An introduction (for us, at least) into the collective mind's eye of these two Latvian electronic engineers who have been collaborating over the years in a rather magical cross-pollenation of abstract electronic, field recording, and live instrumentation. The conceptual thread that runs through the album is quite a literal one - a thin piece of wool that is wrapped around each of the modestly screen-printed albums ties to the field recordings made from an industrial loom in the former Soviet country. This same site is reprised on for several of the videos that are included in the nifty package of material. Sound Meccano (aka Rostislav Rekuta) and Droomoff situate their signal processed samples, crystalline ambience, and fractured digitalia as the building blocks for a luminous, rather organic form of electronica that readily incorporates all of the live instrumentation and site-specific recordings. "Unasculum Motus" enjoys a spiralling mantra of dream-time melody that wouldn't be out of place on Aphex's Selected Ambient Works Vol II amidst the various creaks, whirs, and clatter. The flutes on the pastoral tune "Air Metamirphoses" end up levitating towards the same vapor trail heard on Kraftwerk's early motorik masterpiece "Ruckzuck" (from one of those albums with the traffic cones on the cover). Elsewhere, the mechanoid, granular synthesis and rounded basstone pulsations recall the work of Vladislav Delay and the thoroughly abstracted facets of Moritz Von Oswald.
Yes! The Sound of Feeling were a short lived but influential avant jazz-pop vocal group who recorded one full length album called Spleen in 1969 and a split LP with Oliver Nelson in 1968. Along with a handful of unreleased bonus tracks from the early seventies, Up into Silence collects their complete recordings. Comprised of pianist / arranger / singer Gary David, the counterpoint microtonal vocal talents of twin sisters Alice Rhae and Rhae Alice Andrece and rounded out musically with 2 bassists and a drummer, The Sound of Feeling updated the jazz-scat vocal style made popular by Lambert Hendricks and Ross and The Singers Unlimited by channeling John Coltrane and Thelonious Monk instead of Ella Fitzgerald or Louis Armstrong. But at times also referencing 16th-century madrigals, Bartok, the poetry of Paul Verlaine, as well as Simon and Garfunkel and Donovan amongst their many touchstones. Beginning with their take on Coltrane's version of "My Favorite Things", the first five tracks are from the split LP with Oliver Nelson. The four others are all originals including "Circe Revisited" which features the unusual instrumentation of Marxaphone, an autoharp type instrument with strings tuned to a microtonal scale. But it's their full length album, Spleen, where the group gets the most interesting. Opening with a bass and piano hook that has been sampled many times, the group's take on Donovan's "Hurdy-Gurdy Man" is one of the strangest and beautiful versions we've heard, taking the song through so many peaks and valleys (and even out on a few limbs) that never materialized in the original. With tracks like "Hex" and "Along Came Sam", it seems they left the jazz world altogether, and entered a lysergic avant chamber pop territory, with the basses, piano, vibes and drums alternating between killer breaks and restrained near-silent passages amongst the oddly tuned vocal acrobatics. The final 5 tracks were previously unreleased as the group were attempting to expand into hipper territories in the early seventies. The best of them, "Born Amongst The Eagles", continues with the amazing drum fills and some very strange vocal effects. Predicting the vocalese fusion style of Ursula Dudziak and Flora Purim, The Sound of Feeling were like a strange cocktail of Patty Water's Out vocals and the cool groove of Norwegian jazz singer Karin Krog. Their recognition is long overdue!
One of the first things we turn to in any music magazine is the reviews section. Yup, when we're not writing record reviews, we just love to read 'em. Go figure. So of course, that makes Ed Pinsent's Sound Projector one of our favorite mags around, seeing as how it mostly consists of reviews - well-written, expert ones, hundred and hundreds of them, covering all sorts of underground sounds we like, from field recordings to free improv to acoustic folk to electronic drone to black metal, and more!
With its trademark black/red/white cover color scheme intact, and expected massive bulk as well, the Sound Projector's 18th issue is here, straight from England, and we've really only just skimmed its 180 pages 'cause we're too busy right now with our own reviews (but we can't wait to dig into it this weekend!). The reviews are as usual grouped into several sections (International Surveys, Evil Noise and Rock, Art Music, Vinyl and Books, Melodic), those divided into even more precise (?) smaller groupings with designations like "Atoms Of Pure Noise", "Japan", "Touch Sevens", "The Droning Ones", "Stoner And Doom", "Tape Maschines Maken Klang"... Some labels get their own sections, some reviewers do too. There's an index in the back, in tiny tiny type, so you can find individual reviews alphabetically by artist if you like, but browsing through seems best.
Of course, more than a few of these records we've reviewed already (but it's nice to get a second opinion... and the SP crew don't always agree with what we said), and there's plenty more here we've been meaning to get to, or definitely will once we track 'em down on the basis of the Sound Projector's say. One thing we've always liked about the Sound Projector (and that we try to do too) is that they don't limit themselves to reviewing the -newest- of releases, so even if something's 2 or 3 or 5 years old, it might get written up here anyway, just 'cause someone's been listening to it and gotten enthused, regardless of when the record in question was released.
Like we said, it's mostly reviews (yay) but there IS some other content here too, including in-depth interviews with Industrial percussionist/composer Z'ev, English avant-folk guitarist C. Joynes, and '70 San Francisco synthpunks The Units!! Also, this issue comes with a download code for a free special Sound Projector mp3 compilation, English Wildlife, highlighting some unknown to us UK underground acts.
Basically, next to our own website, this is pretty much essential reading for all devoted AQ customer-types in our opinion!
Thunk! Another issue of the UK's The Sound Projector just landed on my desk, obliterating any loose items and also obliterating my free time, as now all I want to do is read, read, read. Weighing in at 172 pages of musical criticism and appreciation, this handsome as usual new edition of one of our favorite "zines" is pretty much a must have for any dedicated AQ list reader! True, these aren't cheap (due to the exchange rate and the expense of shipping such a hefty tome) but it'll keep you busy for hours reading the gizillions of reviews of stuff new and old by The Sound Projector's capable and very opinionated crew of reviewers... and along with the reviews, there's in-depth interviews/features on Ashtray Navigations, Vibracathedral Orchestra, Jazzfinger, Harry Partch, The Shadow Ring, and more...
The Sound Projector has aways broken its reviews down into various taxonomic catagories, from drones to noise to ethnic music to field recordings to urban pop music, even. This issue's no exception, and in addition to such sections of AQ-approved-interest as "Music From Japan" and "Finnish Folk And Psych" we find editor Ed Pinsent's assessment of a variety of "Metal Men" (wherein he gives a plug to Aquarius, thanks Ed) like Converge, Boris, Burzum and SUNNO))), and also longtime SP contributor Jennifer Hor's "Pandaemonium!" chapter devoted to black metal: Xasthur, Striborg, Blut Aus Nord, Taake, Leviathan, Forest, Deathspell Omega, etc. Very cool. Where else are you going to find reviews of, say, Konono No.1, Velvet Cacoon, and Lula Cortes e Ze Ramalho all under the same covers? Well, besides our own website, of course. You can see why we like this. And the SP reviewers call 'em like they see 'em, beholden to no notions of common hipster consensus. They even criticize stuff we love. So it's refreshing to get their perpective (even if sometimes their tendency towards British smartarsedness runs away with them). Another chunk of this issue that we really enjoyed was Pinsent's evaluations of various random used records he picked up on a trip to the States and on eBay ("Vinyl Viands"). I'll have to email him with some suggestions for further Thin Lizzy purchases...
You've been waiting, we've been waiting, here it is! The 15th handsomely red-black-and-white, thick-as-a-brick issue of one of the best magazines for weird music obsessives currently going, The Sound Projector out of the UK. As we always say, sort of an underground, 'zine-style counterpart to The Wire, but more diverse and genuinely enthused. And as always, this 148 page issue is made up mainly of record reviews (we know you love record reviews, you're reading our list after all!). Interesting stuff new and old sorted into a bewildering array of micro-genres and categories, from "Maladroit Rhythms Of Rock" to "The Crackling Ether" to "The Nordic Realms" to "The Droning Ones"... improv, folk, industrial, international, black metal, everything, There's hundreds of reviews here, with special attention this issue to "Noisy Rock, Evil Noise, and Black Noisy Music" alongside "marginal musics" of other sorts from around the world. On one page you'll be reading about Phill Niblock, on another Emit / Vrolok, on another Cellutron and the Invisible, on another Rehtaf Ruo, and on yet another Getatchew Mekurya...
And the SP's reviewers are perfectly willing to slag stuff they find lacking, no matter what the "received wisdom" about an artist is, and indeed, some of 'em we find a bit too harsh upon occasion. But that generally makes for good readin' and plenty of arguments. There's also a batch of interviews with music-makers on the fringes: Russ Waterhouse (The SB, Blues Control), Peter Strickland (Sonic Catering Band), Clay Ruby (Davenport Family), Mudboy, and UW Owl.
All in all, another essential slab of reading material for all dedicated AQ customer-types. We love it.
Holy crap. This thing weighs a ton. 184 pages, a thicker even than usual A4 sized tome wrapped in their trademark red, black and white cover graphics. England's Sound Projector is back with its 16th issue, as always a must read for the sort of folks likely to be reading this review -- that is, if you're an avid AQ-list reader, you're gonna love Sound Projector, 'cause each enthused (yet sometimes scathingly critical) issue of this fanzine consists in large part of many, many music reviews, exploring the unusual, underground, avant-garde sonic territory that we at AQ love. And we usually learn a lot from each issue, from their obscure selections and thoughtful opinions. This time the 'zine is broken into five sections, starting with an international record review survey ranging the USA and UK to the "The Nordic Realms", where you'll find the "world music" likes of Getachew Mekurya and Raushan Orazbaeva right next to sundry "Free Folk" folks... Section two is also right up our alley, "Noisy Rock, Evil Noise, and Black Noisy Music", where you'll find reviews of the first three Earth albums (that's right, did we mention that the Sound Projector could care less about release dates, and just reviews whatever they want to from whenever it came out?) along with Darkspace, Forgotten Woods, Burning Star Core, and Darsombra among many more... Section three is all interviews rather than reviews (actually, there's reviews too), featuring talks with Japanese avant-guitarist Tetuzi Akiyama, UK experimentalist Philip Sanderson (of Storm Bugs and Snatch Tapes fame, among other things), German tape composer Frank Rothkamm, sound collagist Joe Frawley, and UK '80s "postpunk electronic ensemble" Cultural Amnesia. Then with Section four it's back to the reviews, of wide ranging "Art Music" from Annea Lockwood to Nurse With Wound... Finally there's section five, "Remainder", a miscellany of cassettes, drones, jazz, and much much more. Happily, page 184 of the magazine is an index, in very tiny type! Ackamoor, Idris right above Aethenor. Khlyst next to Kirchin, Basil. Softwar followed by Sombres Forets... nearly 400 reviews in all! A lot of things that we've listed too (now's your chance to get a second opinion) -and- lots of stuff we haven't even heard of at all! Recommended, even at the unavoidably steep import price (but it is the biggest Sound Projector yet).
About every 7 and a half months or so, we get an email from Sound Projector publisher/editor Ed Pinsent over in England, informing us of the release of a new issue and politely inquiring as to whether we would like to perhaps order some copies. As if we would say no! Of course, his email elicits a "hell yeah!!" response from us, and some days or weeks later, depending on the vagaries of the international postal system, an exhausted mailman arrives bearing a heavy package stuffed with Sound Projectors, in this case, issue #17. And then we have hours of reading and mental note-taking ahead of us. Mental note-taking? That's 'cause aside from the odd interview or three (this issue: Sharon Kraus, Gen Ken Montgomery, Dead Letters Spell Out Dead Words) SP consists almost ENTIRELY of record reviews. And we LOVE record reviews. Sure, some are of things we already reviewed ourselves. But we find a lot of new (and old) stuff here, things we'd never heard of, or have in stock but hadn't yet gotten around to listing yet. So it's a great way to supplement your steady diet of Aquarius Records New Arrivals list reviews, that's for sure.
As per usual, this issue is broken into many "chapters" devoted to musics grouped either geographically ("The Nordic Realms") or by format ("Vinyl Viands 12-inch") or, mostly, by genre or should we say micro-genre ("Atoms Of Pure Noise", "The Droning Ones", "Utter Freakdom", "Shh - Quiet Music"). Literally hundreds and hundreds of albums discussed, in an opinionated and expert fashion. We definitely respect their reviewers, even if we don't always agree (though we often do, and in fact get name-checked in their thumbs up for the band Quest For Blood). And the wide range of music covered is right up our eclectic alley, from experimental field recordings to hippie folk to Norwegian black metal. We really can't imagine any regular AQ customer not wanting, nay, needing this magazine.
As big as ever (172 pages thick!), this issue is actually a bit less expensive than other recent Sound Projectors, as Ed found a cheaper (and faster, miracle of miracles) way to post 'em to us from across the pond. Yay!
Also, this comes with a special bonus, a free download of an album by Rhode Island synth-wizard Mudboy, exclusive to this issue of the Sound Projector.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Yay! A new issue of this great magazine. What we said about the last issue still holds true: Magazine of the week, month, etc. Any new issue of Ed Pinsent's music 'zine The Sound Projector is a cause for joy. Anyone who buys and enjoys fellow UK music mag The Wire MUST pick this up, as it covers more-or-less the same range of musics (from electronics to avant-classical to dub to krautrock to drone to urban hip hop and more...) and does it in a much more genuine, fannish way. It's not a slick mag with lots of ads and pretentious music journalists writing with hip, trendy agendas, faults The Wire sometimes falls prey to--although it's big (154 pages, squarebound, 30 pages more than last ish!) and nice looking (with a instantly recognizable and pleasant black-white-and-red design aesthetic).
In this issue: the Rev. Dwight Frizzell, Peter Blegvad of Slapp Happy, the Argentinian concept band (and AQ-fave) Reynols (interview conducted by AQ's own Jim Haynes), Pita Rehberg of the Austrian label Mego, the very amusing (and perverse) Donald Miller of Borbetomagus, John Gill of Big Stick, and tons of reviews, from Eminem and Dead Prez to Loren Chasse, Pimmon, and the (now sadly out of print) Jazz Actuel box.
Another hefty 170 pages of music-obsessed text from Ed Pinsent and crew! Yay. We love this UK-based magazine, it's kinda like a hyper-enthused homebrewed 'zine version of The Wire, packed solidly with intelligent reviews reviews reviews of cool sounds both new and old, whatever sonic weirdness strikes their fancy from "throaty roarage" to "punk synth" to "maladroit rhythms of rock" (some of the review section titles here). This issue is a Seattle experimental music special, featuring interviews with Climax Golden Twins, Matt Shoemaker, Scott Colburn and others from that scene. In addition, there's talks with the likes of Francisco Lopez, Mnortham, William Basinski, and others as well. An awesome read, essentially essential to all AQ-list devotees!
The story goes that The Sound *should* have been huge - as big as any number of successful post-punk outfits like The Cure or The Fall or Echo & The Bunnymen - but for reasons seem to baffle most everybody, they didn't find that success. Frontman Adrian Borland cut his teeth in the 1976 punk frenzy in a project called the Outsiders; but grew dissatisfied with the amphetamine trad-rock that punk was becoming. The Sound formed around Borland's increasingly complicated songwriting, following a similar art-punk route that Howard DeVoto took after leaving The Buzzcocks to start the equally adventurous Magazine. Jeopardy was the first album for The Sound, whose complex pop-punk was built around Borland's nervously chiming guitars and engaging hooks that paralleled those from The Cure's mod-pop debut Three Imaginary Boys, the theatrical bellowings of Juilan Cope's The Teardrop Explodes, and of course Magazine. This album was recorded roughly, supposedly for less than 800 British pounds; and the urgency (or panic) of getting everything to tape quickly works well with these songs. The Sound embellish a number of their new wave / punk tunes with glammy synthesizer melodies that harken back to Roxy Music and an occasional sax blurt for good measure; but it's Borland who passionately drives this band, one that should have been heard back then... and right now.
Not sure how this great UK band has manages to remain so far under the radar here in the States, as they create such bright and fully realized pop songs played with major chops and such immaculately crafted precision. They explore similar sonic landscape as folks like Stereolab, in the way they tap into the best of light psych-pop from years past while creating songs that have such a driving force and are filled with swirling melodies and kaleidoscope vision. Every element in their sound is so top notch. From the perfect soft and dreamy vocal delivery, to versatile instrumentation that is beholden to the best kind of sugary pop as it is to the power of krautrock like repetition and gliding psych excursions. Sounds sort of Saint Etienne and Broadcast coming together to make songs in the spirit of some awesome combination of the most catchy and poppy side of Can along with the carefree groovy '60s pastoral pop of The Free Design!!
We're always up for really well executed and super engaging psych-pop. The UK's Soundcarriers are hitting the spot so perfectly this summer, updating '60s psych-pop (a la Stereolab) an creating new sound with a totally timeless feel. Everything about this album is so flawlessly executed. Recorded with such deep flowing warmth we wouldn't be surprised if these songs were all captured to analog tape, as each instrument sounds so rich and full. Armed with a strong pop sensibility, the Soundcarriers remind us of a bit more muscular Belle & Sebastian, with nice doses of pastoral psychedelic undertones that bring to mind a more pop minded version of Dungen. They also know how to tap into a slight groove with just the right touches of breezy effervescence and have us hearing hints of a wide range of folks like Sergio Mendes, Alceu Valenca, Galaxie 500, American Analog Set, The Free Design, and The Elephant's Memory who some of you might remember from their role as the stand-in-band for the Velvet Underground in Midnight Cowboy. There is a fluidity to these songs and a flow to this album that proves that The Soundcarriers have found a way to bring strong influences of the past to create something modern, yet timeless, of their own. So nice!
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 one should be a no brainer. Any one into space rock krautdrone a la Expo 70, might as well just stop reading and grab this right now.
Recorded by Expo 70's Justin Wright, and released on his Sonic Meditations label, Sounding The Deep definitely sounds like it could have been Wright under a different name, the same sort of brooding psychedelic drift, the same blissed out ambience, the same minimal blurred dronescapes, the same occasional forays into something slightly heavier and Sunn-ier, but it's actually the work of a fellow named David Williams. And don't assume that Sounding The Deep are a rip off of Expo 70, they just happen to tread the same sonic territory. Imagine the furthest reaches of space, Wright's Expo 70 is drifting aimlessly through the stars, coordinates set for the heart of some distant sun, when who should drift into view, Sounding The Deep, their trajectory an entirely different far off sun, a wholly different destination, but with a shared journey.
Sounding The Deep to our ears sounds a bit more droney, and abstract, not as heavy or space-y, instead, more contemplative, minimal and abstract, tendrils of guitar melody drift in a haze of deep low end tones, occasionally thickening into something a bit more dense and blackened, but retaining a proper amount of bliss and shimmer, the resulting overall sound is more like slowcore or shoegaze, but slowed waaaaaaaaay down, to a crawl, what once might have been a dirge, is transformed into something much more ephemeral and ethereal, chords and melodies are spread out over minutes rather than seconds, tones are allowed to ring out, and dissipate, chords sprawl spaceward, almost disappearing completely before the next one is sent in its wake. Hushed, minimal, dark and lovely, definitely essential listening for folks into the dreamier side of spacedrone, could be your new favorite late night chill out drift off soundtrack... it's fast becoming ours!
Man, have I been waiting for something like this for years. A massive mega mix of classic drum and bass / jungle / dancehall. Takes me back quite a few years when jungle was brand new (to us at least). When finding jungle 12"s was a challenge and even finding clubs that played jungle was practically impossible. A bunch of us (often with AQ pal Lesser in tow) would go to local bars and just sit in the corner, luxuriating in the stuttery staccato beats, waiting for the bass to drop and huge swells of thunderous sub-bass synths to wash over us. And for me, even though jungle is supposedly 'played out', it remains as fierce and heavy and raw as it ever was. This mega mix has all the great 12"s from the early days of jungle, tracks by Cobra, Remarc, Cutty Ranks, Krome & Time, Shy FX, Tek 9, DJ Hype, Barrington Levy, Squarepusher, Ninjaman, Decoder, Plug and tons more!. No diva vocals, no syrupy melodic dance crap, just monstrous Amen breaks (the drum loop dujour of jungle) everywhere, skittery and frenetic, pitched up and down and all around, stuttering and hiccupping and pounding, with throbbing basslines and rib cage rattling synth stabs. And as a bonus for all of you dancehall heads, there's plenty of toasting and junglized reggae tunes. I remember most of my friends at the time, ESPECIALLY my drummer friends, being totally skeptical and dismissive, saying stuff like "It's just a drum machine" and "the beats are so repetitive". But that's the point. The rhythms -are- repetitive, I mean, they were made to dance to right? But they are SO complex, inhumanly so, and the buzz and stutter of beats swirling wildly from speaker to speaker makes the repetitive nature of the music all the more hypnotic and trance-y. And how could anyone obsessed with rhythm, especially drummers, not be totally mesmerised by these hyperspeed/convoluted beats? I've found myself driving around in my housemate's truck (which has a booming system) just blasting this comp, trying to replicate the feeling of the big bass bins pounding me into the corner of that dingy club years ago, and at the same time, have lulled myself to sleep with this comp buzzing and skittering in my ears. Even if you were on the scene and have a lot of these 12"s, there may be a bunch you don't have, and it's nice to have all this stuff on one convenient disc, although the tracks are split into three 20+ minute megamixes which makes finding particular songs a bit of a chore. But odds are, you'll just listen to this whole thing over and over and over. Folks who picked up the Bug cd from the last list should really check this out as should anyone into crazy fucked up elctronica/dancehall/digital hardcore. Fucking great!
MPEG Download: "Track 01" [/audio/soundmurderer01.mp3]
MPEG Stream: "Track 01" [/audio/soundmurderer01.m3u]
We've long been complaining about the dearth of "grime" in the States, so we were psyched to discover that the folks at Planet Mu decided to do something about it. They've been re-issuing UK grime releases for the states, but this latest batch of 12"s offers up some grime / jungle hybrids as well as their own twisted take on dubstep and grime. And it kills!
We absolutely loved the Soundmurderer comp from a ways back, a killer mix of classic drum and bass and ragga jungle, that sound we can never get enough of, so it's kind of cool to hear these guys take on some of this new fangled dubstep business sort of blending it into their already killer techstep sound. Super fucked up and weirdly funky, jump up jungle (with a hint of grime) a bit of toasting over the top, and then halfway through the A-side, the jungle drops and completely destroys. The B-side is super repetitive with ultra distorted bass and blown out synth melodies.
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.
NOW AVAILABLE ON CD!!! Here's some of what what we wrote about this way back when it first came out as a vinyl release:
It's hard to believe this is real. In fact, it took a lot to convince Andee, who was sure this was some sort of elaborate prank. But it's one of those things that just makes you proud / embarassed to be an American. Elizabeth Clare Prophet purchased 24,000 acres in Paradise Valley, Montana and started The Church Universal and Triumphant, a creepy new age doomsday cult in which Prophet channeled spirits such as Jesus, Buddha, K-17, Morya, Quan Yin, Afra, Hercules, Mighty Victory, Astrea, Shiva, Pope John XXIII, and more. (Sort of like J.Z. Knight of Yelm, Washington and her channelling of "Ramtha" except even more scary.) Prophet and her husband stockpiled arms, built giant bomb shelters, and coerced their devotees to purchase their own survival equipment at exorbitant prices. Throughout its existence various members of CUT were indicted for kidnapping, lost custody of the children who belonged to the church and were investigated for tax exempt status and firearms violations. In 1995 former member Joeseph Pietrangelo Jr wrote a book condemning CUT entitled "Lambs to Slaughter: My Fourteen Years with Elizabeth Clare Prophet and Church Universal Triumphant".
But the thing that really puts CUT on the map for us is their way of conducting their religious services. The tapes of these services have been floating around for years already. Those of you familiar with Negativland's 1989 album "Escape From Noise" will already be familiar with an excerpt of one of the tracks on this album, as they used it for the track "Michael Jackson", and Steve Fisk has been using these tapes for years as well. This record features live recordings of Clare Prophet 'speaking' out against the evils of rock music. She sounds perfectly normal as she introduces her 'psalms' or 'songs' or 'speeches' or whatever they are. But when she gets going, it's amazing. And so goddamn insane sounding. Her rapid fire high pitched testifying sounds a bit like an impossible mix of an auctioneer, a yodeller, the guy who sings the directions at a square dance, Neil Hamburger huffing helium and variations of baseball's 'hey batter batter' chant only faster. It's like that sound you make when you sort of hum/breathe out and move your finger up and down between your lips making a sort of 'bebubebubebubebubebubebubebubebu' sound. It's one of the most amazing things we've ever heard! A must for all cult fanatics, new age withdrawal victims, seekers of the truly strange, and fans of extended, trancelike vocal techniques. Ever so highly recommended! We'd almost have made this cd edition our Record of the Week if we weren't certain that it would probably bug the heck out of more people than (like us) would love it!!
It's hard to believe this is real. In fact, it took a lot to convince Andee, who was sure this was some Gregg Turkington prank.
But the thing that really puts CUT on the map for us is their way of conducting their religious services, and the fact that someone managed to tape it. The tapes of this service have been floating around for years already. Those of you familiar with Negativland's 1989 album "Escape From Noise" will already be familiar with an excerpt of one of the tracks on this album, as they used it for the track "Michael Jackson", and Steve Fisk has been using these tapes for years as well. This record features live recordings of Clare Prophet 'speaking' out against the evils of rock music. She sounds perfectly normal as she introduces her 'psalms' or 'songs' or 'speeches' or whatever they are. But when she gets going, it's amazing. And so goddamn funny. Her rapid fire high pitched testifying sounds a bit like an insane mix of an auctioneer, a yodeller, the guy who sings the directions at a square dance, Neil Hamburger huffing helium, variations of baseball's 'hey batter batter' chant only faster. It's like that sound you make when you sort of hum/breathe out and move your finger up and down between your lips making a sort of 'bebubebubebubebubebubebubebubebu' sound. It's one of the most amazing things we've ever heard! A must for all cult fanatics, new age withdrawal victims, seekers of the truly strange, and fans of extended vocal techniques. Ever so highly recommended!
We love frogs!!! Although the AQ website only offers two records of frogs (not counting the awesome and problematic musical group the Frogs), both HIGHLY RECOMMENDED, our personal collections seem to be bursting at the seams with field recordings of frogs. Never has there been a creature capable of producing so many impossibly unanimal like sounds. This gorgeously packaged and super deluxe collection comes from the wonderful Sittelle (it's not on their label, but they do distribute it) who in the past have brought us the sounds of rutting red deer, hillsides of pastoral cowbells and recordings of bats! So we knew this was going to be good. We were just a little unprepared for how good! It comes in a massive oversized jewel case with a 50 page booklet with extremely extensive liner notes, both in English and in Spanish, the amazing thing is there are almost 200 tracks, each one a different frog, and each track has specific liner notes as well as a full color photo of the frog! WOW!
But it's the sounds that have us all smitten with the world of frogs, and they don't get much more wild and weird and incrdibly varied than this collection right here.
There are of course a few of instantly recognizable 'croaking frogs', sort of nature tape style, but the majority here are completely bizarre and otherworldly (but without being aggravating). The frog calls typically sound nothing like frogs, here's a random sampling of what some of these frog call sound like to us: metal ping pong balls clinking together, a rapid fire mechanical woodblock like on one of those crazy pizza joint one man band player piano thingies, high pitched metallic scrapes and squeals, clinks and clanks like a broken music box, a barking seal, chirping birds, the sound of a stick hitting a tin can, a rusted hinge, a creaking door, a quacking duck, a strange looped industrial rhythm, a crying child, a bicycle horn orchestra, Tuvan throat singing, shortwave interference and it just goes on and on. It's almost like listening to some avant music concrete sound artist. But just to prove this is indeed the sound of nature, you also get the surrounding ambient sounds, rushing water, children playing, wind blowing, birds chirping, crickets, rustling leaves, it's quite a gorgeous and perplexing musical journey through nature. And quite possibly our favorite frog record yet!!!!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
This all time favorite, a primo slab of WTF weirdness, available again, and a bit cheaper too, but who knows for how long...
From Faithways, the label what brought us that extreme example of American religious fuckery The Church Universal And Triumphant, comes two songs from the leader of the Japanese Cult Aum Shinri Kyo. The cult made history in 1995 when they set off sarin nerve-gas in a crowded Tokyo subway, killing 11 people and injuring 5000 (they were later charged for the murder of another 14 people -- some quite gruesomely, as described within the accompanying booklet.) The nearly blind leader Shoko Asahara fancied himself a bit of a singer / songwriter, much like fellow cult leaders Charles Manson, David Koresh (whose rock band is featured on the label's first release) and even the lovable Anton LaVey. Musically, Shoko's songs most resemble the latter cultist's works, but with an even greater whimsy that he could be jokingly referred to as Casiotone For The Pathologically Deranged. Better yet, take Nagisa Ni Te, drop the vocals a couple octaves, change the instrumental accompaniment to casio keyboards, throw in melodic hints to "It's A Small World After All" and you can almost hear the weird world of Shoko Asahara.
Comes with a 6 page booklet detailing the cult's history.
This early seventies free-jazz-funk supergroup from Philadelphia featured Byard Lancaster, Khan Jamal and Monette Sudler (one of the most amazing female jazz guitar players we've heard!) with a whole host of rhythm support from percussionists Rashid Salim, and Omar Hill, drummer Dwight James, and Billy Mills on bass, many of whom appeared on Jamal's highly praised Drumdance To The Motherland. Community-minded free players, The Sounds of Liberation tear it up through these six numbers on their debut album from 1972, moving with ease through long-form free jazz, as well as groovy funk, and urgent hard-hittingly tight cinematic jams. Each performer gets a turn in the spotlight, but it never departs from the overall energy, feel and flow of the whole album. We think fans of the groovier sides of Sun Ra and Sonny Sharrock or fans of classic Blue Note label jazz and rare groove from the sixties and seventies (Donald Byrd, Horace Silver, Lee Morgan etc.) who are looking for something a little more out but not TOO out, should definitely look into this! Lovingly reissued on Florida's Porter Records label, the lp version is limited to 500 copies with original artwork and mp3 download card.
First "The Conet Project", now this. Well, okay, this isn't spooky like those shortwave spy broadcasts, but the sounds these frogs make have some similar qualities to the morse code or "noise stations", and like The Conet Project is both bizarre and fascinating. The 92 tracks of the croaks, trills, screams, mating calls, and other forms of amphibian vocalisations were conceived, narrated, and documented by Charles M. Bogart. Travelling from the far reaches of Alaska to the deserts of Arizona to the foothills of Tennessee, Mr. Bogart presents a labor of love in selecting these field recordings and their descriptions. The dry delivery of Mr. Bogart's indexical texts is unnervingly and humorously dissimilar to these frogs calls. Just like The Conet Project's unintentional (?) aural terror, The Sound of North American Frogs features a wide variety of drones and clicks that could be from some RLW or Pierre Henry experiment with tape loops. So highly recommended that several unnamed staff members of AQ have been over heard "singing" along with the Pig Frog and the Carpenter Frog.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
We won't say much about this since we only have like 3 copies and it's apparently already out of print... When we first heard this, we were a bit perplexed. The tracks were equally divided between hard funk instrumentals that would fit in any number of blaxploitation flicks, and soulful ballads and anthems sung by a group of young women, with only a couple tracks combining the two styles. We thought perhaps the band was actually a session band for hire that only put a record out as a kind of musical business card of sorts, as we could see some of the tracks being deep cuts for soul and funk DJs, and featured on rare soundtracks or something. But the real story is much stranger. The 1976 sole release by the Bronx based Sounds of The City Experience is a rare example of the 'tax shelter' record. Originally issued on Tiger Lily, a subsidiary of the mob-run Roulette label, Tiger Lily used demo recordings as a way to find artists who would agree to have a record released only to have it deliberately fail, so the label would be able to write off the loss! The band would get a one-off fee and some records to distribute on their own, but nothing more would come out of the relationship. Over 70 such records were released on this label before it folded after a year. This reissue gives us the human story behind this particular band and their ambitions to have a record released no matter what the cost. The band itself is tight, hard-hitting and the vocal range incredible and there are some great tracks here to discover. Showing what a weird thing the music industry can be.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
The first three major label 12"s collected on one cd. Very dark and sparse drum & bass. Fans of Photek will love this (in fact the 12"s were originally released on Photek's Science label).
Lovely Medieval-tinged French Acid Folk. Like Springuns or Ougenweide or an even more ancient minstral version of Fairport Convention. Full of Sitars, Lutes, Hurdy Gurdy's and lilting male and female harmonies.
This is the first we've heard from Southern sludgesters Sourvein since guitarist Liz Buckingham left the band to join Electric Wizard, and also since Hurricane Katrina fucked up their hometown. But now the survivors in Sourvein got it together to dish out these four new tracks (recorded in Virginia), and also they go on to promise in the liner notes that "New Orleans Will Rise Again!"
Though an ep, Emerald Vulture nears the half-hour mark, in part 'cause track four delves into some extended power electronics noise territory before it's over. That sort of droning nastiness makes perfect sense coming from Sourvein, who aim to maim with both brutal riffage and vicious vokills as well... they're definitely on the negative side of an already fairly negative genre, and who can blame 'em? So if you find, say, Corrupted too happy, here you go! That's a joke, of course, but seriously we're digging Emerald Vulture's blend of Bongzilla/Electric Wizard styled dope-lope riffs and utter Khanatesque darkness...
Of course, post-Katrina we've been concerned about the Crescent City and its inhabitants for a lot of reasons, cultural heritage being just one of 'em. And while many folks associate New Orleans with music, they're probably thinking jazz and zydeco, but you may also know that NOLA is/was home to a satan's host of sludge/doom/dirge bands, foremost among them the pioneering EYEHATEGOD. And if you like EHG, you're pretty much already a guaranteed Sourvein fan too. So it's good to know that NOLA's sludge/doom/dirge tradition continues...
BLEAAAARGH! DOOOOOOM!! Southern Lord strikes again with the new, Billy Anderson produced disc from Louisiana doom-squad Sourvein. Now featuring the guitar of Liz from former NYC all-girl doomsters 13, Sourvein takes the crusty Eyehategod/Grief/Corrupted style of doomgrind to new highs (lows?). Well, maybe not new ones, but just as extreme. Darker and scarier than fellow heavies Bongzilla or High On Fire, Sourvein simultaneously give a nod to the Sabbathy '70s sounds of doom pioneers St. Vitus, while ratcheting up the brutality of their crashing, crushing riffs into modern extreme metal/punk territory and beyond. It's like someone got the Melvins really really angry, and they're trapped in cave, frothing at the mouth, ready to die and kill -- and for some reason, they're trying to play Sleep songs. What? Stay away from those drugs. You know what I'm talking about? Good, then you'll want "Will To Mangle".
Few literary geniuses have warped fiction, cinema and reportage as much as Terry Southern. This twisted mind was responsible for film classics "Doctor Strangelove" and the screenplay adaptation for Evelyn Waugh's "The Loved One." His stories were adapted into
Latest from AQ faves Souvenir's Young America, who have been slowly nudging their way to the top spot in the ever growing lineup of modern metallic post rock combos, the usual suspects, Isis, Tides, Conifer, Rosetta, Pelican, we love them all, and they all bring something fresh to a sound that is quickly becoming what Slint's loud/soft thing was to indie rock bands in the nineties.�
But there's just something about these guys that makes them seem extra special. They definitely seem to be the least metal of the bunch, but it's not just that they're the least metal, it's that they have no metal pretensions at all, as if it was super matter of fact, a compositional certainty, that specific parts were just meant to be distorted, and specific times the guitars need to be distorted and overdriven, and thus, it seems so much more of an organic part of their sound, instead of a constant build to the crashing climax and then back again, it's all very dense and layered, some songs stay quiet all the way through, and some are as punishing as the most metal of outfits, but for the most part, it's somewhere right in the middle.�
Less Neurosis and Isis, more Scenic or Calexico. The sound has a definite cinematic twang, sweeping and majestic, but not at all bombastic, instead windswept, forlorn, ghost town, emptiness as far as the eye can see. Organs warble and that harmonica wheezes, slide guitar slips and slithers, all draped over skeletal arrangements of bass and drums, loping, shuffling through dusty streets and arid concrete wastelands, the guitar left to color in around the edges, not so much riffing as shading...
The record begins�with a huge pummeling crunch but soon blisses right out into that Souvenirs' haunting Morricone-is desert rock, complete with that gorgeously mournful harmonica, and simple tribal drumming. The melodies are mournful and melancholy, wrapped up in darkly contemplative epics, that spend way more time crawling beneath the hot desert sun, everything enveloped in those shimmering heat waves turning the landscape into a dreamy blurry otherworld, than they do bashing or crashing.�
The record closes with "Coragyps Atratus (Ego Te Absolvo)", which begins as an ambient drift, little slivers of guitar hovering over slow shifting low end murmurs, but the tape begins to crumble, the sounds gradually decaying right before our ears, a sort of Basinski / Jeckian dissolve, that builds to a fever pitch before the tape dies and the band grinds to a halt, and then immediately explodes back into action, but instead of over the top metallic crush, it's a strange tangled swirl of dense drumming and mournful slide guitar that fades into the background like a mirage.
So good. Metal fans might be disappointed by the lack of full on metal, but�An Ocean Without Water is as heavy as any metal record, just much more subtly so, and way more dark and personal and beautiful to boot.
A super limited tour only cassette release from one of our favorite members of the continually growing metallic post rock contingent (you know, Isis, Conifer, Tides, Mouth Of The Architect) But unlike a lot of those groups, SYA is not even remotely metal. And we never thought we'd say it, but dang it if that isn't a bit refreshing. Sure they can whip up some metallic crunch. Some big heavy riffs, but at their core they are a post rock band, a math rock band, dark and tangled instrumental rock, moody and epic, massive and emotional. What is most surprising maybe about this 3 song tape is the presence of harmonica! HARMONICA!! And not just in the background. It's the one of the main melodic elements. And it sounds killer. Once you hear the opening track on September Songs, you'll wonder why the hell more bands don't have a harmonica player. But beyond the kick ass harmonica, this band just rules, huge convoluted riffing, strange mathy rhythms, thick swells of sound, killer complex emotional and heavy. Long stretches of dark brooding ambience, blissed out rhythmic shimmer, warm guitars over martial drums, slow building guitar jangle over mesmerizingly propulsive drumming, slippery slide and minor key melodic finger picking, there's really nothing not to love. The guys take a sound that's becoming more and more tired and turn it inside out and upside down, making their own sort of POST post rock, intense and alive and vibrant and super exciting.
And fucking harmonica!
The return of one of our favorite instrumental post rock combos finds the band exploring and expanding. Their old sound, one we already dug pretty heavily, has gotten revamped and supercharged, and we're liking this new version even more, but fear not, the change is not that dramatic, and yeah, the harmonica is still present, and definitely adds a distinct and unique vibe. Plus this new cdep tacks on the long out of print September Songs release, first time ever on cd. But first let's talk about The Name Of The Snake...
Right our of the gate, the band explode into some seriously heavy metallic post rock heaviness, chugging riffs, big drums, soaring guitars, but before long they slip back into their more contemplative drift, getting all minimal and spacey, but here's where it gets interesting, the song shifts into a strangely chuggy chunk of doom, laced with some mournful harmonica, a strange juxtaposition, but what's precisely why it sounds so good. The track flits back and forth between the chug and drift, a slowly unfurling sonic tangle. The second track is more classic SYA, mathy and meandery, busy drumming, muted guitar crunch, some woozy melodies, big chiming melodies, and long stretches of cool backwards ambience.
After a short-ish track, of harmonic laced dark Appalachia, with strange percussion and haunting almost Western styled ambience, comes the records finale, the 10+ minute closer, a classic sounding super sprawling post rock epic, all slow builds and explosive choruses, thick pealing guitars and thick rumbling bass, and that harmonica, one of the few times we find ourselves wondering why more bands don't have harmonica. Heavy and melodic, moody and mysterious, fucking awesome!
As a bonus, the cd tacks on the out of print, super limited tour only tape / 12" September Songs, a post rock record, a math rock record, dark and tangled instrumental rock, moody and epic, massive and emotional. And of course, HARMONICA!! And not just in the background. It's the one of the main melodic elements. And it sounds killer. Once you hear the opening track on September Songs, you'll wonder why the hell more bands don't have a harmonica player. But beyond the kick ass harmonica, this band just rules, huge convoluted riffing, strange mathy rhythms, thick swells of sound, killer complex emotional and heavy. Long stretches of dark brooding ambience, blissed out rhythmic shimmer, warm guitars over martial drums, slow building guitar jangle over mesmerizingly propulsive drumming, slippery slide and minor key melodic finger picking, there's really nothing not to love. The guys take a sound that's becoming more and more tired and turn it inside out and upside down, making their own sort of POST post rock, intense and alive and vibrant and super exciting.
And fucking harmonica!
We were a little put off by the band name, quite a mouthful, but we were super psyched when we got an earful of these guys' super aggressive, epic, post metal crunch. Tough to stand out these days in the super saturated genre pool that is metallic post rock but these guys manage to pull it off big time, borrowing equally from nineties post rock, crusty sludge, epic instrumental chamber rock, and then adding in their own 2 cents. Obviously fans of Pelican and Mogwai and Isis and Snowblood and all that stuff will want this. But there's a whole lot more going on. Some Morricone-ish spaghetti western twang, complete with harmonica, some Krautrock-y groove, some bits of twangy slide guitar, thick swaths of fuzzy drifting guitar ambience, dizzying angular riffing, dense tribal drumming, buzzing almost new wave sounding synths, some long stretches of moody indie jangle. But it's the bands' deft hand with melody and songwriting and arrangement that makes this record so moving. The focus is way more on mood and texture than heaviness or brutality (although it is occasionally both heavy and brutal), with the epic slow builds often taking up the majority of a song, or a crushing dirge suddenly collapsing into the prettiest dang melody you've ever heard. And c'mon, let's mention the slide guitar again. We're such suckers for the slippery dreaminess of slide guitar. We sort of wish it was everywhere, on every song, but as it is, when it does kick in, we get goosebumps.
So yeah, there's always room for one more on the post rock epic metal sludge bandwagon, as long as they're doing something new and different with the sound, and thus working hard to knock someone else off.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
**SALE **SALE* *SALE**
We went a little nuts for the debut release from Anduin a while back, the project of Souvenir's Young America keyboardist Jonathan Lee, taking SYA's Western tinged post rock doom, and stretching it out into something much more subtle and ambient. But SYA is back to remind us just why we were so into Lee and his crew in the first place, with two brand new tracks of sweeping epic, spacious and cinematic post rock, rivaling and perhaps surpassing any of their more well known contemporaries.
The guitars chime and ring out, the drums propulsive and subtly mathy, lots of deserty ambience, moody melodic swoon, crunchy almost metal guitars here and there, haunting blissed out stretches of soft strummy drift, slippery slide guitar and pulsing electronics. There are some haunting processed vocals, distant and heavily effected, tribal rhythms, lots of space, little bits of glitch here and there, slightly doomy, with a distinct twang, gorgeous and dark, but always mysterious and hauntingly dreamy. Can't wait for the next full length.
The flipside features a new (to us at least) group called City Of Ships, who prove to be a pretty good match for SYA, starting their side with some washed out ambience, glimmering guitar harmonies, shimmery cymbal washes, all before the band kick in and get all mathy with tangled squiggly guitar leads and hard hitting complicated drumming. And unlike SYA, City Of Ships are NOT instrumental, the vocals a raspy croon that get more and more wild eventually veering into almost emo territory, the sound a mix of June Of 44 and a mellower Neurosis. Long stretches of mellowy meandering peppered with jagged bursts of crunch and pound, the tracks building to seriously epic climaxes with grinding metallic guitars, angular and sharp, with howled vocals and wild chaotic drums. Good stuff.
Packaged in a super swank fold over 2 color hand screened gold colored sleeve, each one hand numbered, with a photocopied insert, and LIMITED TO ONLY 300 COPIES!!!
A short sharp blast of killer garage rock / post punk / power pop from these Aussie bashers, featuring a member of aQ faves Total Control. Originally recorded back in 2005, armed with two guitars and a drum kit (no bass), these songs are lean, fuzzed out, punky and poppy, only one breaking the three minute mark, most hovering around 120 seconds, the opener "Zip" is Soviet Valves at their punkiest, super charged and swaggery, but it's on the follow up, "Carrion Luggage", where the band display a wicked pop sensibility, channeling classic Yellow Pills style power pop, and sounding like some lost seventies/eighties artifact ripe for reissuing. And throughout Death Trumps Romance, the band delicately balance between the two, snarly punk and hook heavy pop, the finest moments, as you might imagine when the two collide. Fans of the current crop of garage rockers, and of course who already dig Total Control, will find a lot to love here as well!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
In our quest for the heaviest, trippiest, sludgiest, most psychedelic doom ever, we thought we had finally found the holy grail, in the form of UK outfit Bong. No beating around the psychedelic stoner doom bush, no 'cosmic whatever' or 'high priests of blah blah blah', no, Bong got right to the heart of it, naming themselves after the very relic that truly must have inspired most of the bands we love. We can almost imagine a massive bong, painted gold and surrounded by demonic seraphim, hanging above an altar in some sort of alternate universe cathedral, where all of our beloved groups worship, attaining divine inspiration, delivered to us in the form of drug soaked, tripped out ultra heavy sonic blissouts. But one thing we forgot to consider, one element that could, and very likely would, trump the simple bong, one thing that would elevate that essential and beloved stoner relic to the next level, more cosmic than earthbound, an implement derived to catapult the group, and the group's listeners to the heart of the sun, taking the legacy of all the came before, from Hawkwind to Bong, from Pink Floyd to Bongzilla, and sending them into space. It worked for Jason Voorhees (Jason X is INSANE), and it works for these Aussie doomlords, the awesomely named SPACE BONG, whose name promises extreme spaced out psychedelic heaviness, and most definitely delivers!
But, while you might be expecting, dirgey, abject, Bunker-like sludge, or even droned out Bong like psychedelia, the truth is Space Bong land somewhere inbetween, adding a healthy does of melody, their sound beholden to classic doom, as much as newer, weirder, slower stuff. Four loooooooong tracks, the shortest 12 minutes plus the longest over 21 minutes. The sound is massive, downtuned guitars, pounding drums, dueling vocals, one a demonic bellow, the other a Khanate like shriek, and while the ingredients aren't all that different than other doom outfits, it's what they do with it that counts. The opener, begins with a weird ambient intro before launching into a glorious sprawl of plodding slo-mo crush, then out of nowhere, super catchy guitar harmonies suddenly surface, soaring over the churning chug below, and then dissipate, leaving a field of pulsing feedback over tribal drumming, weirdly hypnotic and tranced out, and when the vocals come in, the result is some sort of super tripped out avant abstract psychedelic doom drift, which instead of slipping back into the doom that started things off, locks into a weird droned out deathmarch chugscape, before finally exploding into a final blast of furious psych doom.
And the thing is, it's not all doom in Space Bong land, the second track is downright rocking, almost stonery in fact, a killer main riff, swaggery and snarly, but it's really just a feint, cuz a minute later, the song collapses into another stretch of feedback drenched glacial creep, this time, buzz heavy bass drives the woozy churn, the sound super dynamic, lots of starts and stops, weird stretches of tranced out guitars, bursts of feedback, drones galore, not to mention some psychedelic noise, some glitched out ambience, processed vox, and all sorts of other chaotic noise woven into Space Bong's twisted druggy doom.
And we're only halfway through! The second half of the record plays out similarly, big bombastic drumming, some seriously classic metal sounding riffing, more harmonized guitars, wild squalls of keening feedback, fields of grinding guitar noise, super tripped out near ambient dronescapes, stretches of twisted mathiness, and a little bit of groove here and there, the closer displaying some seriously Sabbathy swing, and some killer psychedelic leads, and a super crazy catchy almost NWOBHM sounding final few minutes, albeit on the tail end of some seriously extreme dirge/sludge crush.
Random copies will come with a Space Bong patch!
Cool twofer disc of vintage sci-fi soundtracks.
