[ 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 1451 through 1500 of 4057.

First album of loping pan-Christian mystic country femme-folk from Judee Sill who short-lived and troubled career produced two absolutely amazing and essential records for David Geffen's fledgling Asylum Records. Like Nick Drake and Joni Mitchell rolled into one. Heartbreakingly honest.

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SORRY.

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Silo are a Danish trio who boastfully proclaim their allegiance to Metallica, yet sound nothing at all like metal. Instead, the group takes a post-rock approach, with metronomically tight, cyclical rhythmic patterns of guitar, bass, drums, and electronics, not dissimilar to the AQ-endorsed sounds of Fridge, Village Of Savoonga, and Circle. While the sounds on "Alloy" certainly

Are you ready to don beads and burlap and grow out your hair and fly with the "Acid Eagle" on the "Aluminum Wind"?? If so, Siloah would love for you to join their musical quest for "Krishna's Golden Dope Shop" (yes, these phrases in quotes are all song titles from this record -- and let's not forget "Yellow Puppets Hanging In The Sky") which you can certainly do in your imagination at least by spinning this cd reissue of their self-titled LP from 1970. It's not a recent release but we were just able to get more and wanted to finally list it because it's just such a wonderful record of primitive, psychedelic Krautrock like we like it. Anyone who dug the Kalacakra album (also reissued on Garden Of Delights) or Paternoster ought to make Siloah's acquaintance! These German hippies' druggy jamming makes the original Amon Duul sound like American Idol contestants. Well, not really. But this is really wasted, lovely, LSD-damaged, communal soundmaking we can't imagine anyone could do better, ever, if at all. The Siloah vibe is eternal and unique. Mellow, mantric songs featuring hand percussion, guitar, flute, and electric bass, and high, muppety vocals singing tripped-out lyrics (as the awesome song titles already mentioned might indicate). This one's a fave of several AQ staffers, and we happen to know that it's also highly regarded by our friends in the Jewelled Antler collective who only wish they could get as high as these folks!!

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First time available on cd ever! Fucking incredible document of early seventies free jazz recorded live in Paris, in December 1970. We shouldn't have to do anything but tell you who plays on this to convince you that this is utterly essential. Fans of Sun Ra, Art Ensemble of Chicago (most of whom, play on this) and all things ESP, MUST own this. Seriously beautiful and epic outer-jazz-space exploration. And here's the freakin' lineup: Alan Silva - leader, bass, electric-violin, electric-sarangi, bow and spring (two French electroacoustic instruments) / Bernard Vitet - trumpet, french horn / Lester Bowie (AEC) - trumpet, flugelhorn / Alan Shorter - trumpet / Joseph Jarman (AEC) - saxes, flute, bassoon / Steve Lacy - soprano saxophone / Ronnie Beer - tenor and soprano saxophone, flute / Roscoe Mitchell (AEC)- saxes, flute, oboe / Robin Kenyatta - alto sax, flute / Michel Portal - alto sax, clarinet / Dieter Gewissler - electric violin / Jouk Minor - electric viola / Kent Carter - cello / Irene Aebi - cello, celeste / Dave Burrell - piano / Beb Guerin - bass / Don Moye (AEC) - drums, percussion / Jerome Cooper - drums, percussion, bronte / Oliver Johnson - tympani, percussion. Compact disc release limited to 1500 copies, so don't hold out on this one!

Fucking incredible document of early seventies free jazz recorded live in Paris, in December 1970. We shouldn't have to do anything but tell you who plays on this to convince you that this is utterly essential. Fans of Sun Ra, Art Ensemble of Chicago And here's the freakin' lineup: Alan Silva - leader, bass, electric-violin, electric-sarangi, bow and spring (two French electroacoustic instruments) / Bernard Vitet - trumpet, french horn / Lester Bowie (AEC) - trumpet, flugelhorn / Alan Shorter - trumpet / Joseph Jarman (AEC) - saxes, flute, bassoon / Steve Lacy - soprano saxophone / Ronnie Beer - tenor and soprano saxophone, flute / Roscoe Mitchell (AEC)- saxes, flute, oboe / Robin Kenyatta - alto sax, flute / Michel Portal - alto sax, clarinet / Dieter Gewissler - electric violin / Jouk Minor - electric viola / Kent Carter - cello / Irene Aebi - cello, celeste / Dave Burrell - piano / Beb Guerin - bass / Don Moye (AEC) - drums, percussion / Jerome Cooper - drums, percussion, bronte / Oliver Johnson - tympani, percussion

Another Silva reissue from his ESP days, this one recorded in 1970 with Dave Burrell, Becky Friend, Karl Berger, Mike Ephron, Lawrence Cook and Barry Altschul.

Another contender for Andee's flute hall of fame. More spaced out celestrial divinity from the master himself, Alan Silva. Two lengthy tracks of abstract fluttering flutes, free jazz clatter, and spaced out otherworldly wildness. Violin, cello, piano, organ, vibraphone, rattles, cymbals, percussion and FLUTE, all woven together into a gorgeously thick miasma of drone-y, scrape-y,

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SORRY. Polyrhythmic pop-electronica from this Spanish duo who got a stellar line-up of remixes from Locust, Scorn, Autechre, Seefeel and Scanner.

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SORRY. A new Silver Apples? Yessir, and produced by Steve Albini no less. Simeon and his new band, which we already know are great live, take to the studio for a new opus (with some re-recorded classics included).

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SORRY. Seminal electronics-and-drums duo self-issue their second, impossible to find album. Essential. [As if that isn't enough good news, Andee asks that we mention we're selling his original *vinyl* copy of Silver Apples' selftitled album, a steal at $75. Not sealed (cover is near-mint and has a little promo hole), vinyl is in mint condition, with original full-color poster.]

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SORRY. "Decatur is a voyage of pure exploration beyond the broad established horizons of electronic music. It is an adventure into the perceptions of an unparallel universe all its own." That's what it says on the back, and who are we to argue with Simeon? 42 minutes, one song. Recorded and produced by Tom Smith.

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SORRY. Original Silver Apples drummer Danny Taylor, one half of that famed duo, has been found! On March 17th of 1998, Danny heard himself on the radio and called the dj. The dj emailed Simeon. Simeon immediately drove 300 miles to see Danny. They reminisced in Danny's attic over old Silver Apples paraphernalia. They discovered some lost tapes. Seven complete songs from 1969 and a tape of Danny playing percussion instrumentals in 1968. So this year, Simeon added tracks over top of those to finish the tracks and a new album of fourteen tracks is now available. The Aquarius kids are divided on whether we like it. I would say that though it's a little awkward sounding (not as polished as the first two), it's a great document of an exciting time for music. And it's much better than Decatur. If you consider yourself a fan, you'll be thankful to have one. The only question is--if this all happened in March, why wasn't Danny at Terrastock?

The first, self-titled Silver Apples lp, from 1968 is a brilliant, landmark recording of swirling, pulsating early psych/synth "rock", from the duo of Simeon (playing a self-built synth called "The Simeon") and Danny Taylor (drums), and comes highly, highly recommended by all here at AQ. The follow-up, Contact, from 1969, is also awesome. The major label that owns these records finally woke up and here is the result: both Silver Apples albums on one disc, complete with new liner notes by Simeon himself and diagrams of their instrumentation etc.

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Not long ago, we hope you recall, we highlighted a pretty rad release on the Rephlex label, a double disc compiling the entire recorded output of early '90s "Britcore" rappers The Criminal Minds. They had been billed as being something akin to a "UK Public Enemy", and we agreed! In our review we made mention of some of TCM's contemporaries, that we were now also quite curious to hear: Hijack, Silver Bullet, the Demon Boyz... Well, we just discovered that emcee Silver Bullet's debut full-length from 1991, Bring Down The Walls The No Limit Squad Returns, was recently reissued by a new label called Original Dope, an imprint of Cherry Red that's focused on UK hiphop. Cool beans! 'Cause on eBay, original copies of this Silver Bullet cd were going for like 40 bucks - plus this is remastered, with worthy bonus tracks and brand new liner notes. And hearing it, it's for sure something that anybody who liked TCM will dig. Fast, funky, and frantic, with a definite dark vibe. SB's rough, raw, rapidfire flow is well matched by the uptempo beats of his DJ Mo, the disc is energetic and intense from start to finish, and dense with sampling. Like TCM, this has got that PE/Bomb Squad feel as well, but especially apocalyptic and adrenalized. In fact, Silver Bullet was hand picked by PE to open a European tour of theirs, and one of the 4 bonus tracks tacked onto this reissue is a Bomb Squad remix of SB's "20 Minutes To Comply" (a track built around a sample of ED-209's "dialogue" from the movie RoboCop, by the way). Movie soundtracks, particularly horror movies, were a big part of the Silver Bullet sound... you'll hear John Carpenter stuff, the Twilight Zone theme, etc.; in some sense Silver Bullet could also be said to have pioneered the "horrorcore" subgenre of rap (a la Gravediggaz), lyrically too. Just check out signature cut "Bring Forth The Guillotine"! Which, of course, is also political, as are tracks like "Undercover Anarchist", which also probably attracted PE's attention. This reish is nicely done, with detailed Silver Bullet bio provided in the cd booklet, wherein we learn that his career derailed after this album due to run-ins with the law (as he admits now, he was young and dumb, and is lucky that in living out his gangsta rap fantasies, playing around with guns and stuff, things didn't turn out worse for him than they did). He should have paid attention to his own tune, "Guns Of Mind Alone"...

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All that we get from this label about this here cassette is "debut tape of hushed, lonesome ballads from this haunted bedroom troubadour." There's not much said about the shadowiness that is Vaald Tapes either, although the black noise, impenetrable goth demeanor, and funereal dirge-drones from the label's mysterious artists have all been top notch. Silver Casket's stripped down ballads for dour acoustic guitar impressionism strip away all of the electronic floweriness of Mountains, leaving behind the plaintive spaghetti western motifs spun in some loner's bedroom with only a melodica or a couple of bells to simulate Morricone's flourishes. An atmosphere of futility, sadness, and desolation hangs heavy on these skeletal tracks dripping in reverb, echo, and subterranean vibes; and after the brief 23 minutes of ghostly deathfolk gloominess, we're left wanting much much more. Whoever the fuck this is, keep it up. This is great work! Unfortunately limited to 25 copies of which we have a good chunk of the run.

A customer came in the other day and was looking for something new that was "spazzy and punky and weird" while we thought it might be easy to rattle off a bunch of suggestions to them we realized that we have been lacking any really good punk spirited albums as of late. This debut by the L.A. group Silver Daggers fills that void perfectly! Combining the eccentric nature of the early SST roster (Saccharine Trust, The Minutemen) the fierce intensity of Euro art-punk like Dog Faced Hermans and The Ex as well as the all out spazz attack of the 90's San Diego post punk scene (Swing Kids, Antioch Arrow, Clikitat Ikatowi) Silver Daggers incorporate distorted sax blasted throughout their short and sweaty anthems that hit a no-wave sweet spot of strange & spastic energy channeled in all the right ways. Finally some new punk sounds we can totally get behind!

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The debut album from this Sacramento trio bursts forth with an untethered emotive outpouring set in a dusky deep South rural setting. Your Ghost Fits My Skin features a nice balance of boot stomp and murder balladry. Check out the mid-album one-two punch "Death: Has No Victory" and "Death: You Have To Believe"! The raw soulful vocal performances contrast well with the lush instrumentation (some trombone here, some musical saw there, some timpani here, various organs throughout). The overall vibe is remarkably akin to the Americana song stylings of Jason Molina and Will Oldham. Yes, they're two very prolific songmakers whose recordings can fill a library on their own, but surely you can find a little corner in your musical heart to tuck these fellows into as well! We think you'll be you did!

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Mr. David Berman has always sounded the horn of lethargic singers everywhere. This record is no exception: Mr. Silver Jew really sounds as if he'd rather be picking the lint balls off his sweater than sing his songs. And if he doesn't give a shit, why should we? I mean, it wouldn't really be that bad if the songs weren't unremarkable too, but they're simply staid ol' indie rock circa

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The Silver Jews of today are FAR removed from the Silver Jews of the early nineties. While these days the SJ's seem to have have more in common with folks like Bonnie Prince Billy and later period Smog, all dark folky downer indie pop, when we first discovered the Silver Jews, they were everything we wanted at the time, a totally loose, heartfelt, ramshackle, chaotic, noisy, home brewed indie pop band equal parts old Smog, early Sebadoh, and Pavement especially, Silver Jews were like Pavement Jr. Just check out "Secret Knowledge Of Backroads", their version of an obscure Pavement track that might even be better here, in all its about-to-fall-apart disarray. Early Times collects the two earliest Silver Jews records, 1990's Dime Map Of The Reef 7" and 1993's The Arizona Record, which while sounding totally early nineties (how could they not?) also still sound impossibly great, back when songs mattered more than sound, and not everyone had some advanced home recording set up, so the recording process had to be as creative as the songwriting, resulting in some of the most idiosyncratic sounding music we've ever heard, and the sort of thing that threatens to be lost as 4-tracks are replaced with laptops. Enough old guy kvetching, this is just a fantastic collection of classic early indie rock, and buried beneath all the fuzz and buzz and tape hiss, and amidst all the weird dropouts and detuned guitars, and cardboard percussion, lurk some of thee greatest indie rock we've ever heard, these two records (and thus this collection) rank up there with Pavement's Slanted And Enchanted, and Westing (By Musket And Sextant), Smog's Sewn To The Sky, and Julius Caesar, Sebadoh's The Freed Weed, if you love any or all of those records and have somehow missed out on the Silver Jews (at least these first two records), you're in for surprise, and a new (old) favorite band!

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David Berman's Silver Jews have hit the half dozen mark with their album Lookout Mountain, Lookout Sea. As you might recall, album #5 (Tanglewood Numbers) left us cold. It seems we must've missed being warmed by the malt beverages that the band sounded like they'd been enjoying in abundance. This full length pretty much picks up where they last left off, but now with Berman's wife Cassie on bass and vocals. Still unapologetically ramshackle and unravelling. So why do we keep anticipating goodness from this band? Why do we keep wanting to like them? Sure the roster over the years has been an indie rock kid's wet dream (including HRH Malkmus, Nastanovich, Denison and Oldham), but there is more to it than that, right? On each Silver Jews album there are always bright flashes of dark awesomeness from Berman's songwriting pen. They're just very fleeting and you have to wade through an often frustrating logjam of murk and shambles to spot them. Where are they on Lookout Mountain, Lookout Sea? We caught glimpses in the trippier moments of songs such as "Candy Jail" and "My Pillow Is A Threshold" as well as on the surprising cover of Maher Shalal Hash Baz's "Open Field".

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NOW ON VINYL! David Berman's Silver Jews have hit the half dozen mark with their album Lookout Mountain, Lookout Sea. As you might recall, album #5 (Tanglewood Numbers) left us cold. It seems we must've missed being warmed by the malt beverages that the band sounded like they'd been enjoying in abundance. This full length pretty much picks up where they last left off, but now with Berman's wife Cassie on bass and vocals. Still unapologetically ramshackle and unravelling. So why do we keep anticipating goodness from this band? Why do we keep wanting to like them? Sure the roster over the years has been an indie rock kid's wet dream (including HRH Malkmus, Nastanovich, Denison and Oldham), but there is more to it than that, right? On each Silver Jews album there are always bright flashes of dark awesomeness from Berman's songwriting pen. They're just very fleeting and you have to wade through an often frustrating logjam of murk and shambles to spot them. Where are they on Lookout Mountain, Lookout Sea? We caught glimpses in the trippier moments of songs such as "Candy Jail" and "My Pillow Is A Threshold" as well as on the surprising cover of Maher Shalal Hash Baz's "Open Field".

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Faithful indie rockers knew that prior to 2006 there wasn't a hope in hell that they'd be seeing one of their favorite bands live in concert. Silver Jews' team captain David Berman chose to keep it that way, much to his fans despair. So, why the change of heart after fifteen long years? We've no idea, and we choose not to pry, but the band hit the road, and how! They toured right across the country and around the globe. This dvd doesn't document the entire trip, but heck, we've all seen tons of footage of bands on the road, right? The grueling, the touching, the hilarious, the ho hum, etc., etc. Instead filmmaker Michael Tully chose to focus on one particular stop in the band's travels, the distant land of Tel Aviv, Israel. The film does include a few clips of the band performing live, but more so, it resonates with the profound intimate impact the visit had on Berman. A must-see for any Silver Jews fan!

The first thing that caught our eye when we saw the cover photo on this new Silver Jews album was the big ol' Canadian Club whiskey plaque on the barroom wall. And whad'ya know the first words we hear comin' out of singer David Berman's mouth in the lead-off song "Punks In The Beerlight" are, "Where's the paper bag that holds the liquor? Just in case I feel the need to puke." As Mischa aptly commented, "I think they have been drinking!" Ah, Tanglewood Numbers is filled with the stench of cigarette butts soakin' in ten day old beer. Miserable tales of hard livin' performed by a cast of indie rock superstars including Steve Malkmus, Bob Nastanovich, Bobby Bare Jr., Duane Denison, and Will Oldham.

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David Berman's Silver Jews here releases a new 4-song EP (the title track will appear on upcoming full length Bright Flight, the other 3 won't). I've loved his previous releases, a combination of indie rock, a slight twang, downer songwriting, and a loping, So why is this new EP so bad? Well, with completely out of tune male and female voices crooning dumb lyrics like "Punk rock died when the first kid said / 'Punk's not dead! Punk's not dead!'" and "We're off to the land of hot middle aged women / Off to the land whose blood runneth orange," there's your first clue. The music is also embarassingly dated, which is even sadder in today's overglutted climate when indie rock needs to be a *lot* better than mediocre rehashing of a tired formula from 1992 in order to warrant your attention. Sigh. Another one bites the dust.

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Once a tour-only piece of merch, now available in stores...like ours. Four new tracks (two about 5 minutes, two around 10) from this Montreal based, Godspeed You Black Emperor! related ensemble. From the intimate to the epic, some of this is garagey and "ghettoblastered" while other parts are ethereal and grandiose with violins sawing away, massed voices and birdcalls.

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Newest effort from this Godspeed You Black Emperor offshoot, consisting of mainman Efrim and five other cohorts, plus a "tra-la-la band with choir." Thankfully, Silver Mt Zion have chosen to actually move beyond aping the Godspeed mothership and crafted a pretty bizarre new sound. Pagan folk ala the Wicker Man, mixed with some of that patented Godspeed cinematic moodiness, and then some Polyphonic Spree-ish harmony. Sounds weird but it actually works pretty well. The first track sounds like it could very well have been from the Wicker Man soundtrack, with the choir chanting fa-so-la, fa-fa-fa, so-la-la-la over a simple tribal rhythms while all sorts of other instruments weave an ominous backdrop of strums and drones. The rest of the record follows a meandering path from those pagan freakouts, to rhythmic tribal jams, to strummy dreamy folk, layered scratchy electronics, to sweet violin/guitar serenity, to clangy clattery soundscapes, to wailing emotive almost-indie twang. Efrim's voice will be a stumbling block for some, his whiny upper register croon reminding us a lot of the Flaming Lips' Wayne Coyne' but even more strained and whine-y. Think a mix of Souled American's Chris Grigoroff, Built To Spill's Doug Martsch, and Bright Eyes' Conor Oberst, stripped to the waist, all painted up and standing above a burning pyre, and howling to the heavens! A primal, incantatory hippie cathartic group ritual. Fans of the Wickerman and Comus and other hippie pagan folk, just may have found some modern kindred spirits. As with all Godspeed and Constellation-label artifacts, the cd artwork is gorgeous, as is the double LP version, both with deluxe gatefold sleeve and booklet insert.

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Godspeed alumnus Efrim forges ahead with his third (or fourth if you include the tour ep Pretty Little Lightning Paw) album. Efrim and co. continue in the pagan drone folk style of the previous Silver Mt. Zion releases, but with even further emphasis on the vocals (which Andee insists sound like Brak from Space Ghost, which he also insists is a GOOD thing!). Ernest political lyrics are sung in a damaged, cracking voice. Fists clenched and thrust into the air, a chorus takes up the fight and brings the march to the shields of the riot police. Tear gas stings their eyes, batons bruise their arms, and cut their faces, but they continue forward, pushing the line of masked officers backward... I open my eyes and I'm sitting in front of a computer. As good a soundtrack to the next WTO demonstration as any, none the less Silver Mt Zion have matured musically with every release. Unlike their predecessor project Godspeed You Black Emperor, the compositions of Silver Mt. Zion are not constrained by the bombast of the ever increasing crescendo for every song. Horse In The Sky is more a collection of ballads and sing-a-longs, with dark and brooding piano, cello and violin which occasionally break out into rocking cathartic releases. As usual, comes gorgeously packaged in a printed bi-fold wallet with lyric booklet and drawings.

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Three members of Godspeed You Black Emperor sounding much like you'd think they would: delicate, dark instrumentals awash with mournful violin, epic drumming, radio broadcasts and lilting guitar. Though not every track is always as fully layered as Godspeed, A Silver Mt. Zion is EQUALLY beautiful albeit simpler. The fifth of the eight tracks, "13 Angels Standing Guard 'Round the Side of Your Bed," in particular features a weeping guitar effect that is so lovely it's itself worth the price of the record. The gorgeous packaging also deserves a mention: bright red foilstamping on matte brown cardstock. So nice!

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Changing their name from A Silver Mt. Zion to The Silver Mt. Zion may not amount to much, but it certainly irks our propensity for neat-freak orderliness. While certain schools of thought disregard all articles in terms of alphabetization, Aquarius has always Anyway, "Born Into Trouble As Sparks" is yet another outing of exactly what you would expect to come from the Godspeed! camps: soaring orchestrations for glide guitars and melodramatically inclined strings, tainted by the continued use of knee-jerkingly leftist spoken word snippets. While my initial reaction to this album was just plain bitchy, the accurate analysis was given by our beloved garrulous regular customer Forrest Norvell, who likened Silver Mt. Zion to the films of John Sayers, as earnest-to-a-fault anarcho-syndicalists rebelling with every single ounce of strength against the evils of capitalism, politics, money, greed, the system, the man, and anything else that makes for an easy target. Not every tale of hope in the face of despair makes for good art.

This is a hard one for us. On one hand we want to gush endlessly and write long paragraphs on how great this cd-r is, but on the other hand, this is a late discovery for us and we're not sure the band will be making any more copies of this. We got the last ten!!!!!! We don't really know too much about this band except they were local and recently relocated to Austin, and they revel in a sound that can be best described as shoegazey stoner country-rock. Thick, warm and gauzy with lots of reverbed slide guitar and heavy psych amp fuzz underscoring the female singer's pretty heavy-lidded and drawling vocals, the songs on Forces remind us of smoky perfumed parlors from a forgotten age. Reminiscent of a fuzzier Mazzy Star or a more heavier slow-rocking Beach House, Silver Pines has taken us all quite by surprise by their majestic grace and atmospheric beauty. So good!! Hopefully this won't be the last we hear from this band. Each cd-r hand silkscreened and colored. We only have ten! and we're not sure we can get more! You have been warned!

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Oh, how we miss the "cassingle". Those two or three songs and perhaps a dance remix that would play on both sides of a cassette over and over again, burning those couple of songs immediately into our heads. And with its cheap cardstock sleeve instead of a case, for the time, before we got so super concerned about the environment, it was so happily disposable. That's not to say this new 4 song cassette release by aQ faves, Silver Pines is similarly throwaway, but their choice of packaging (a black cardstock sleeve with unique collage elements) and the brevity of its length, just takes us back to those (not really) good ol' days. Made for their recent tour, this is a more lo-fi and blown out take on their majestic shoegazey Americana than we saw on the Forces cd-r (oh, and btw vinyl of that is coming soon!). In fact side one starter, "You Came To My Door", starts off very in the red, with the vocals and drifting guitar soundscapes near clipping out, but the sound issues are pretty much corrected by the second track "(I Believe In) Magic Dreams", a more spacious and slow-burning instrumental. Yet it's the second side that holds the real gold. Both songs, "Glass Church" and "Baby Universe" are stunningly beautiful and druggy ballads that are more strung out and psychedelic than anything we've ever heard from Hope Sandoval or Mazzy Star, the Pines most recognizable sonic touchstones. These two songs alone are worth the price of admission, but act fast, because only 100 were made and we only got a handful. So freakin' lovely!

Silver Scooter is a Texan trio whose best Smiths / James / late 80s Brit-pop interpolations within the context of Americana indie-rock makes us look much older than we really are.

The Blue Law marks the fourth full length batch of sweetness from this Austin, TX pop trio. Sort of like a hybrid between Go-Betweens (esp. when Grant McLennan is singing) and lo-fi kiddie-core Crayon / Tullycraft, but with each release leaning more

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

SORRY. "Silver Summit's self-titled debut fits roughly into the acid folk category, with its melancholy melodies and the earnestly mystical tinge of David Shawn Bosler and Sondra Sun-Odeon's compositions. The use of exotic (by rock standards) instruments like saz, mandolin, gong, Tibetan singing bowls, African water drums, and harp also adds to the odd aura, as do Sun-Odeon's rather grimly downbeat vocals, the spooky backup vocal harmonies, the unusual electronic effects, and the overall unpredictable structures and progressions of the songs."

WE LOVE THIS BAND!!! Those of you who have been with us since the beginning will no doubt be well aware of our love affair with these UK power poppers. They played one of the best instores we've ever had, Andee's old band P.E.E. toured with Silver Sun when they were here (Silver Sun's first US tour, P.E.E.'s last tour ever!), and we sold tons and tons of their other two records. And it's no surprise. Silver Sun write unbelivable songs, with super crunchy kick ass guitars, and maybe the best harmony vocals we've ever heard. It's been six or seven years since their last full length, the band even broke up for a while, until frontman James beagn recording a new Silver Sun record and realized that it wouldn't be the same without the rest of the band, so they got together and came up with Disappear Here. Their first record was a buzzsaw blast of Beach Boys, Queen, Supertramp, Jellyfish, Zumpano and the Posies. The second record, Neo Wave, appropriate to the title was was more angular and eighties and, well, new wave. But for Disappear Here, they've gone back to their power popping of old, maybe even going a bit farther, adding even more sugar and sweetness to their musclely pop. In fact they sound a lot like later Redd Kross (with maybe a bit less of RK's kitsch obsessed jaded hipster vibe) which is a VERY GOOD thing. So take the above list of bands, add Redd Kross, and maybe some Banana Splits, some Xanadu perhaps, even more harmonies, and still more big ultra catchy choruses, and you are looking at THE power pop record of the year. Can't figure out why these guys aren't HUGE!

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MPEG stream: Jody
MPEG stream: Garlic
MPEG stream: Pipsqueak

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.

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. At last, we actually have these back in stock again!! Unfortunately, the high import prices are still in effect. But, if you have ever loved the Zombies, Queen, Weezer, Cheap Trick, Jellyfish, Zumpano, the Beach Boys, etc. -- you will LOVE this band, and find these discs well worth the dough. The best take on kick ass power pop in years! Really loud and melodic, with amazing three part harmonies (this last element so beautifully displayed at their all-acoustic Aquarius instore performance). Both records rule! And still no word on a US release, goshdarnit. When will America get a clue?

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

SORRY. Yes, this is our favorite britpop band covering an REO Speedwagon song. Also covers of Rush's "Xanadu", My Bloody Valentine's "You Made Me Realize" and The Muffs' "I'm a Dick".

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

SORRY. This is quite simply one of the most PERFECT, hook-filled 'power pop' records we've heard in forever. It manages to be ultra catchy but not too cloying, completely tongue in cheek without being too inane, and the band totally kicks-ass without overwhelming the delicate and intricate 3-part harmonies. They are super tight and their arrangements are both challenging and impeccable. The Britpop-crazy UK press constantly refers to Silver Sun as the 'British Beach Boys', and while they do have a definite Beach Boys harmonic flair, they seem to have more in common with the BIG HUGE sound of Queen and Supertramp and the songwriting chops of more recent bands like Jellyfish, Zumpano or the Posies, with their over-the-top bombast, buzzsaw guitars, and absurdist lyrics. But the vocal stylings are the killer. 3 of the 4 band members sing, and sing like any one of them could've fronted the band alone! You have NEVER heard harmonies of this quality on an indie rock record. Rarely does a 'pop' record manage to unite the varied aQ-staffers' peculiar tastes, but everyone here *loves* Silver Sun. While this record isn't actually new, as of Tuesday this will be the first time we've had more than one or two copies in stock, and it's the first time we've had them for less than $20! We will also have two other titles by Silver Sun, 'Neo Wave' (a little slower and less rocking but still amazing) and their all covers ep, featuring super kick ass versions of Rush's 'Xanadu' and My Bloody Valentine's 'You Made Me Realise'!

MPEG stream: Ron Jeremy
MPEG stream: I Don't Need Two Reasons
MPEG stream: I Love You More

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