, with moments where not only the tone but bittersweet stream of consciousness lyrical style of Stephen Merritt come to mind. Overall, we were pleasantly surprised and highly recommend this record for fans of Magnetic Fields, Midlake, Antony and The Johnsons, Arab Strap or Deerhunter.

MPEG stream: Fake Empire
MPEG stream: Ada

The National broke out big with their last album from a few years ago, Boxer, so we are always nervous/excited to see how a band follows up a record that hurl them into a whole new world, with a new level of attention and acclamation. And guess what, they've done it totally right, making a record that might even surpass Boxer. Right from the stunning opener "Terrible Love" we were stopped in our tracks as it's one of those songs that you know when you hear it for the first time you are about to become totally obsessed with it and play it for everyone you know, as we have in the last couple weeks. Luckily the record maintains the strong emotional and driving quality of that song, managing to create songs that are bittersweet, brooding and dour, yet which flow which such ease. High Violet captures a similar spirit to so many of our favorite '90s records by folks like Red House Painters, American Music Club, Tindersticks and Low. And we even think about what Interpol or The Editors might sound like if they were doused with a healthy amount of valium and brought in a much more stark, emotional quality to their music. We've got a feeling this is going to end up on a lot of year end best lists and it will be totally deserved!

MPEG stream: Terrible Love
MPEG stream: Anyone's Ghost
MPEG stream: Afraid Of Everyone

Now reissued with tons of bonus material (1 alternate version, 2 new songs, 2 B sides and 3 live recordings) and slightly altered packaging... The National broke out big with their last album from a few years ago, Boxer, so we are always nervous/excited to see how a band follows up a record that hurl them into a whole new world, with a new level of attention and acclamation. And guess what, they've done it totally right, making a record that might even surpass Boxer. Right from the stunning opener "Terrible Love" we were stopped in our tracks as it's one of those songs that you know when you hear it for the first time you are about to become totally obsessed with it and play it for everyone you know, as we have in the last couple weeks. Luckily the record maintains the strong emotional and driving quality of that song, managing to create songs that are bittersweet, brooding and dour, yet which flow which such ease. High Violet captures a similar spirit to so many of our favorite '90s records by folks like Red House Painters, American Music Club, Tindersticks and Low. And we even think about what Interpol or The Editors might sound like if they were doused with a healthy amount of valium and brought in a much more stark, emotional quality to their music. We've got a feeling this is going to end up on a lot of year end best lists and it will be totally deserved!

MPEG stream: Terrible Love
MPEG stream: Anyone's Ghost
MPEG stream: Afraid Of Everyone

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

SORRY.

One of the more anticipated records of the late spring 2013, The National's Trouble Will Find Me continues with their world-weary mope-rock that garnered such critical acclaim on records like Boxer and High Violet. The somber moods that touch on Americana songwriting amidst the occasional flares of mega-watt bombast hang entirely on the delivery of frontman Matt Berninger, whose rich baritone parallels that of Leonard Cohen. Fans of Tame Impala and Magnetic Fields would be well served to check this out, if they've not done so already.

MPEG stream: Don't Swallow The Cap
MPEG stream: Sea Of Love

We most definitely have a thing for Russian black metal, Old Wainds, Stielhas Storhett, Forest, Branikald, Raven Dark, Nav, Ithdabquth Qliphoth, we could go on and on. So we're always psyched to discover some new band we had never heard, or heard of before, such was the case with Native In Black, whose 2008 disc At The Gates Of Eternal Winter we just managed to get in, and it's a killer, but the cool thing is it's a whole different take on black metal than we're used to, especially from Russian bands. Their sound is cold and grim and frosty and buzzy, but it's not really furious or fast, it's also not stripped down or raw, instead it's almost like some weird variant of classic eighties metal, mixed with a little blackness, and a lot of thrash. It's hard to describe, but much like the Ruins cd reviewed elsewhere on this list, the more we listen to this the better it sounds. Most black metal is droney or blurry, barely headbangable, but this shit is epic, and totally rocking, midtempo most of the time, and when it is fast, it's not blast beats, but more furious and sort of punk rock. Lurching and lumbering, pounding fists in the air. The vocals are awesome too, definitely a black metal shriek, but also frenzied and super dramatic, a bit like Mr. Doctor or something, giving the black metal a distinctly over the top Devil Doll vibe. In fact the more we dig into this record, the less distinctly black metal it sounds, and the more it sounds like some fucked up noise rock band, who just so happen to have some metal roots, a tangled mathy buzz, wrapped around those crazy vox, and shot through with a bit of stumbly punk rock, and streaks of blackened grimnity. Live these guys could easily either be corpsepainted and bespiked, or a bunch of bearded dudes in jeans and tshirts, leaping all over the stage, flailing wildly and stage diving, hardly matters, either way this shit rules!

MPEG stream: Blackest Northern Orchestra
MPEG stream: At The Mystic Gates
MPEG stream: Ladies And Gentlemen

This NYC metal band, making their debut on Earache, have a name & logo that seems more appropriate for a bunch of tree-hugging pagan black metallers than what they are, in fact - throwback '80s style NWOBHM inspired earthdogs. And heck yeah, we like that brand of metal! Particularly in the USA, bands like Christian Mistress, Saviours, Dawnbringer, Hour Of 13, High Spirits and DarkBlack are bringing it back; add Natur to the pack. Unpretentious, but not entirely unambitious true heavy metal for the denim and leather, chips and beer crowd. Heavy and galloping with 'decent enough' clean (but not too clean) vocals; the guy's no Bruce Dickinson but he puts it across okay. We do hear some Hetfield in his yowl. While not especially original, they're quite competent, and there's a lot on this disc for old school lovin' metalheads to enjoy, such as the fact that they're doomily heavier sound-wise than almost all 'actual' NWOBHM bands back in the day. And they lean a little bit proggy in parts ("Spider Baby" even hints at Goblin, a bit, with some eerie keys). The album is (for us) a grower, it took us a couple spins to really get hooked, maybe 'cause their songs are a bit more nuanced and sophisticated than we realized at first. But now we're off the fence and happily headbanging the way Natur intended!

MPEG stream: Goblin Shark
MPEG stream: Decion
MPEG stream: Spider Baby

Natural Dreamers is made up of Chris from Deerhoof and Curtains, John from Deerhoof and Gorge Trio, and Jay from Dilute. Their first release makes a lot of sense in terms of a sort of instrumental midway point between Curtains and Deerhoof, containing the open spaces and pauses of Curtains' minimal approach grafted onto the chunkier, fuller sound of two guitars. A French website enthused (via automatic translation): "One likes this small end of spring freshness, these small airs which do not pay a mine but which exploits the naturalness of people, without claim, where all is based on the listening of the other! Power, naturalness and emotion..." Ahh, naturalness, emotion and spring freshness indeed! A really nice, satisfying record from some very talented Bay Area players.

MPEG stream: The Singer

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

SORRY.

In past reviews of other records from psych-folk duo Natural Snow Buildings, we often mentioned that theirs was a sound that would benefit being unrestrained by the restrictions of format, the sort of epic jams that could and likely should go on for ever and ever and ever. And while that's still likely not possible, this SIX cd set is about as close as we'll get. And as we predicted it totally suits their sprawling soundworld. Originally released as an insanely limited five cassette set in 2009, Daughter Of Darkness has now been reissued on cd, still pretty limited, just 500 copies, but thankfully a chance for everybody who missed out the first time around (including us!) to get lost in these epic sonic drifts. And epic they are, no tracks shorter than 6 minutes, most closer to 20, or 30, a handful 40+, but again, these sorts of amorphous psychedelic drifts are meant to unfurl and unwind leisurely, lush, majestic slowburns, even from the very first track, the title track that opens up disc one, you'll immediately understand, a swoonsome, softly undulating, buzz drenched ur-drone, steel string shimmers over warm chordal swells, tangled melodies in the distance, shards of feedback, lots of overtones, a weirdly wonderful sound that manages to be both nearly static, a hazy tranced out drone, and yet in constant motion, slowly transforming and morphing before your very ears, lulling you in, and then wrapping its warm musical tendrils around you, until you're nearly totally enveloped, and believe us, you will have absolutely no desire to extricate yourself. It would be difficult to describe the sound of NSB, or to go track-by-track with such a description, but imagine a warm, minimal, psychedelic folk, blurred and smeared into something more abstract, into hazy, gauzey drifts of dreamlike sound, a glancing listen reveals warm shimmers and softly kosmische drifts, but dig deeper, and let the various layers wash over you, peel back melodies, and textures, dig deep and get lost in a dense world of carefully constructed sound, a sound that seems to draw equally from seventies acid folk, and modern avant garde minimalism, from Eastern ragas, and experimental noise music. Each track a dizzying concoction of abstract vocals, of buzzing strings and buried melodies, of epic soaring string like majesty, and fuzzy riffy psychedelia, ritualistic and trance-like, abstract and melodic, moody and mesmeric, seven plus hours of utterly divine, deep listening drone-folk kraut-psych dreaminess. LIMITED TO 500 COPIES. Includes two bonus tracks NOT on the vinyl version (which was mailorder-only direct from the label, sorry), each cd in a stickered sleeve, and all housed in a hand painted box, every one unique!!

MPEG stream: Daughter Of Darkness
MPEG stream: Carnal Flowers
MPEG stream: Santa Sangre Part 1
MPEG stream: Will You Die For Me?

Natural Snow Buildings is another one of those bands almost every one had heard of, but almost no one had actually heard. A handful of meticulously packaged and criminally limited cd-r's that disappeared before most of us even knew they existed. But everyone spoke in hushed tones, about the amazing sounds of Natural Snow Buildings, that's a lot of hype, and huge potential for a let down, as all of those records are finally being reissued in slightly less limited editions, this being the first readily available one, but we're happy to report, this dup truly does live up to the hype. Their sound, as all great sounds are, is quite difficult to describe. Their sound is abstract and ambient, but active and busy, propulsive yet minimal and almost static, rife with melodies, but dense and droney, soft and shimmery and so so pretty. The first track here is enough to enchant even the most jaded of listeners. A glistening, effulgent soundscape of glimmering prismatic tones, and deep soft whirs, dreamy streaks of major key melodies draped over the constantly shifting sea of warm whirls. It's like a more organic version of the first track on Oval's Diskont record, but where that track sounded underwater, this one sounds sun dappled and windswept, a bit of a raga really, but its buzz and drone is spread out into a downy bed of fallen leaves, the listener falling back into the Autumn's embrace, the sun sparkling through the latticework of branches overhead. Not ominous or dark, this is joyous and rich and bursting with a warm organic glow, the layers and melodies constantly slipping and sliding in this huge mass of billowy soft sound. As the song progresses, if it were even possible, it seems to get more and more blissful, everything wreathed in haunting halos of sound, UNTIL the drums kick in. and the whole thing explodes into a jagged splatter of angular atonal feedback, and grinding distortion, a chaotic squall that dissipates almost as quickly as it came on, leaving the duo to wind back down, meandering dreamily to the next track. The second track is a bit dirgier, darker, a pounding rhythm, and a rumbling gurgling low end bass growl, underpinning the weirdly tribal jam, bells, chimes, voices, some fragments of guitar, but mostly a droning rhythmic groove, eventually joined by a chorus of angelic vocals turning a dark drone into some sort of pastoral hymn. The final track is the most minimal, an understated drone, layers of softly overlapping overtones, shifting tonal colors, warm and buzzy, and nearly bursting with some internal heat, the tones growing more and more feverish, the sounds threatening to crumble, until the tones do break free and splinter into streaks of feedback, and woozy shimmering slabs of high end skree, noisy and staticky, with strange alien sounding chanted voices. Truly fantastic, and gorgeous, challenging, and wondrously unique. And again, well worth the hype. So recommended. BUT!!! Still limited to only 100 copies!! Why??? Why not 500? Or 1000? These will be gone again way too fast, so don't delay, you'll be sorry...

MPEG stream: Cockmotherfighting
MPEG stream: Orisha's Laments

If there was ever a band to masterfully manipulate the whole 'insanely limited release' thing, it's French duo Natural Snow Buildings, whose early releases were so limited, it's a wonder anyone even got to hear them, case in point, 2008's Night Coercion Into The Company Of Witches, which was released as a triple cd-r in a run of just TWENTY TWO copies!! Over the last few years, many of those old NSB records have been getting reissued in much more reasonable editions, and while that sort of hype can often backfire, especially when way more people have heard OF your band, than actually heard it, every NSB release we get simple confirms what a remarkable duo they actually are, and what a shame it is that it's taken this long for more people to actually hear them. It wouldn't be an NSB review without the 'limited release' rant, but now that we've got that out of the way, we can luxuriate in this fantastic collection of lush layered folkdrone psychedelia and ritualistic psychedelia soundscapery. Coercion is in fact the group's first proper domestic release, and thus might be the first many folks hear, and we have to say, you couldn't ask for a better introduction. Three discs, nearly three hours, six tracks, the shortest clocking in at 17:59, the longest at 57:47, which is exactly how NSB are meant to be experienced, their tracks epic, sprawling, lush and organic freeform explorations, guitars and percussion, woodwinds, bells and chimes, lovely vocals, all woven into something mesmerizingly transcendent. There's definitely a sonic link, intentional or otherwise, to the Finnish forest folk we hold so dear, fans of groups like Avarus, Anaksimandros, Uton, Kemialliset Ystavat and the rest, will definitely discover kindred sonic spirits here, the foresty campfire vibe looms large, but NSB aren't afraid to take that muted minimalism, and let it blossom into something massive, gloriously lush and layered ur-drone tranceouts of the highest order, taking elements of Flying Saucer Attack, Astral Social Club and classic kosmische krautrock, and tangling it all together into something sublime and divine. While some tracks, like the record opener, "Kadja Bosou", are rhythmic and trancey, others, like the title track, are much noisier affairs, dense squalls of chaotic sound, reminiscent of Birchville Cat Motel or Our Love Will Destroy The World, but often foregoing the rhythmic component for something freer and more abstract, keening high end melodies, shards of heavily effected guitar howl, over a softly roiling backdrop of shimmer and thrum, the sound slipping easily from drifting loose and free to something more directed, tethered to a simple pulse, or some minimal percussion, but even then, the rhythms seem less an anchor, as a pulse, a loose demarcation, guiding the wild psychedelic swirls overhead. Theirs is definitely a sound that's difficult to describe, especially on a record as vast and varied as Coercion, but somehow, each epic track, as different sonically as some of them are, manage to all sound like NSB, whether it's crumbing and noisy and atonal, or lush and layered and lovely, or driving and hypnotic and strangely propulsive, NSB imbue their sound with some ineffable sonic thread that runs not just through these songs, but through all of their songs. This record (or perhaps more accurately, THESE recordS are) is an epic journey, one that requires patience, and perhaps headphones, to really get the full effect, the thought of a single three hour session might seem daunting, but these are the sorts of songs that suck you in, that are so easy to get lost in, truly psychedelic, and at times it's difficult not to fall into some sort of trance listening to this stuff, it's gorgeously zoned out, darkly melodic at times, almost purely textural at others, but always utterly mesmerizing, and some of the most unique and moving modern music you're likely to hear.

MPEG stream: Kadja Bosou
MPEG stream: Night Coercion
MPEG stream: Brooms, Trapdoors, Keyholes

[ aquarius records catalogue — N ]