[ 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 2551 through 2600 of 4057.

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

SORRY. Brother Love and company bring us lo-fi, dirgy, space-rock from New Zealand.

Who is The Space Lady, you ask? Well, among San Franciscans who were here from the late seventies to the nineties, many may remember The Space Lady's (aka Susan Dietrich) busking presence on the streets of the Castro. Wearing her plastic winged helmet with a flashing red light on top, and flamboyantly dressed, she would sing dreamy covers of popular hits ("I Had Too Much to Dream Last Night", "Major Tom") and some originals too, with just a Casiotone, or sometimes an accordion and a reverbed microphone, adding a cosmic flair to her sound. Always pushing her wares, she would often pause mid-song to passers-by and hawk buttons, tapes, postcards, all featuring her winged-helmeted profile - Scott here still treasures his original tape! Before San Francisco, she busked in Boston/Cambridge and has been seen in Berkeley too, but nowadays resides in Colorado, where she is still at it. She even travels to Roswell, New Mexico and plays often in front of the UFO museum and research center. Like other notable eccentric street musicians of San Francisco like Omer (notoriously known around the aQ neighborhood as Bum Jovi) and the loincloth-wearing violinist Thoth (who was the subject of an Oscar-winning documentary short), The Space Lady was previously featured in the Songs in The Key of Z compilations of eccentric outsider musicians. All three have moved on from San Francisco leaving our neighborhoods a lot less exciting (though in Omer's case, people are probably getting more sleep now). The Space Lady was the best of them all, and it's so awesome to have her music on vinyl for the first time. Perfect for anyone into the charmingly eccentric outsider sounds of free-spirited performers like Medico Doktor Vibes, Michael Farneti and Mij. Highly Recommended!

MPEG stream: I Had Too Much to Dream Last Night
MPEG stream: Synthesize Me
MPEG stream: Ghost Riders In The Sky

Not sure what the rationale for this split was, other than local garage rockers The Burnt Ones, being as enamored of The Space Lady as we are. They somehow talked that mysterious songbird into making a record together with them - and both, disparate halves are pretty fantastic. The Burnt Ones have dialed their sound WAY back, and sound all warm, and syrupy, mellow and dreamily psychedelic, from the almost Spacemen 3 sounding "The Good Life", which sounds like a druggier, garage rocking Beach Boys, to the hazy brooder "Infinity Suite", which is very reminiscent of another aQ fave, Crystal Stilts. Appropriately enough, they cover The Space Lady 'classic' "Synthesize Me", transforming it into another drowsy, druggy torch song, before finishing off their side with another gorgeous slab of downer pop / mope rock in the form of "Not Here, But There". For those unfamiliar with The Space Lady, she was an iconic street performer right here in San Francisco for DECADES, a beautiful busker constantly clad in wildly flamboyant outfits, topped off with a plastic winged helmet, doing dreamily abstract covers of popular songs, played either on a crappy Casio keyboard, or an accordion. For years, she was such an iconic part of SF, and then just disappeared. Only to be rediscovered recently, which resulted in several performances, all of which were breathtaking. And if you haven't grabbed The Space Lady's Greatest Hits collection, you are really missing out. Her tracks here are equally mesmerizing, a cosmic cover of the Beatles' "Across The Universe", a jaunty Casio-core version of Bowie's "Starman", a gorgeously lysergic lullaby version of "Somewhere Over The Rainbow", and even an original, that sounds like she could be some mysterious one woman band in a dingy, Tiki bar in the sixties, all programmed rhythms, swirling synths and those distinctive echo-drenched vocals. A weird combo for sure, but one that kind of works wonderfully, each complimenting the other in their own unique, and uniquely off kilter way.

MPEG stream: Across The Universe
MPEG stream: The Next Right Thing
MPEG stream: Synthesize Me

You're out in space, at the bridge of a pod-shaped starship, blinking lights and cosmic sights on the viewscreen. THIS is the soundtrack. Or, you're exploring deep into inner space, in a isolation tank, or a drugged trance, watching colors play inside your closed eyelids. Again, THIS is the soundtrack. Assuming in either case you're got headphones on, hooked up to Space Machine 2! Total kosmiche electronics action here, vintage analog synths doing their spaced-out bleepage and bloopage thing under the long-haired guidance of Maso Yamazuki, a Japanese psychedelic noisician extraordinare. This disc was released back in 2002, as part of Space Machine mastermind Maso Yamazaki's special "15th Anniversary Freakout Triplex" series, which also featured cds by two of his other acts, Masonna and Christine 23 Onna. We reviewed Christine 23 Onna's Acid Eater a few weeks ago and promised we'd get to the others in the Triplex soon, now that we're finally able to get a hold of 'em, expensive imports that they are. Space Machine, Maso's tribute to the likes of Klaus Schulze and Tangerine Dream, has always been a favorite 'round here, and right now this particular Space Machine album is the only one that seems to be in print! If you're a fan already, you know what to expect. This features four tracks, several of them quite lengthy, of wonderfully indulgent synthesizer knob-twiddling, soothing oscillations and droning textures... headphones, please!

MPEG stream: track 2
MPEG stream: track 3

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

SORRY. Latest blast of analog synth madness from Takushi Yamazaki, othewise known as Masonna, the one man Japanoise wrecking crew, with a belt full of effects and a wall of white noise unparalleled. But don't expect any of that noise here. Space Machine is the vehicle that Yamazaki uses to indulge his fetish for rare seventies analog synths and all the spacy madness that they can conjure up. This is all swoosh and whir, bleep and swoop, like Acid Mothers Temple at their most unstructured, or better yet, like the music at the planetarium when you're soaring through galaxies, into the farthest reaches of the universe. Gorgeous double lp on orange vinyl in a nice gatefold sleeve. Two sides of solo studio recordings, two sides of live mayhem, four sides of far out, freaked out buzzing blooping bliss.

Osaka-based artist Takushi "Maso" Yamazaki has taken quite a turn these past couple of years. His more well-known alter-ego Masonna is best known for ear shredding cut'n'paste sonic assaults. Masonna's live performances consisted of Yamazaki screaming

RealAudio clip: 6

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

SORRY. Space Machine is Takushi "Maso" Yamazaki's outlet for the use and abuse of vintage analog synth equipment, where he leaves aside the violence and extremity of his work as Masonna in the "Japanese noise" idiom and instead attempts to channel the spirit of early '70s German electronic experimentalists like Klaus Schulze and Conrad Schnitzler. After three previous full-length recordings (Cosmos From Diode Ladder Filter on Alchemy being our fave) now comes the first two installments in a series of 3" eps, each of which sees Space Machine operating as a duo of Maso plus guest. For Model-101, the guest is Hiroshi Hasegawa of C.C.C.C./Astro. He also plays the synthesizer. Recorded live at Penguin House in Tokyo, February 2004, this starts with a whoosh and whooshes onward and upward. It's a nice, dense twenty or so minutes of droning, whirring, bleeping spaced-out spirals of psychedelic synth! On Model-102, Yamazaki and his synths team up with Acid Mothers Temple guitarist Makoto Kawabata for nearly twenty minutes of interstellar exploration, recorded live at Cafe Futuro in Osaka, Japan in April 2003. That it's recorded live in a cafe is evident on the disc, what with the murmer of conversation heard in the background, as Maso and Makoto and their machines hum and drone and drift and glow in the foreground. Abstract yet effective, it's actually incredibly mesmerizing and soothing. Of the two 3" discs, Model-101 is the more bleepy and loud and science fiction soundtracky, while Model-102 is quieter and perhaps less cliched. Both are recommended to all Space Machine/AMT/sci-fi synth fans.

MPEG stream: Dimension Degenerator

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

SORRY. Space Machine is Takushi "Maso" Yamazaki's outlet for the use and abuse of vintage analog synth equipment, where he leaves aside the violence and extremity of his work as Masonna in the "Japanese noise" idiom and instead attempts to channel the spirit of early '70s German electronic experimentalists like Klaus Schulze and Conrad Schnitzler. After three previous full-length recordings (Cosmos From Diode Ladder Filter on Alchemy being our fave) now comes a series of 3" eps, each of which see Space Machine operating as a duo of Maso plus guest. For Model-101, the guest is Hiroshi Hasegawa of C.C.C.C./Astro. He also plays the synthesizer. Recorded live at Penguin House in Tokyo, February 2004, this starts with a whoosh and whooshes onward and upward. It's a nice, dense twenty or so minutes of droning, spaced-out spirals of psychedelic synth! On Model-102, Yamazaki and his synths team up with Acid Mothers Temple guitarist Makoto Kawabata for nearly twenty minutes of interstellar exploration, recorded live at Cafe Futuro in Osaka, Japan in April 2003. That it's recorded live in a cafe is evident on the disc, what with the murmer of conversation heard in the background, as Maso and Makoto and their machines hum and drone and drift and glow in the foreground. Abstract yet effective, it's actually incredibly mesmerizing and soothing. Of the two 3" discs, Model-101 is the more bleepy and loud and science fiction soundtracky. Quieter and less cliched perhaps is Model-102. Both are recommended to all Space Machine/AMT/sci-fi synth fans.

MPEG stream: Orbit Vector Generator

More analog synth hi-jinx from Japan's Space Machine (the retro electronica obsessed alter ego of Takushi Yamazaki aka Masonna). The nifty Modular Series of 3" cds, the first two of which paired Yamazaki and his synths up with equally psychedelic sparring partners, sees Yamazaki going solo for installments number three and four. Model-201 is the third in the series, and it's an impressive, oppressive 13+ minutes of squelching, zinging, droning electronics (specifically, Yamazaki's credited with playing the Maestro Echoplex EP-3 and P-tronic Sound Lab Mini-Synth here), not unlike the sound of a series of flying saucers taking off and landing at a busy Area 51 UFO base. Soothing music for your inner malfunctioning robot.

MPEG stream: Space-Time Echo

More analog synth hi-jinx from Japan's Space Machine (the retro electronica obsessed alter ego of Takushi Yamazaki aka Masonna). The nifty Modular Series of 3" cds, the first two of which paired Yamazaki and his synths up with equally psychedelic sparring partners, sees Yamazaki going solo for installments number three and four. Model-202, Zone Of Avoidance is the fourth in the series, with Yamazaki utilizing Roland System 100, System 100M, and RE-501 to create close to twenty minutes of jittery, minimally repetitive dronage that arcs into a realm of Jurassic birdcalls as recorded by dying, batteries-running-down technology...or something. And just as Space Machine fetishizes their vintage equipment, P Tapes have managed to make these attractively designed 3" discs into fetish objects themselves for fans of this sort of electronic voodoo.

MPEG stream: Zone Of Avoidance

Space Needle were a strange bunch. Part of the mid-nineties indie rock scene, but only barely, something about them was just a little too weird, a complicated mix of pretty and creepy, a sonic world not immediately recognizable to the average Pavement fan or Yo La Tengo booster. Their sound was based not on guitar jangle but on strange rhythms and thick swaths of synthesizer. Probably had a lot to do with the fact that SN mainman Jud Ehrbar was a drummer. Vocals were appropriately indie sad boy style, from monotone Pavementy croon to reedy straining-to-hit-the-high-notes near falsetto, but they were dropped into totally alien landscapes. Those distinct vocals moped and dragged their feet amidst strange militaristic drum jams, thick washes of layered organs, serpentine low end synthbasslines, slithering and twisting chaotically beneath thick wheezing organ whir, strangely detuned guitars, strummed into hypnotic jangly jams over ultra simple motorik drumming, all the while, the vocals pushed WAY up in the mix, sort of languorous and deadpan, not so much drifting as sort of lazily shuffling. The melody almost entirely carried by the vocals (with occasional assistance from the synthesizer). The sound was definitely skeletal, often just vocals and drums, sometimes a simple throbbing bass line, but most of the tracks build to a massive climax, with guitars building into huge fuzzy drones, the synth lines getting more and more distorted, both swirling into thick squalls of blown out psychedelia. At their heaviest, Space Needle almost sound like Loop or Spacemen 3, simple riffs repeated over and over, building a super hypnotic groove, while over the top, guitars and synths wrestle in a thick cloud of buzz and fuzz. But the rest of the time, they really sounded like no one else. Some tracks are just random sonic experiments, super washed out guitars or ultra distorted synths, locked into super hot, crumbling in-the-red, looped dirges. But the heart of Space Needle's sound was a hauntingly alien, lilting loping abstract indie rock, melancholy and super laid back, but also dark and slightly ominous. Phrases repeated over and over mantra like, the vocals almost sounding choral at moments, each track unfurling and taking its own sweet time as it ambles toward its inevitable end. A sonic allegory for the sadness and loss suffusing SN's whole sound. This collection, gathers the best bits from Space Needle's two albums, and tacks on two live tracks, the best being a 15 minute long psych jam entitled "Where The Fucks My Wallet?", a live set staple that starts off all gentle guitar and builds into a wild sprawl of angular guitars and chaotic instrumental freakout, even a sort-of drum solo. We sort of forgot how much we dug this band, but hearing these tracks again, man, they sound so fresh, and so fucking amazing, they've really held up well, unlike LOTS of their indie contemporaries. These tracks could just as easily be from some current experimental fucked up abstract noisepop cd-r band as a forgotten nineties indie rock outfit. Definitely enough jangle and sweet and sour melody to hit the spot for all you Blonde Redhead / Modest Mouse / Black Heart Procession / Yo La Tengo / Silver Jews indie rockers of today, but certainly fucked up enough to appeal to all you lovers of free noise and art rock weirdness as well, plus this is just the sort of record to give all those indierockphobes out there something to think about. Includes liner notes, new artwork, and blurbs from the band about the recording of each track.

MPEG stream: Eyes To The World
MPEG stream:
MPEG stream: Before I Lose My Style

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

SORRY. Indie-pop-prog soundscapes, with cover art by Roger Dean.

Here's another reissue of a '70s obscurity that we wanted to hear simply on the basis of what we'd read about it: apparently Space Opera were a band from Texas who blended Byrdsian 12-string psych pop with proggy avant-gardisms. They made just one album, released in 1973 on Epic, which has now been reissued on cd. We got it in and gave it a listen and...yes! It turns out what we'd read about Space Opera was pretty accurate. We hear some Beatles too, and Southern rock Skynrd-worthy balladry. It's probably the distorted fuzz guitar harmonies -- especially when employed in epic "minature symphonies" (like the progtastic seven-plus-minute instrumental "Guitar Suite") -- that are the highlights of this album for us, but the band's lighter moments are exquisite too. So impressive. They've got pop vocal harmonies, jazz and classical flourishes, country roots, complex arrangements, inventive effects, wow. We can understand why this band was once the biggest thing on the scene in Forth Worth... and may be again, as we hear the original members have reunited. Recommended. And, need we say again: hurrah for reissues (when they're as good as this)!

MPEG stream: Country Max
MPEG stream: Holy River

Japanese synth-pop craziness compared to Perrey & Kingsley, Giorgio Moroder, and Yellow Magic Orchestra. And they're not kidding about the vocoder overload! Music for futuristic cartoon characters to party to. On Jim O'Rourke's always interesting Moikai label.

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

SORRY. A super limited single (only 700 were made!!!) from the Space Travelers which features DJ Quest (of Live Human) and Cue, whose title track "Black Hole" will appear on the upcoming Future Primitive compilation "Urban R(evolution)". The huge electro break is cast in a downtempo groove with flashy turntable tricks and elements of Missile Command-esque video game noise, horn flares, and funk bass snippets that almost resemble Tackhead. Z-Trip's "Further Explorations into the Black Hole" on the flip side fills out the minimalist electro funk of "Black Hole" with cut-up Sci-Fi narratives and a slightly different handclap driven break. Along with these two tracks, 'instrumental' versions of each respective track and bonus beats of the Z-Trip remix are also present.

Finally, record number two from these local hard rockers, whose debut self titled cd-r was a huge hit with the aQ metalheads, and while we LOVED that record, we're beginning to think Heart Attack might be even better, a another killer collection of kick ass metal jams, equal parts classic NWOBHM, eighties hair metal and classic early thrash metal, the sound poppy and heavy and hooky. Right up front, if you're fans of groups like Cauldron, Twisted Tower Dire, Slough Feg, Midnight Chaser, and of course classic metal and hard rock combos like Iron Maiden, UFO, Tokyo Blade, Pandemonium and the like, then Space Vacation is definitely right up your alley. Just give the title track a listen, it's been stuck in out head like crazy for weeks now, and it pretty much perfectly encapsulates the group's sound, the heavy riffed out opening, the harmonized guitar leads, the wild drumming, the song shifting into a chugging eighties hard rock, super poppy and catchy, before launching into a furious almost speed metal blowout, chugging guitars, and furious double kick drumming, wedded to soaring clean vocals, plenty of super dynamic stop starts too, and hooks galore, even the heavy parts are crazy catchy. And then there's the shredding last minute or so, wild soloing guitars over furious drumming, and still more killer guitar harmonies. It literally took us about twenty listens before we could stop listening to that one track and dig deeper in the record. But once we did, pretty much all the tracks here are equally catchy. "End Of The Bender" is another killer, with a chorus that won't quit, and another crazy shredding finish, and then there's "Bro Hammer", a churning chunk of classic double kick driven Euro metal style radness, with yet another impossibly catchy chorus. And while there's plenty of heaviness here, and fierce riffing, and insane drumming, and for all the record's NWOBHM aspirations, Space Vacation still mostly sound like eighties hair metal, albeit on the heavier, hookier side, and while there's plenty of cool weirdness throughout, your love of Space Vacation all depends on how much you dig that era of heavy metal, which we dig A WHOLE LOT, so for us Space Vacation is basically the modern version of a metal band that would have literally been our favorite band at age 16, and heck, considering how much we've been listening to this lately, they're coming dangerously close to being just that even now, several decades on. WAY WAY recommended! Includes download too!

MPEG stream: Heart Attack
MPEG stream: End Of The Bender
MPEG stream: Bro Hammer
MPEG stream: Summer Knights

Glad to finally get to list something by these guys, an awesome local melodic metal band who we became fairly rabid fans of just from checking out their MySpace page a while ago, though when you hear 'em, you'll think its something we've been fans of ever since 1984 or so, long before MySpace or the Internet even existed, since they sound sooooooo '80s melodic NWOBHM / arena rock it's amazing. But they're a relatively young band from here in San Francisco, and this debut of theirs Allan here considers a top ten metal album of 2010, easy... and it's just a self-released cd-r, what in the old days you'd call a demo. Wish it was a real cd or vinyl album, it should be, these songs are really fucking good! And please don't let the goofy name put you off, we were surprised too when when we first heard 'em, but Space Vacation are indeed one of the best '80s influenced, heavy but brilliantly poppy metal band we've come across in ages. With galloping riffs, shredding solos, catchy licks, stick twirling hard hitting drumming, and stick-in-yer-head choruses, what's not to love? Classic stuff. The vocals are key, the dude (who also plays lead guitar) is not afraid to SING. Though he'll also happily shut up and play his guitar, as on the Eddie Van Halen-esque instrumental break "Streaker". And the band as a whole is not afraid to be a little (or a lot) cheesy, but in a good way. Good enough to remind us of cool EARLY Def Leppard and other greats. And we'd put this up against anything today of that old school melodic metal ilk, like Priestess, Cauldron, whomever. And you ironic inde rock types can take solace in the clever, not as cliched as you'd think lyrics that both celebrate and subvert the cliches of heavy metal. It's the pop element that puts this over the top, as our pal Glenn, another big SV fan, puts it, "it's like the most rudimentary NWOBHM from 1980 mixed with what you might get from a one-off juvenile indie-pop band formed as a joke by guys from Sloan and New Pornographers for a bachelor party for one of the members." We'd already heard 6 or 7 of these tracks via their MySpace but the others, new ones, are cool too. There's a "blast off" count-down intro going into a track called "Space Vacation"... a bit forced perhaps, doing the band-name-song, but then they hit their stride with "Keith's Sister" and you realize you are on a rocket ride indeed. Songs that as soon as you hear 'em, sound like you've been rockin' out to them forever. And look out for the hidden bonus track(s) at the end... the extra-poppy drinking song "Wicked Hammid"! Something else to look for, online: the band's awesome/silly DIY practice space video for "Keith's Sister" on YouTube, here: http://www.youtube.com/watch?v=kBREOCxXbH0. If you couldn't tell, recommended, if you like to rock! FYI We've also got a Space Vacation split 7" with an LA band called The Amplifiers, SV's side featuring "Keith's Sister", for those who want her on wax.

MPEG stream: Keith's Sister
MPEG stream: Highway Master
MPEG stream: Die! Heavy Metal!

See our review of the Space Vacation's s/t cd-r to see why you should pick this up! One of our fave tracks from that disc pressed to vinyl, on one side of this split single with a rockin' LA band we know nothin' about.

From the same label that brought us the awesome Champs (er, C4AM95) disc comes some more excellent local SF neo-metal action. Superheavy, technical grindish brutality with an obvious love of Voivod and jazz, and pot...recommended. LP version due soon.

Spaceboy is San Francisco's oddest avant-metallic combo, starting with their name (and album title) and going from there. They smoke a lot of pot and play music like prog rockers gone death metal. Actually it sounds like half the band is playing death metal This, their second full-length (and first for SoCal's premier doom metal label, Southern Lord, home to SUNNO))), Khanate, Warhorse, Boris, etc.) clocks in at nearly an hour. There's eleven tracks, with every odd-numbered track being a brief, spacey instrumental interlude. The songs proper are super-heavy and dark, full of complex technical metal guitars & drums, distorted vox, and stoned drone ambience. All we can do is cite a bunch of stuff that this seems influenced by or kinda reminds us of: Neurosis, Voivod, Meshuggah, Mahavishnu, Hawkwind, King Crimson, Today Is The Day, Old Man Gloom... Listening to this, though, is like trying to peer through some nebular haze in a distant galaxy. It's going to take a while to fully understand the advanced calculus at work here. One thing we do understand: it's heavy!

RealAudio clip: Eye Pillow
RealAudio clip: The Monsoon

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

SORRY. New 4-song release of cannabis-fuelled art-metal prog-pummell from this talented SF combo, one of the first non-Japanese releases on the up and coming Howling Bull America label. A bit spacier than their first album (...but not more boyish). For fans of The Champs (as this features an ex-Champ), Neurosis, Voivod, Alchemist, etc. Heavy.

After years of underground mixtapes, this is the proper debut from oddly monikered Miami MC / producer Spaceghostpurrp, a seriously sweet slab of sinister darkness, a collection of hip hop slow jams, but slow jams that ooze and creep, all slithery and sick, blackened and ominous, the music a screw-ed low slung swagger, the beats a skeletal crunked out skitter, the sound all mysterious loops and swirls of grim shimmer, Purrp's cough syrup drawl the perfect match for the music's woozy drag. There's a bit of a horrorcore vibe throughout, think a more laid back Gravediggaz, which gives the whole record a seriously nightmarish vibe. One of the meanest, darkest, creepiest hip hop records in recent memory, and one that offers the rest of the world a glimpse of the grim dark underbelly of sunny Miami.

MPEG stream: Mystikal Maze
MPEG stream: Bringing The Phonk
MPEG stream: Been Fweago
MPEG stream: The Black God

A head-on collision between the ancient roar of trumpet and drums, and the spaceage buzz of electrified sound. One of the AQ-staff's favorite bands. You will be amazed when you hear the intensity, fullness, and melodicism of looped, sampled (live!) trumpet mixed with motorik, krautrockish drumming. Spaceheads will grace the Bay Area again with live shows in June.

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

SORRY. Mostly tracks from 'Angel Station' (their most recent album on Merge), this is a great compilation of live tracks from their 1999 tour, including that amazing show at the Make-Out Room here in SF! Truly the awesome thing about Spaceheads is how splendidly they are able to deliver live the layers upon layers of clean sampling, funky trumpet and infectious rhythms found on their releases. You probably wouldn't even know this was a live recording if not for the applause that ends each track. Clocks in at just under an hour, but you'll wish it to go on and on.

This match-up had to happen really, even if it was just so they could call the record SpaceShipp. Legendary Jazz pianist Matthew Shipp teams up with Spacemen 3's Jason Spaceman for two extended pieces of modern minimal dronemusic. Apparently the two performed live together at Patty Smith's Meltdown Festival, and this recording is an extension / corollary of that performance. And it's a doozy. Shipp abandons the piano in favor of the Harmonium, while Spaceman wields his trusty Vox Starstreamer, the two conjure up some seriously deep drones. The opener is the 41 minute "Inner", and is a slow moving near static stretch of massive minimalism, the guitar and organ unfurling long tones, creating all sorts of layers and textures, complex overtones, and subtle barely there rhythms, the obvious references are Reich, Niblock and Palestine. The piece occasionally shifts and the tones become fuzzier, a bit more blown out and buzzy, but they quickly revert to their more murky washed out state. Total divine Ur-drone action, mesmerizing, hypnotic, and dreamlike. The second track, "Outer", is only 11 minutes long, and features Shipp on the Celeste, creating delicate crystalline music box like melodies, while Spaceman creates all sorts of scrapes and buzz in the background, which slowly coalesces into a Spacemen 3 sort of looped buzz, the two elements at odds, but strangely complimentary, the combined sound woozy, warped and warbly, but still haunting and strangely lovely. Gorgeously packaged like all Treader releases, this one features a blue matte paper fold over sleeve, with a metallic gold jellyfish embossed on the front.

MPEG stream: Inner
MPEG stream: Outer

Harmine Korine tapped both the Sun City Girls and Jason Pierce (aka J. Spaceman of Spiritualized and formerly of Spacemen 3) to write the soundtrack to his film Mister Lonely. No, it's not a collaboration; but rather two opposing forces that may or may not work within the context of the film. As of the release date of the soundtrack, the film has not been released, so we can't comment on how it work in the film. Much like the restrained interludes on recent Spiritualized albums, Pierce offers lushly cinematic arrangements with spectral guitar crescendos, pretty-pretty pastoral tunes from string and woodwind ensembles, and sustained eerie ambience; and the Sun City Girls don't. These tracks do account for the final recordings ever to be made by the Sun City Girls, as drummer Charles Goucher passed away shortly after their completion. That said, these SCG tracks are not as absurdly weird as some of their soundtrack ventures (e.g. Dulce, Juggernaut, and Piasa: Devourer Of Men), but Alan Bishop's off kilter croon emerges alongside the rickshaw guitar picking of his brother Richard, plenty of out of tune piano ditties, and some cacophony between a transistor radio and a harmonica. It goes without saying that the Girls had to deliver a spectacular cover of the Bobby Vinton tune "Mr. Lonely." Hey, is that Werner Herzog issuing some demonstrative claim between a couple of the tracks? Why yes, it is!

MPEG stream: Blues 1
MPEG stream: Garden Walk
MPEG stream: Stooges Harmonica
MPEG stream: Mr. Lonely Viola

Lately we've been revisiting some of our old favorites, with Records Of The Week from Loop, the Telescopes and Swervedriver, but as much as we love those bands, and we do LOVE them a LOT, we can't help it, our hearts will always belong to Spacemen 3. The dreamiest and druggiest of the bunch, pretty much every record, every different stage of the band, every song, has utterly entranced us. Blurred and bleary jangle pop stretched out into meditative space rock mantras, no one could conjure up the same sort of woozy elegance that these guys could. And while this is not a new record proper, and most of us have spent years tracking down every bit of recorded Spacemen 3, even a new ep with alternate mixes and some rare gems has us all in a tizzy. And judging from the responses of aQ customers, you're probably the same way. We've been selling out of these over and over, and have only just now gotten enough to list. So drug addled space rock freaks of the world, we give to you, DJ Tones, a super limited (only 2000 copies) ep, containing TWO PREVIOUSLY UNRELEASED TRACKS(!!!), a radically different mix of their Red Krayola cover, and on cd for the first time, a track called "I Love You", originally released as a white label vinyl only promo, limited to 50 copies. And finally, a studio version of the track "Ecstasy Symphony". For folks who are new to Spacemen 3, this might not be the place to start, although it wouldn't necessarily be bad, but may we recommend Playing With Fire, or Taking Drugs To Make Music To Take Drugs To, for the rest of you, the obsessed, buy this now. Up first is "These Blues", a gorgeous laid back jangle pop jam, that might convince us that Oasis probably own some Spacemen 3 records, along with "Modulated Tones", a gorgeous fuzzy minor key minute and a half of looped echo drenched guitar, so great, the kind of thing that could have stretched out into a whole Spacemen 3 set, both those tracks UNRELEASED! Their cover of the Red Krayola's "Transparent Radiation" is the Violin Mix, so besides the skeletal guitar and drawled vocals, the bulk of the song is carried by strings, and the result is pretty divine. "I Love You" is a weird one, a programmed beat, beneath a stuttering synth rhythm, super echoey vocals, spare guitars, all moody and woozy and eighties sounding. Quite cool for sure, a little garage-y, a bit poppy, and all very druggy and dreamy. And finally, "Ecstasy Symphony", nine minutes of lush drones, dense and layered, slow motion melodies played out over long streaks of near static sound, total divine, sun dappled ur-drone bliss. Packaged in a trippy little paper sleeve, a bit pricey for 5 songs (although it is nearly half an hour) but for fans of all things Spacemen 3, absolutely worth it. And again, LIMITED TO 2000 COPIES WORLDWIDE!

MPEG stream: Transparent Radiation (Violin Mix)
MPEG stream: Modulated Tones

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

SORRY.

This is my second favorite Spacemen 3 record, second only to the breathtaking Playing With Fire (which we just listed last time and is still in stock). But the more I listen to this, the more it inches closer and closer. It follows the same sonic path as Playing With Fire, with shimmery, hazy, druggy garage rock drone scapes and occasional squalls of fuzzed out buzz-saw riffs, and while it lacks some of the dreamy summery ambience of PWF, it makes up for it in gritty urgency and bleary, cloudy atmosphere. Some of these songs appear elsewhere, but these are the definitive versions, the way the band had always intended them to sound, adding layers and layers of guitars that were impossible to replicate live. This double disc reissue collects demo versions covers, and previously unreleased songs, all of them amazing. From the opening track 'Things'll Never Be The Same', a blast of thick Stooges-y sludge, to the Velvets-esque 'Walking With Jesus', a fuzzy, sun-spangled, lo-fi drone-y ramble, all shimmery strum and sing-songy vocals, to the bluesy swagger of 'Come Down Easy' sounding like Delta blues broadcast from outer space and dipped in LSD, this stuff is all so good. Yet another band that allows a straight edge goodie-two-shoes like me to dabble in dark and dangerous, dreamy and druggy excess!

MPEG stream: Walking With Jesus
MPEG stream: Come Down Easy (Demo Version)
MPEG stream: Things'll Never Be The Same

Hmm. There's no point in really "reviewing" Spacemen 3 records at this point. They're surely one of the top 10 greatest bands to ever exist and even with their influence touching so many bands everywhere, no one - NO ONE - sounds like Spacemen 3. They just got it in ways other bands couldn't. Simple as that. It sure is great to have the band's Glass Records output, their first three full lengths, available on vinyl (some nice 180 gram vinyl to boot) for the first time in God knows how long. They look amazing in their heavy duty sleeves, and after years of absorbing every molecule of the shitty looking Taang Records cd versions, seeing these records as they were initially presented puts things into perspective even more. They just look so classic, so timeless, and so many years later, it makes perfect sense why we felt like we uncovered some secret portal when we discovered this band. Any song they ever did is the perfect soundtrack to any moment of any or every day. Performance was released to fulfill contractual obligations with Glass, sort of an easy solution before moving on to bigger things. Still, it comes completely recommended, as it captures Spacemen 3 in a live setting on the Perfect Prescription tour, and there's no reason to complain about that. Apparently they weren't exactly pleased with this particular set, and the drums are surprisingly low in the mix, but they tear things up just as you would expect, with the molten guitars taking over everything everywhere. Recorded in 1988 in a setting one could imagine the band being quite comfortable in - Amsterdam - Performance is a fiery run through some early classics, and it will no doubt give you further insight into Spacemen 3's revolutionary approach. Goddamn, there sure aren't any bands like this these days.

Andee sez: This is the best Spacemen Three record ever, hands down. Period. As much as I love the garage-y fuzz rock of their early records, Playing With Fire is where their hypno-drone tendencies were finally fully realised. It's like classic Spacemen Three, but filtered through that Galaxie 500 summer-sun-space-reverb. All shimmer and throb, oscillating into the ether. This record is what sunspots on a lazy, humid afternoon would sound like. Or you know when you look out over the highway on a hot day, and the air is all warbly and distorted. This record is what I imagine that wavy, shimmering air sounds like. Gently plucked melodies over langorous, lazy riffs, underpinned by processed, delayed guitars that are bundled into reverberent pulses that spread out lazily, like sonic ripples. So absolutely, perfectly gorgeous. Occasionally, the tranquility is briefly upended by squalls of wooly fuzz and propulsive garagerock riffs, but things quickly smooth out and the musical narcotics begin to flow again and you drift right back off..... Comes with an extra disc of demos and alternate mixes!

MPEG stream: How Does It Feel?
MPEG stream: I Believe It
MPEG stream: Revolution

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

SORRY.

Hmm. There's no point in really "reviewing" Spacemen 3 records at this point. They're surely one of the top 10 greatest bands to ever exist and even with their influence touching so many bands everywhere, no one - NO ONE - sounds like Spacemen 3. They just got it in ways other bands couldn't. Simple as that. It sure is great to have the band's Glass Records output, their first three full lengths, available on vinyl (some nice 180 gram vinyl to boot) for the first time in God knows how long. They look amazing in their heavy duty sleeves, and after years of absorbing every molecule of the shitty looking Taang Records cd versions, seeing these records as they were initially presented puts things into perspective even more. They just look so classic, so timeless, and so many years later, it makes perfect sense why we felt like we uncovered some secret portal when we discovered this band. Any song they ever did is the perfect soundtrack to any moment of any or every day. Sound Of Confusion was the band's first statement after building up a repertoire for a few years. It's their most aggressive record and even though the future was full of surprises, it is the album that set the template for how most people will describe Spacemen 3: loud droning guitars, a minimal but intensely psychedelic approach that is almost violent in its focus, and of course, an inseparable cloak of drugginess. Lyrically, you just can't fuck with songs like "Losing Touch With My Mind" and their mindblowing cover of Juicy Lucy's "Just One Time", retitled as "Mary Anne". The album contains three originals, and three amazing covers that manage to become originals, and a sort of original/cover hybrid. Everything Spacemen 3 did is worth your time, they're definitely an appropriate band to get obsessed with, so why not start at the beginning?

MPEG stream: Losing Touch With My Mind
MPEG stream: Hey Man
MPEG stream: Mary Anne

Nice, now we have these essential albums available on cd too! Sound Of Confusion was the band's first statement after building up a repertoire for a few years. It's their most aggressive record and even though the future was full of surprises, it is the album that set the template for how most people will describe Spacemen 3: loud droning guitars, a minimal but intensely psychedelic approach that is almost violent in its focus, and of course, an inseparable cloak of drugginess. Lyrically, you just can't fuck with songs like "Losing Touch With My Mind" and their mindblowing cover of Juicy Lucy's "Just One Time", retitled as "Mary Anne". The album contains three originals, and three amazing covers that manage to become originals, and a sort of original/cover hybrid. Everything Spacemen 3 did is worth your time, they're definitely an appropriate band to get obsessed with, so why not start at the beginning?

MPEG stream: Losing Touch With My Mind
MPEG stream: Hey Man
MPEG stream: Mary Anne

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

SORRY. Four live tracks recorded in Melkweg, Amsterdam (6/2/88) -- Starship, Revolution, Suicide & Repeater -- and one studio track -- Live Intro Theme (XTACY) -- recorded in 1988.

The Spacemen 3 vinyl reissue campaign continues, with the Glass Records eps now getting their due. Considering the amount of repetition in this band's catalog, many may be asking themselves whether or not they need another record with the same songs on it, and it may come down to just how obsessed you are... wait, scratch that, OF COURSE YOU NEED IT! It's awesome to have these eps available to us again individually (having been previously compiled together on cd via Taang! Records, and who knows, probably by someone else as well) because it lets you really get into the drugged out mindset of the band. Listening to these as they were intended, you can get a better idea of how Spacemen 3 established themes within their music. Rather than release mere 7" singles, they instead developed and reinterpreted certain songs on the 12" format. Which makes sense, as the band was certainly in no rush to adhere to 3 minute pop songs if they weren't up to it. In fact, calling these "eps" is a little misleading, as the boys stretch things out to album lengths. Take Me To The Other Side was the companion ep to the band's mighty - nay, GODLY - Perfect Prescription lp. In other words, this ep represents the band at the height of their unified powers, and the title song itself (taking up side 1 at 45 rpm; side 2 goes at 33) is no doubt one of their strongest pieces. Kicking off the second side is "Soul 1", a slow burning soul-inspired (duh) number with blaring, sleepy horns given the Spacemen 3 treatment, followed by "That's Just Fine", which has appeared tacked onto various editions of the Perfect Prescription. No matter how you weigh it, it's awesome having the bulk of the Spacemen 3 discography available as these handsome vinyl reissues. Playing this stuff alongside so much of what we carry, it's obvious that this band has seeped into underground consciousness like the legends they were always destined to become. But you know what? There's only one Spacemen 3.

Thought we'd better get around to listing this, since it was finally reissued domestically at a much cheaper price! "Taking Drugs To Make Music To Take Drugs To" is one of the best album titles ever, and at least for the heavy pharmaceutical users in Spacemen 3, it's certainly a fitting one. Recorded in the winter of 1985 / 86, the album is actually the most rock of all of the Spacemen 3 albums as their 13th Floor Elevators buzz meets the intensity of early Stooges. Sonic Boom and Jason Pierce felt that the versions of the songs found on "Taking Drugs" were better than those on the subsequent albums. And that may just be true! Easily one of the best and most important documents of eighties space-psych!

MPEG stream: The Sound Of Confusion
MPEG stream: Losing Touch With My Mind

Hmm. There's no point in really "reviewing" Spacemen 3 records at this point. They're surely one of the top 10 greatest bands to ever exist and even with their influence touching so many bands everywhere, no one - NO ONE - sounds like Spacemen 3. They just got it in ways other bands couldn't. Simple as that. It sure is great to have the band's Glass Records output, their first three full lengths, available on vinyl (some nice 180 gram vinyl to boot) for the first time in God knows how long. They look amazing in their heavy duty sleeves, and after years of absorbing every molecule of the shitty looking Taang Records cd versions, seeing these records as they were initially presented puts things into perspective even more. They just look so classic, so timeless, and so many years later, it makes perfect sense why we felt like we uncovered some secret portal when we discovered this band. Any song they ever did is the perfect soundtrack to any moment of any or every day. For some people, it's Playing With Fire. For others, probably most, it's The Perfect Prescription, Spacemen 3's ultimate statement and the record where everything was working together in absolute harmony. The record cover itself seems to completely capture the essence of Spacemen 3, with Sonic Boom and Jason Pierce holding their guitars, eyes closed, no doubt concentrating deeply on the contents of their minds. It seems fair to call this their pinnacle, as things would become increasingly more split between the group's mainmen from this point on. The Perfect Prescription is one of those rare albums that is completely beyond criticism. Don't even try. Beginning in classic Spacemen 3 style with "Take Me To The Other Side", the album subsequently incorporates a wide array of influences and styles, from soul to gospel to country, making it clear that, even though they did it better than anyone else, there was far more to this band than just walls of fuzzed out drones. Even with this diversity, everything on the album belongs to Spacemen 3 - especially their cover of the Red Crayola's "Transparent Radiation" - and they were able to harness all their powers into something which is, yeah, pretty fuckin' definitive. We could go on forever, but we won't.

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

SORRY.

Amongst the dozens of records that Spacemen 3 have released, the group never had a huge repertoire of neo-psychedelic / post-punk songs that they recorded. Instead, they preferred to rework the same dozen or so songs as increasingly diffuse, droning, and

RealAudio clip: Rollercoaster
RealAudio clip: Transparent Radiation

The Spacemen 3 vinyl reissue campaign continues, with the Glass Records eps now getting their due (though we're still waiting to get a hold of Take Me To The Other Side). Considering the amount of repetition in this band's catalog, many may be asking themselves whether or not they need another record with the same songs on it, and it may come down to just how obsessed you are... wait, scratch that, OF COURSE YOU NEED IT! It's awesome to have these eps available to us again individually (having been previously compiled together on cd via Taang! Records, and who knows, probably by someone else as well) because it lets you really get into the drugged out mindset of the band. Listening to these as they were intended, you can get a better idea of how Spacemen 3 established themes within their music. Rather than release mere 7" singles, they instead developed and reinterpreted certain songs on the 12" format. Which makes sense, as the band was in no rush to adhere to 3 minute pop songs if they weren't up to it. In fact, calling these "eps" is a little misleading, as the boys stretch things out to album lengths. Transparent Radiation (last seen going for $600) is undoubtedly one of Spacemen 3's finest moments. Originally a herky jerky outsider jam by legendary Austin weirdos the Red Crayola, in the hands of Sonic and Jason the song became something undeniably greater, reaching unsurpassed heights of spiritually drugged out grandeur. If nothing else, the song is testament to the power of the electric guitar and human voice. And best of all, two versions of the song are included here, the first featuring the two singers sharing a ragged vocal harmony that sounds, well, like a couple guys trippin on some heavy shit but still holding things down like the experts they are. Next up is the complete version of "Ecstasy Symphony", which couldn't be more hypnotic with its strobing organ pulling you in deeper. No wonder they used this as their live intro. Following this is the definitive version of "Transparent Radiation" (appropriately enough, the "Flashback" version) which is so good we won't even bother trying to explain it. Side 2 opens with the snarling "Things'll Never Be The Same", presented in complete unedited form, before going into a triumphant take on the Sun Ra / MC5 jam of "Starship", ending the record on a perfect note. Fuck yeah.

The Spacemen 3 vinyl reissue campaign continues, with the Glass Records eps now getting their due (though we're still waiting to get a hold of Take Me To The Other Side). Considering the amount of repetition in this band's catalog, many may be asking themselves whether or not they need another record with the same songs on it, and it may come down to just how obsessed you are... wait, scratch that, OF COURSE YOU NEED IT! It's awesome to have these eps available to us again individually (having been previously compiled together on cd via Taang! Records, and who knows, probably by someone else as well) because it lets you really get into the drugged out mindset of the band. Listening to these as they were intended, you can get a better idea of how Spacemen 3 established themes within their music. Rather than release mere 7" singles, they instead developed and reinterpreted certain songs on the 12" format. Which makes sense, as the band was certainly in no rush to adhere to 3 minute pop songs if they weren't up to it. In fact, calling these "eps" is a little misleading, as the boys stretch things out to album lengths. The Walkin' With Jesus ep kicks off with the song of the same name, which itself was an early title for the song "Sound Of Confusion", off the... uh... Sound Of Confusion ALBUM. Confusion, as we all know, being an integral part of the Spacemen 3 discography. Perhaps the most striking number here is the band's insane cover of the 13th Floor Elevator's famous ode to tripping balls-as-philosophy, "Rollercoaster". While a version of this song also appeared on Sound Of Confusion, the band's dissatisfaction with that take spurred the idea of recording the song live and stretching it out to a monolithic 17 minutes. Gotta say, the 13th Floor Elevators are a band that most band's simply shouldn't/can't cover, but Spacemen 3 earned themselves a pass, for obvious reasons, and in the end they make the song their own. Amazing. After your mind tries to piece together what the fuck just happened for 17 minutes, the mellow "Feel So Good" takes you down nice and easy. Best band (of this sort) of the '80s, no question.

It's funny, there are so many Spacemen 3 records, but ultimately it seems like they only had maybe 10 songs, and every record just featured different versions of the same songs, edits, extended mixes, demos. But they sound so good it almost didn't matter! As it is, most Spacemen 3 songs are so blissfully buzzy and hypnotic that I kind of wish they would go on forever. So maybe they do. Sort of. This ep was originally available only via mail with a coupon from their Playing With Fire record. Recorded live in Amsterdam in 1989, this is PRIME Spacemen 3. Walls of thick guitar, sun dappled and effevescent, sheets of feedback, and that unmistakable, throbbing pulse, that makes all Spacemen 3 tracks lull you into a druggy psychedelic trance. So good.

MPEG stream: Suicide (live)
MPEG stream: Revolution (live)

Highly anticipated full length from spy-jazz-trip hoppers who remind us of Barry Adamson making junglish music. With nicely non-annoying diva vocals. On (Bjork's new boyfriend) Howie B's label, and highly recommended!

We'd been wanting to review this for ages, but the first pressing disappeared in a heartbeat. Which makes sense considering that this is the SECOND kick ass offshoot of Philly psych rock outfit Birds Of Maya - the first being the awesome Purling Hiss, whose Public Service Announcement record we made Record Of The Week back in 2010. The weird thing is, for whatever reason, we were never that nuts for Birds Of Maya, but Purling Hiss totally blew us away, and Spacin' is doing the same, which has us thinking maybe it's time to revisit Birds. But for now, we can just revel in Spacin's debut, the awesomely titled Deep Thuds, and if you're already a fan of Purling Hiss, we have to say, you might as well stop reading right now and add this baby to your cart, cuz it's most definitely cut from the same sonic cloth, equal parts power pop, classic rock, Stooges-y swagger, hooky and fuzzy, hand claps, all tripped out and psychedelic. The opener "Empty Mind" is a total classic old school garage punk jam. The Stooges vibe is HUGE, the drawled vox, and the T-Rex guitars, the woozy hooky chorus, the spidery psychedelic leads, the sound lo-fi but still rocking and fantastically fuzzed out. But then the second song "Some Future (Burger)", ditches songcraft entirely, instead weaving a lush landscape of murky mesmer, all heavily effected guitar drones, and looped melodies, total low fidelity kosmische trip out, which once again reminds us of Purling Hiss, and the way PH flits from pop to psych out and back again. "Wrong Street" is total Yellow Pills style psychedelic power pop, the sound super distorted, but hooks galore, and more wild psych shreddery. "Chest Of Steel" is another lo-fi pop gem, which leads directly into the warped experimental "Oh Man", that is a weird melding of fuzzy psych groove, minimal krautrock, and hippie rock trip out, but it's awesome, totally hypnotic and spaced out and trance-y, the production giving it a sort of Ariel Pink / John Maus vibe. There's one more short sharp pop jam before the final number "Ego-Go", which might be our favorite, a sprawling psychedelic groover, plenty poppy, but still droney and murky and minimal, sort of a power pop Velvets maybe, driven by some fierce guitaring, some rad psychedelic leads, and laced with plenty of thrum and jangle, with another warped production, that gives it the vibe of some lost live jam captured surreptitiously in some shitty dive bar, and dug out of some old dusty box 30 years later. Probably our new favorite lo-fi psychedelic spaced out power pop / garage punk record, fuzzy, jangly, hooky as hell and one of those records we can't seem to stop listening to! And absolutely WAY recommended for everybody who bought any/all of the Purling Hiss records!!

MPEG stream: Empty Mind
MPEG stream: Some Future (Burger)
MPEG stream: Chest Of Steel
MPEG stream: Ego-Go

NOW ON CD!!! Another batch of Deep Thuds from these Philly psych rock deadbeats, a gloriously distorted, FX drenched concoction of warped power pop, boozy blooze and twangy, spacey swagger. Pounding slabs of Stoogesy stomp meet hazy, hook heavy groovers meet hippy dippy, paisley pop, sing-along anthems. Spacin' consist of members of Birds Of Maya and the Steve Gunn Band, but this is a whole 'nother animal, one that's wasted and woozy, lo-fi and laid back, an endless bummer, lysergic jam rock fused to some sweet strain of bedroom drug pop and blasted from a broken boombox on a stoop littered with empty 40s, in front of an old crumbling old house in the sketchiest part of town.

MPEG stream: Over Uneasy

[ aquarius records catalogue — S ]