[ aquarius records — Electronic ]

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 1601 through 1650 of 5033.

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Latest from local label Time Released Sound comes in the form of this 3" cd from cellist/sound artist Guy Gelem, who crafts a lovely avant chamber music with just treated cello, swoonsome melodies drift over deep rumbling tones, and softly undulating layers, pulses and pulsations are molded into abstract pizzicato almost-rhythms, the sound pastoral, wistful and melancholic, dark loveliness that reminds us a bit of the late great Rachel's, with tracks ranging from dreamily propulsive and effervescent to more somber and funereal, the latter, unwinding as aching, brooding threnodies, laced with subtle sonic colors and constantly swirling atmospheres, often blossoming into the former. Beautiful stuff, and fans of other TRS releases will feel right at home! LIMITED TO JUST 90 COPIES, and unlike other Time Released Sound releases, this one is ONLY available as a deluxe version, which as always, is super swank, a hand stamped mini-disc, housed in a star-punched, black felt covered sleeve, wrapped in a handworked super long, Japanese style obi, hand stamped of course, inside is a stamped insert made from vintage, hand notated sheet music, everything tied together with strands of Mongolian horsehair (!) and a handmade rubber tie down button made from a used bicycle tire tube (!!).

General Magic is the longstanding duo of Mego co-founders Andi Pieper and Ramon Bauer, who have embarked on "another mad digital journey through the circuits residing in both the Vienna and Berlin studios, as well as the Czech train in between." This is really more of digital fuck-up than a manipulation of digital fuck-ups. Not very inspired, but Mego-philes may find something of interest here.

Aaaargh, a band name only an Andee could love... yes, Genghis Tron does rank right up there with, ahem, Corn On Macabre and Cream Abdul Babar, don't ya think? Actually Allan likes the name too. At least, it made him wonder, what does this band sound like? Well, first here's what the label says, then we'll critique: "The debut EP from Poughkeepsie-based trio GENGHIS TRON. Cloak of Love is a virulent pop mutation that seamlessly splatters acrobatic shred and machine gun blastbeats across soaring synth pop anthems and electronic melodies. Five tracks of absurd brutalia and electro pop glory." And it's true, some of this does sound like M83 being attacked by Discordance Axis. Some foofy '80s ish electro-dance beat will start up, only to be obliterated by a thunderous shitstorm of aggro axe shrapnel. But although they do make a successful effort at trying something new, Genghis Tron don't really strike quite as even a balance between their blastbeats and synthpop melodies as the description on the disc's obi might lead you to believe. A "virulent pop mutation"? Well it definitely leans heavier on the metal than the pop. Clearly they're more schooled and skilled in the latter. The "pop" elements, if there really are any, come in the form of brief keyboard noodles and retro-techno grooves, but actually that's more about instrumentation rather than style or structure. Alright, we don't wanna get totally sticky about the technicalities, but geez, the aforementioned obi description sure did raise our expectations. But then again, we should have known all that was too good to be true. So let's enjoy Genghis Tron for what they are. Less a true synthesis of synth-pop and metallic blasting than a spazzy collision of the two with the metallic stuff definitely getting the upper hand, the metal secure in crash helmets and seatbelts while the pop gets thrown from the vehicle, crushed on the roadway. But it does make for a spectacular crash, something that fans of The Locust and Mr. Bungle and Knodel and Melt Banana and Schizoid and Agoraphobic Nosebleed and The Daughters oughtta find rubberneckingly riveting. Depending on how you feel about such (diverse) bands, by the time the not-quite-13 minutes of music here are over, you'll either be pressing play again with a big smile on your face, or already have left the room, plotting the destruction of whomever was playing it to annoy you.

MPEG stream: Rock Candy
MPEG stream: Laser Bitch

One of five new tapes from the awesome Austin based experimental tape label, Holodeck. Largely documenting the growing and diverse Texas underground scene of synth conjurers, drone lords, psych meditators, and classical folk devotionalists, each tape conceived as a unique listening experience with beautifully designed minimalist packaging. We listed tapes by Lumens, Smokey Emery and Thousand Foot Whale Claw awhile back, and this time around we have another tape from Thousand Foot Whale Claw as well as tapes by Silent Land Time Machine, Amasa Gana, Survive, and this one from former Pocahaunted and Robedoor member, M. Geddes Gengra, who was also an accomplice with Sun Araw on the last Frkwys collaboration with The Congos. No drones here or dramatic psych build-ups, just some of the most playful and bubbly modular synth explorations we've heard from a modern day practitioner. "Ball Trick" is more second generation of electronic composers Moog synth experimentation, reminding us at times of Suzanne Ciani, Laurie Spiegel or F.C. Judd. A bouncing syncopation and synth squiggles create a helium like atmosphere that gradually turns thicker and more rhythmic, like dance music made from air compressors and balloon textures. "Air Solo" has a more "industrial" soundtrack vibe, and by that we mean like Raymond Scott's commissioned interludes for IBM commercials, which have a hopeful techno futurist feeling, yet one that is not pastiche, but draws from a perhaps naive sincerity that music can be transformatively positive. "Beyond The Curtain", which comprises the entirety of the B side has a drunk machine vibe, like a happy-go lucky android who's had one too many, and runs amok with good intentions, but can barely keep itself upright. Interweaving percolating rhythms turn woozy, some rushing, some slowing, in a topsy turvy tailspin, winding themselves into the ground, moving forward as their edges grind down and garner a smooth roughness. Continuing to dance with busted eyes and blunted extremities yet at some point remarkably gaining balance and maintaining an intense diamond-edged focus like minimalist proto-techno in a Venutian atmosphere sucking up the helium and getting deadly high, endlessly waiting for the inevitable short circuit. Limited to 100 copies. Incredible stuff!

Some of you may know Gerritt as a noise musician, and some of you may know him as the guy behind the super cool Misanthropic Agenda label responsible for that amazing double disc of Merzbow remixes and the Merzbow Frog release. But here, on the latest orange 12" from our pal Drucifer's seemingly infallible Dielectric Records he is neither. While traces of his industiral noise side occasionally surface, this is a way more subtle and creepy beast. Percussive clatter sounding like pipe fights and rushing water, gurgling and bubbling, hissing static, and throbbing crunch are stretched and spread out over a dark and spare soundscape. Very haunting and disorienting. Creepy, squealing clanks and clunks, horroscapes of high-end creaks and indescribable knocks and bumps, coalesce into lugubrious non-rhythms, culminating in the epic final track that is more empty nothingness than anything requiring close listening and evoking dark musty hallways, lonely dirt paths, and all sorts of unspeakable darkness.

With Autechre's "Draft 7.30" being such a dodgy proposition, we've approached the concurrent single from their alter-ego Gescom with considerable trepidation. While it once appeared that Gescom was the more experimental venue for Sean Booth and Rob Brown, the roles may have reversed as "Draft 7.30" is clearly the more obtuse of the two constructions. "SS SA" isn't that far off from the IDM / electronica patterns of disjointed breakbeats and shimmering melodies found on Autechre's "AE5," and fortunately doesn't suffer from any of the problems that "Draft 7.30" did. Not their finest moment, but certainly worth checking into, if not for the music than for the crazy finish-fetish artwork within of spiralling chrome-plated exhaust pipes. MPEG Download: "ISS SA" [/audio/gescomisssa.mp3]

MPEG stream: ISS SA

Nowadays, Autechre invokes the Gescom moniker whenever the IDM duo wants to experiment outside of their well-defined Autechre sound as in their contribution the "Absolute Zero" compilation and their collage friendly MiniDisc only release. Yet during the Skam has also sadly retained the annoying package that housed the vinyl with the re-issue of the cd, which is just a sleeve of plastic bubble wrap. Oh well, the music inside more than makes up for it. "Keynell 1" lumbers through chopped string samples, which form a surprisingly catchy piece of understated melody to match the steady tumble of a wooden eletro beat. While most Autechre / Gescom pieces contain signature elements that easily qualify them as being by Autechre or Gescom, "Keynell 1" holds remarkable similarities to fellow IDM forefather, Aphex Twin -- especially from the "On" ep or the Phillip Glass collaboration. "Keynell 2" is a return to the Autechre sound, with sputtering mechanical rhythms, cybernetic flanges, and subtle afterhour rave melodies that have been synchronized into an unlikely groove. The third track is one of the Mancunian duo's more minimalist pieces, with the infinite repetition of a filtered hip-hop beat laced with an elegant, yet melancholic synth melody. During the five years that have passed since Gescom released "Keynell," 'intelligent dance music' has run the risk of self-parody, in losing the intelligent element of its name by stupidly searching out overly complex rhythms (i.e. Richie Devine, Otto Von Schirach) or wallowing in the irony of being dorky (i.e. Cex). There was a time when IDM was a viable musical form, and "Keynell" is one that era's highlights.

RealAudio clip: Keynell 1
RealAudio clip: Keynell 3

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

SORRY. Gescom is better known as Autechre and has released this collection of fractured sounds, skittering noises, and disjointed beats on minidisc so that the listener can reassemble the order of the tracks to meet his or her own whims. This was ONLY released on mini disc and is located behind the counter.

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

SORRY. We have come across a few copies of this early single from Gescom (who is better known as Autechre). Gescom has always been the outlet for the more 'club friendly' sounds of Sean and Rob. This 1994 single is no exception... 303s noodle their way into straight up European electro and early-90s Warp style bleep techno.

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Another new list, another fantastic new discovery from local boutique label Time Released Sound. This week, it comes by way of yet another hitherto unknown to us artist (we should really get TRS to do some A&R for aQ!) named Francesco Giannico, an Italian sound artist who conceived of this single 40 minute track as an installation, recording the entire route of one of the subway lines in Rome, using those recordings as the basis for this gorgeously serene sonic sprawl. While many of the recordings are left intact, field recordings in the background, others are transformed and re-contextualized, becoming as much a part of the surrounding sound, as the synths and guitars, the pianos and the violins, the piece structured in such a way that it almost sounds like each trip, from one station to the next, is in fact, the musical component, that music fading out and letting us hear the sound of the announcements, of the commuters shuffling from train to train, all the ambient sounds of each station, familiar to most everybody, before gradually disappearing, as the train leaves the station, transporting the listener once again into slow moving clouds of hazy, gauzy sound - at times, low slung, spidery fields of post rock guitar minimalism, at others dense droney, synthscapes, at others, melancholy string shimmer, and at others still, dreamlike fields of almost psychedelic sounding glimmer. In each iteration, the vibe is mesmerizing and hypnotic, the various pieces woven into a slow shifting whole, with some of those field recorded sounds becoming pulsing rhythms, or mysterious melodies, the whole thing a songsuite of sorts, a sonic travelogue, that instead of sounding like a ride on an Italian subway, sounds like something more ethereal and abstract, a journey into the ether, into the other, into the beyond. Fantastic! And yeah, it's Time Released Sound, so you can bet the packaging is over the top. And as always, there are two versions, the first, an ULTRA limited deluxe version, limited to just 75 copies, which includes hand silkscreened square prints of photos from the actual subway where these sounds were recorded, each print on a different sort of paper, music sheets, vellum, ancient ledgers, all housed in a vintage, hand stamped 7" sleeve, from sixty year old vinyl binder (!), then each one is tied with string, to which is attached a used ticket from the Rome metro, again, from which all these sounds were sourced. Also inside are random ephemera an scraps of paper found on various trains and platforms during the recording process. There's also a less limited, more affordable version, that comes housed in a swank, full color digipak, and is limited to 150 copies!

MPEG stream: Metrophony (excerpt 1)
MPEG stream: Metrophony (excerpt 2)

MPEG stream: Metrophony (excerpt 1)
MPEG stream: Metrophony (excerpt 2)

Finally!!! More skull cracking, mind bending, feelings hurting, shin kicking, hair pulling, back stabbing, ass kicking, ribcage rattling, ear piercing, eye gouging, bowel loosening electronic mayhem from our favorite lovable miscreants FFlint Central! This time from the mysterious entity known as The Gideon Leeches. We heard a little bit from the Leeches on the amazing Unholy Trinity compilation reviewed a few lists back and could hardly wait for the full length. And we are not disappointed. In fact I might go so far as to proclaim this one of the best releases on Fflint so far. And that's saying a lot, knowing, as you do, how much we LOVE Berkowitz, Lake and Dahmer, Pendro, Cavendish Sanguine, and the whole lot. But the proof's in the pudding. And the pudding here is a thick, miasmic pool of shimmers and rumbles, buzzing and tinkling, howling and keening. We are suckers for this stuff, at least when it's done right. And believe me, this is done so right. Huge expanses of static sound, with swirling, ever-shifting layers of feedback, buzzing electronic drones, throbbing low end pulses, warbly melodies, creaking machinery and what sounds like swarms of sitars, careening madly above a warm and tranquil blanket of gauzy dreaminess. But with a dark and ominous edge. This has AQ favorite written all over it. Think Sunroof!, Skullflower, Vibracathedral Orchestra, Birchville Cat Motel, Pelt, Peter Wright, and all of those other folks who traffic in deep, dark, organic' free-drone. Fans of the above will definitely LOVE this! And again, our pals at Fflint continue to impress, and we're beginning to think that Fflint just may be one of the only labels we know of with a perfect record (except for tUMULt of course!! - Andee). Can't wait to hear what they come up with next. But in the meantime, BUY THIS! MPEG Download: "The Freezing Point Of Sound" [/audio/gideonfreezing.mp3] MPEG Stream: "The Freezing Point Of Sound" [/audio/gideonfreezing.m3u] MPEG Download: "Scowring And Flux" [/audio/gideonscowring.mp3]

MPEG stream: The Freezing Point Of Sound
MPEG stream: Scowring And Flux
MPEG stream: Rising Of The Lights

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

SORRY. "Some people obsessively collect all of the records by Stereolab, I collect all the things on Drone Records (the label run by Stefan Knapp of Maeror Tri) and Sahko (the exceptional Finnish label that is home of Panasonic and Miko Vainio's Philus and O). While this may not be the best piece of electronic warblings I've ever heard, I'll admit to being a sucker and having to get it. Gilbert (who later went on to form Wire) and West improvised two lengthy pieces on analogue synths and tape loops way back in 1974." - Jim the Sahko / Drone freak.

Alas, Bebel Gilberto's lovely voice gets completely buried beneath a mass of heavy, choppy beats not once but twice, and then as if to make up for that, there's an acapella remix version with Bebel going ba-da-ba endlessly. Very unnecessary (unless you're looking for some vocals to sample). Better to stick with her "Tanto Tempo" album.

Ms Gilberto's popular album "Tanto Tempo" gets a proper remixing by such notables as Peter Kruder (minus Dorfmeister), King Britt, and 4Hero. So much more satisfying than the less than thrilling "Sem Contencao" remix ep that came out shortly after the album.

From the speed with which her new cd is flying out the door, Ms Gilberto clearly needs no introduction. Her admirers are sure to be happy campers once they hit 'play' on their cd players 'cause her self-titled sophomore effort is another heart-melter! Overall, it takes a slower tempo than her debut Tanto Tempo, but is no less bountiful in the grace and elegance department. Definitely for those looking for something 'soft 'n' romantic'. Her lovely, breathy vocals draws you near as her splendid backing band swings along effortlessly holding the world at bay. Crikey, did I really write that?! Shows you the effect of Ms Bebel. Os Mutantes alert: Ms Gilberto opens the album with a dreamy cover of their song "Baby"!

MPEG stream: Baby
MPEG stream: River Song

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SORRY. 6 tracks of jazzy funktricknology from 26-year-old classically trained German.

You should have seen some of us jumping with joy (literally!) when we finally got this in stock a few weeks back. And we wanted to list it immediately but it's take us until now to get enough copies! Gina X Performance were a totally ahead of their time electro-pop outfit outta Germany who formed at the end of the 1970's. Nice Mover was their first and best album. Essentially the collaboration between Zeus B. Held, a musician and producer who was getting way bored with the stale world of rock at the time and was seeking to create some cold, dark and sexy electronic based music, and his perfect partner in crime Gina Kikoine, who had a background in art-history and was leaning heavily toward the avant-garde. Together they sounded like Giorgio Moroder and Kraftwerk hooking up with Grace Jones in the middle of the night at a dark seedy club in Berlin. Such the perfect late night record for those nights that you are feelin' a lil' dirty, a lil' sassy and lot up to no good. When Pam in mailorder heard this for the first time she thought it sounded like the best kind of "slutty dracula-music!" or the soundtrack to early '80s cult-favorite Liquid Sky. Gina X were the prototype of riot grrl and electroclash. Musically it's that gettin' you so hot by being so cold, with Gina singing queer-positive lyrics about gender bending. there's even a song dedicated to Quentin Crisp. You can't help but hear Gina X Performance in the sounds that would come almost 25 years after from the likes of Tracy & The Plastics, Chicks On Speed, Goldfrapp, Adult, Solex, and Ladytron. Also if you loved that great So Young But So Cold comp as much as we do then this is pretty essential listening as well! Those of us who DJ know that sometimes all you have to do is put on "Nice Mover" or "No G.D.M." and immediately all the wild and sexy dancers will hit the dancefloor all flushed and feverish!

MPEG stream: Nice Mover
MPEG stream: No G.D.M.
MPEG stream: Be A Boy

Just when you thought all the bad pun band names had already been taken (Cream Abdul Babar, Earl Greyhound, Cerebral Ballzy), along comes the delightfully/ridiculously monikered Giorgio Murderer. Clever! And their name is actually kinda appropriate to their sound: lo-fi garage synth blurt, all distorted electronics, tick tick ticking drum machine beats, and sneering snotty vocals. There's four songs on this 7", including one that's a 'cover / homage / tribute / re-enactment' of the skit "Studio Time" by hiphop group Three 6 Mafia, featuring lots of sampled gunfire and dogs barking. However, our fave track here has gotta be the downer anthem "Nobody Likes You". Apparently Giorgio Murderer is a side project of New Orleans punks Buck Biloxi and The Fucks, but we'd say quit the day job and concentrate on Giorgio Murderer, both 'cause we like the music AND the name.

MPEG stream: Primitive World

Heads up! Here comes another wave of limited edition 7"s from 333 Records! Each release in this series is pressed in an ultra small quantity of 333! The latest additions are this one by Girl Talk and one by Sagan. For their two tracks, Girl Talk pitch down and piece together snippits of old top 40 hits producing something that is retardedly infectious fun. Check out those sluggy-thuggy vocals! This reminded Andee of DJ Screw and of being a youngster and playing his 45's at 33 rpm. We've only got a handful of these. Snoooze'n'loooze, kiddie!

Whether you are into the idea of mash-ups or not, it's really hard not to like Greg Gillis aka Girl Talk. He brings the energy and he definitely brings the party. Sure mash-ups are nothing new, but Gillis's ADD approach to the method is what keeps us listening as one sample or combination of samples never stays long enough to wear out its welcome; recycling familiar sounds into unfamiliar forms that are still�irresistibly�danceable. Sometimes there are up to 20 different samples weaving throughout just one track. But unlike Belgian duo, 2 Many DJs, who take a more hip-insider approach to the mash-up on masterful mixes that are way too expensive over here, Gillis takes a more rough-and-ready bargain basement approach picking key parts from familiarly terrible songs into constantly shifting pieces that are surprisingly kaleidoscopic. The man knows how to entertain!

MPEG stream: Still Here
MPEG stream: Give Me A Beat
MPEG stream: In Step

Wow, this is ballsy! Mining ultra-familiar pop from the late '70s to last weeks number one hit, Girl Talk has fashioned an infectious dance record completely out of supposedly unauthorized samples. The inside booklet gives a shout out to the plundered artists who include Elton John, XTC, The Yin Yang Twins, Madonna, Amerie, Smashing Pumpkins, The Verve, among hundreds of others. While this is neither a conceptual Plunderphonic cluster fuck nor merely just an illegal mix of mash-ups, Girl Talk fashions cleverly dance-y compositions using the flotsam and jetsam of pop music's collective unconscious. By the time you get to recognition, new sample juxtapositions occur just in time to throw your head into a tailspin. This is definitely a good party-starter, Girl Talk being very aware that it is the girls who get the dance party started, but usually only if something familiar and fun is playing. And there is enough of that incredible stuff on this album to guarantee a nasty but well worth it hang over. Crafty!

MPEG stream: Once Again
MPEG stream: Bounce That
MPEG stream: Overtime

Do the names Kid 606, V/VM, Wobbly, etc. mean anything to you? If you're into the hyperspastic plunderfucking of contemporary pop music that has been quite the rage lately, then chances are you're likely to want to check this out. But to be completely honest, this record brings absolutely nothing new or interesting to the table. Sure it's good for a laugh and might provoke a grin or make you cringe, but if you've got a Dr. Sample and a Kaoss Pad, no doubt you can do this too. Plus it's more fun to fuck with other people's music than it is to have to sit through someone else having all the fun. The victims? The usual Top 40 slop just waiting to be slaughtered: 2Unlimited, Jackson 5, Technotronic, Jay Z, Whitney Houston, New Kids On The Block, even the Vengaboys for a split second (it's that sound that's on every one of their songs)... Is that the Puppies I hear, or is it Kris Kross? Most embarrassing is just how much I can recognize. Can't help but think of the film Bring It On when I hear "Get Ready For This". Running that track through loads of effects can't save it from being the most hideous song EVER. Sure, there's probably a lot more interesting things going on with the assemblage and rejuxtapositioning of the sampled works. But the undeniable overusage of FX makes this record sound old fast. Maybe Korg should give a free copy of this with every purchase of a Kaoss Pad: it demonstrates all the fun and cool things it does, but people might think twice before constructing a whole record out of that moronic pleasure.

RealAudio clip: I Want You Back
RealAudio clip: Let's Start This Party Right

Johnny Jewel may not be a household name but his music has been on our stereo pretty much non stop for the last several month. The musical mind behind both Chromatics and Glass Candy, it's his sparkling touch that has helped make electronic pop sound exciting again. It's no mistake that Glass Candy had the leadoff track on the After Dark compilation that helped define one of the more exciting scenes to emerge in the last several years. Songs that make you want to dance in clouds as you get lost in that hazy intersection of new wave, spaced out disco and post-punk minimalism. Much like Chromatics who underwent a very radical and rewarding shift in sound with their latest Night Drive, Jewel has brought that same aesthetic to Glass Candy with equally impressive results. Beatbox travels in such a nice way starting off with seriously sassy momentum on songs like "Beatific" that almost sounds like Lizzy Mercier Descloux covering a track from the first Madonna record and then the later part of the record travels in much moodier cosmic territory recalling French AQ faves Ruth with nods to the brilliant early production of Giorgio Moroder. Glass Candy rang in the new year with a performance here in SF on New Year's Eve and we can't think of much better company to party with. So good!

MPEG stream: Beatific
MPEG stream: Candy Castle

Awesome new 12" from one of our favorite seductive late night dance floor duos. What makes this 12" extra cool is that it's not just one song and throwaway unessential different versions of the same track, instead the record features two brand new new totally melt worthy tracks, the stand out and weirdest one being "Covered In Bugs" which is a demented paranoid sensual freak out, complete with some sexy screaming from Ida No, and a wonderfully stretched out and hypnotic instrumental ending that gets locked in a smoked out hazy trance. And that ending is kind of a preview for what comes next on the scene-stealing flipside of this 12". "Shine Like Gold & Diamonds" an instrumental track that really shows off how damn talented Johnny Jewel is, the track is like some amazing version of someone like Oneohtrix Point Never covering an instrumental passage from a classic Kraftwerk track. The next two tracks are also mostly instrumental versions of two of the songs from the first side, but totally given a different feel and sound. Beyond suave and seductive. At over 26 minutes of music, this is a total must have for Glass Candy fans, and even those who might not always love the the vocals, as the majority of this wax is about Johnny Jewel's ability to capture such a specific vibe and feeling with the beats and music he creates. So good!

Brand new super sizzling 12" from everyone's favorite sultry and sassy nu-disco duo Glass Candy. With two songs from the cd-only Deep Gems collection, "Geto Boys" and "Animal Imagination", each getting a side of wax for not only the original version, but in true '80s 12" fashion, each song is given multiple reworkings. You get the vocal/drums version of Geto Boys as well as the instrumental. And there is the "Soft Boundaries" version of "Animal Imagination" as well as the instrumental. And those instrumentals really serve to further demonstrate to how damn well Johnny Jewel uses his synths to create such icy and infectious moods and melodies. Always a great thing to have more Glass Candy on wax!

It's no secret that we fell head over heels for Glasser's album Ring from last year, and it's left all of us with an impatient thirst to hear more. This new 12" remixed by Hans-Peter Lindstrom takes us to a space-side disco where Glasser melds moodiness and danciness with such great results. Lindstrom seems to key into the Laurie Anderson side of Glasser as the sounds sort of echo the awesome vibe of Big Science, but given a major modern update. Can't wait for a whole new set of songs from Glasser, but until then we'll be jamming this non-stop!

We missed out on Glasser's debut ep which came out last year and quickly went out of print. But everyone we knew who heard it kept telling us we had to check out Glasser, and with the release of her first full length we can now officially proclaim ourselves bigtime fans, as this is proving to be one of the most satisfying, colorful, swirling and flowing pop records of the year. Glasser reminds us a lot of a more sparkling, bright and rhythmic version of Zola Jesus or Islaja. There is a tinge of darkness in her string tones and electronics but there is also so much life and moving energy in her songs which gives the record such an amazing fluidity. Instead of just mimicking Kate Bush, Bjork and Laurie Anderson, she instead takes cues from different elements of their brilliance in helping to create a sound that is both hypnotic and inviting. While she may soon be tagged under the new 'it' genre of 'witch-house' there is something much more singular and organic happening in these songs that can't be written off as any sort of passing fad. This is a record that we think will definitely stand the test of time.

MPEG stream: Home
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The last Glitterbug record showed up in the midst of some sort of electronica renaissance, with fantastic new records from Pantha Du Prince, Actress, Klimek, T++ (sad we haven't heard anything else from them/him) and a bunch more, so Glitterbug, the work of a German DJ/producer fit perfectly with all of those, the sound lush and layered, softly psychedelic, cosmic with a definitely Pop Ambient vibe. We played that record to death. This record looks to follow suit, but unlike that first one, which was more a full self contained sound world, woven from both studio work and live recordings, this record, Cancerboy, is a much more personal collection, focusing on Glitterbug's struggle with cancer as a boy (hence the title). The record even starts off with what sounds like the ambient sound of a hospital room, the wheezing and beeping of machines, the voices of doctors and nurses, which gives way to the opening track "To Guess", which takes some of those sounds and weaves them into a dark, droney stretch of moody electronic melancholia, a hushed rhythmic shuffle, warm shimmery drones, little flecks of glitchery here and there, a super simple kick drum pulse, tinkling chimes, and ethereal melodies, quite haunting and cinematic, and an appropriately somber opening for a record with such a dark focus. But the darkness is not all encompassing, the record slips into more sort of Kompakt style minimal techno on "Abyss", a grid of pulse and click, wreathed in dark melodic swirls and brooding low end thrum, but as the song progresses, the melodies percolate wildly, the song grows more distorted and the vibe more frantic. "Undertow" brings it back down, another Kompakt style shuffle, a woozy moody robotic groove, laced with a spidery minor key melody, the beats and loops in constant flux, sometimes sleek and clinical, other times noisy and rough around the edges, the vibe definitely cool and late night, but seemingly always underpinned by a melancholia that infuses the whole record. Much of the record could very well pass for some modern minimal techno, not knowing the background or the source of the title, but the record is rife with tracks that are a bit more moody and brooding, tracks that peel back the skitter and stutter to reveal the darkness underneath, like on "From Here On", that loops a strange echo drenched hand clap beat, and then drapes it with thick washes of low end rumble and waves of metallic buzz, as well as some delicate chiming melodies, or on "Dragged Along", which is a hushed sprawl of super spare dubbed out ambience, that skitters amidst vast swirls of barely there sonic shimmer, only coalescing into a proper beat near the end, and even then, wreathed in wistful melodies, or on "Outside My Window", which is a lush collage of tangled beats and murky swirling melodies and blurred psychedelic textures, that seem to gradually bleed into one another.

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After a bit of a dry spell, in terms of electronic records that had us freaking out, it's been pretty much nonstop freakouts for the last little while. Pantha Du Prince's Black Noise record, the reissue of his This Bliss and Diamond Daze albums, all three records minimal and skittery, bleary and chilled out, moody and synthy and drone-y, occasionally pulsing and throbbing, a little groovy, a little pop ambient, a little techno, all wound into an ever evolving world of mysterious and magical electronic sound. Then came Actress, the new record Splazsh, not to mention his earlier Hazyville, again, both dancing on the edges of electronica, pushing the boundaries, skittery minimalism, weird playful collages, looped and hypnotic, chopped and recontextualized vocals, glitch and squelch and ambient shimmer, as well as twisted beats. And that's not even mentioning other electronica faves like T++, Vex'd, Klimek, Thomas Fehlman, Emeralds, Oneohtrix Point Never, but the reason we mention Actress and Pantha Du Prince, is that the music of Glitterbug seems to exist in a similar sonic continuum, melding washed out dreamlike ambient shimmer, with stripped down minimal post techno, pulsing kosmische krautrock with more earthbound stutter and skitter, and while this is in fact record number two from Glitterbug, aka Till Rohmann, a German DJ / producer / artist, we're already pretty smitten, as we imagine you might be too, especially if like us, you've been listening to the above records as much as we have. A sprawling double disc, recorded in the studio and on tour, with field recordings from various tour stops incorporated into some of the tracks, sometimes as just another unrecognizable sample, adding rhythm and texture, but other times it's more obvious, the sounds of life and the world, only further adding energy and emotion to an already organic electronic sound. The record begins with a warm softly pulsing expanse of glimmering synths, a subtle melody, looped and hypnotic, laced with shimmering melodic counterpoint, all hazy and sun dappled and dreamlike, peppered with bits of piano, the perfect blend of abstract kosmische krautdrone and pop ambience. The second track introduces some drums, which sound real, and a bit jazzy, before a more obviously electronic beat joins in, then some thick warbly buzz, some deep low end rumble, some chiming melodies, and we're off, propulsive and mesmerizing, washed out and softly psychedelic, but super chilled out and warm and luxurious and lush. The next track slips right back into more cosmic synth space bliss, reverbed tones ring out, overlapping, layered, underpinned by awesome intense slabs of low end, more felt than heard, the result is almost like a more stripped down, more electronic Expo 70, spacey and abstract, but with some subtle momentum, less driving and more drifting, but so dreamy and divine, another track that could have filled up the whole rest of the record and we would have been perfectly happy, and there are plenty of tracks like that on these two discs. And so it goes, for the next two hours, Glitterbug's sound slipping seamlessly from pulsing minimal skitter, to murky muted throb, to ethereal glimmering drift, to hushed crystalline shimmer, to abstract drone flecked house music, to dark, almost dirge-y Carpenter style synthscapes, more often than not, those various sounds bleeding into one another, overlapping, intertwining, the sounds lush and lustrous, rich and organic, the rhythms spare and skeletal, sometimes delicate, other times dense and dark, but always fantastic and futuristic, blissed out and beautiful.

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We totally flipped for the new Glitterbug record, Privilege, reviewed a couple lists back, the work of Till Rohmann, a German DJ / producer / artist, whose Glitterbug sound was exactly what we had been hankering for, a glorious blend of processed field recordings, soft pulsing glimmering synthscapes, stripped down minimal techno, abstract kosmische krautdrone and pop ambience, so when we discovered there was another, previous Glitterbug, we knew we had to check it out. And once again, were were not disappointed. Supershelter is another heady blend of Kompakt style skeletal techno, and warm swirling synthy drones, dark ominous rumbles, and ethereal after hours party music, skittery, and stuttery, washed out and hypnotic. After a gorgeous slow melodic intro, that sounds like it could have been plucked from a Burzum record (at least before the plink plonk piano counterpoint comes in), the next few tracks unfurl the beats, wrapped around playful keyboards, percolating clicks and chirps, some sweetly melancholy melodies, even some soaring faux strings, "The Things I Long To Do" almost sounds like a Bjork backing track. "Oh My Hick!" is another skittery techno, warm liquid ambience hybrid, while "Unforgotten" is a brief stretch of hissy static rumble, leading into "Reference System" a low slung slab of synth wrapped late night shuffle, groovy and subtly funky, which butts right up against the warped and muted "Brontohouse" which does evoke some sort of giant beast, with its muddy thumping rhythm, and warm whirring buzz. The record plays out similarly, flitting from minimal thump and pulse, to woozy washed out drift, and quite a few stops in between. Imagine a less clinical, more playful Kompakt, this will definitely hit the spot if you've been digging any of the recent weirdo electronica from folks like Actress, Pantha Du Prince, Klimek, Vex'd, T++, Thomas Fehlman, Oneohtrix and all the rest...

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I have always loved Global Goon. Rumoured to be either an Aphex Twin alter ego or Aphex's crazy flatmate, GG records have always been light and fluffy in their spazzy skitter. And it always seemd to me that Global Goon was exclusively playing Christmas

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

SORRY.

One of six records which were originally part of a multi part release from local label Time Released Sound, whose releases are initially presented as deluxe hand crafted art editions, which we carry when we can, but in the case of this series, dubbed the 'chocolate box' series, which found each record pressed onto 3" cd-r's and packaged in a mini chocolate box, every box hand assembled, and every one different, the set had a seriously hefty price tag, and sold out super quick anyway, so while we weren't able to get our hands on the deluxe versions, thankfully the records were also available as proper cds in more modest packaging. We already reviewed the first two installments on the last New Arrivals List, Taskerlands and David Newlyn, and this week, we have the other four. One of which is this one, from Rezo Glonti, a Georgian sound artist (as in the republic of Georgia, not GEORGIA), whose sound is a lush and lovely hybrid of warm washed out swells and mysterious electronic glitchery. Hazy dreamlike shimmers wreathed in swirls of static give way to hushed delicate ambient folk peppered with lush textures, buried field recordings surface and fade away, the vibe is almost choral, the sounds stately and serene, the strange clouds of electronics transforming a muted minimalism into something much more abstract and mysterious, as if they were lost broadcasts, being intercepted from some alternate universe or being sent forward from the past. The gauzy patina that surrounds most of these songs give them the feel of an antiquated unearthed recording, we hear shades of TIm Hecker and Philip Jeck, the same sort of soft focus staticky shimmer and woozy warbled melodies, all smeared into a bleary bit of electronic ambient drift, that is quite entrancing and mesmerizing. LIMITED TO 150 COPIES!!

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Here's a cool new reissue from the Medical Records label, a collection of rare synth wave jams from DIY '80s musician Christof Glowalla, a young German who endeavored to create a moody swirl of haunting synthwave with just a single synth, a 4 track, and a super primitive drum machine. Eventually, he made it into a proper studio and recorded what would become a bit of synthpop coldwave history, with the track "Erde 80", a strange bit of cold synth pop, the rhythm track, sounding a bit Kraftwerky, motorik and pulsing, but overlaid with woozy dreamlike synth melodies, and most notably some intense Teutonic vocals, sounding like they were sung in a tunnel, all reverbed and metallic, only adding to the song's strange vibe. "Technik" is just as cool (and weird), the synths darker and buzzier, laced with laxer blast bleeps and FX squiggles, droney and tranced out, with yet still more twisted vocals, this time growled and distorted and transformed into something almost robotic sounding, until the chorus comes and they morph into a weird whiney croon, all over that dense somber buzz, the real surprise though, is the acoustic guitar that pops up midway through, giving the song a strange sun dappled folk vibe, only to slip right back into the dark synth buzz. The original "Erde 80" single is joined on this 10" reissue by three tracks recorded a year later, all of which were rejected by record companies at the time, and only one that was ever released. "Smog In Der Stadt" is starts out as a grim sprawl of atmospheric buzz and creepy processed vox, before blossoming into another acoustic guitar laced bit of synth pop, the vibe still dark, but way catchier, and much more well produced, the song featuring a haunting vocal drone in the background, not to mention some super strange falsetto background vocals, and some crunchy guitar, even some leads, a weird sort of hard rocking new wave, in fact the last minute sounds way more proto-punk than synth wave! "Der Bosse" is a darkly psychedelic synth ballad, with super dramatic vocals, droned out synth tones, kosmische pulsations, and some spidery, twangy guitars, again displaying Glowalla's new direction, and it becomes more obvious why folks wanting another "Erde 80" might have been thrown off, but we're digging it big time. Finally, "Science Fiction" is a groovy sprawl of bleepy bloop sci-fi- synth pop, which at least for the few minutes sounds more like the "Erde 80" 7", but as the track progresses, the acoustic guitars drift in, and the sound once again seems to move more toward a slightly more mainstream electro pop, eighties new wave sound, which again, sounds pretty goddamn great to us!! Housed in as super thick, full color jacket, pressed on heavy mustard colored vinyl. LIMITED TO 600 COPIES, each one hand numbered.

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Belgium's The Go Find craft atmospheric electronic laced pop rock propelled by a driving robotic beat and warmed by mainman Dieter Sermeus' sensitive male vocals. The ten songs on their debut album Miami alternately bring to mind the sounds of The Notwist, Postal Service and New Order or perhaps a more laidback version of The Faint. This new member of the Morr Music clan is settling in quite comfortably with his labelmates Lali Puna, Ms John Soda, Styrofoam et al.

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When we first heard The Go! Team way back in 2004, with their debut Thunder, Lightning, Strike, like most folks we were pretty blown away, a wild rambunctious double Dutch sampledelic hip hop/ electro pop like nothing we had heard. Fun and funky, energetic and original, and totally kick ass, and while we didn't love the follow up quite as much, this new one totally knocked our socks off. The first track alone "T.O.R.N.A.D.O." was all it took, a two minute blast of girl gang, horn heavy, block rockin beats, a looped sample of an Antibalas jam is the anchor for this avalanche of thump funk, neighborhood party blow out groove, surprisingly dark and ominous, with brass that sounds like it was lifted from Fleetwood Mac's Tusk, all wrapped around a thick funky rhythm, peppered with squalls of scratching, everything chopped and stuttery, and ultra funky and dramatic, super intense and so RULING, but then the next song is a total about face, WAY more poppy, all bouncy rhythms, fuzzy organs, sunshiney and almost Bossa Nova sounding, more like Stereolab or Deerhoof, and it's that opening one two punch that gets played out across the whole record, a dizzying collection of genre flipping hybrids, sunshine pop meets garage rock crunch meets hip hop groove meets electro dance party and pretty much every and any stop in-between, shades of Stereolab and Deerhoof and Puffy Ami Yumi and Shonen Knife and Dee-lite and Salt & Pepa and so much more, all sliced and diced and cobbled together into some seriously fun, funky girl group hip hop garage rock electro pop blowouts, it's about as feel-good as a record can get and still kick ass. Lots of guests pop up too, yet again reflecting the group's all-over-the-map sound, including Deerhoof's Satomi Matsuzaki and Best Coast's Bethany Cosentino. So good!

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Another special Record Store Day release, and another one we were truly excited about, two 12"s of remixes from former aQ Record Of The Weekers Goat, whose ROTW, World Music, was a dizzying collection of twisted and mysterious Swedish psychedelic space rock, heavy on the twisted grooviness, rhythmic and propulsive, and laced with cool double-dutch style vocals, wild percussion, we weren't the only ones who flipped for these guys (and gal). So Rocket Recordings picked what seems to be most folks favorite track, and got some like minded sonic saboteurs to take a stab and remixing it and making it their own. A bunch of remixers we knew: High Wolf, Teeth Of The Sea, Gnod, Cherrystones, Hookworms and Tom Furse (of UK goth rockers the Horrors), but a bunch we didn't: Raikes Parade, Thought Forms, Redg Weeks, Cage & Aviary. While a lot of the remixers only slightly tweaked the originals, some went all out and pulled the song apart and reassembled the pieces into something entirely different. The first volume starts off with Thought Forms, who are one of the groups who don't mix it up too much, and instead just does some looping and layering and rearranging, adding some sound effects here and there, dubbing out certain bits, and stripping away a lot of the guitar, letting the drums drive the proceedings. High Wolf also does some looping and layering, but the resulting sound is a lot different, much more tripped out, sounding a bit like Muslimgauze at 45rpm, rhythmic, groovy, the vocals relegated to the background, lots of buzzing sitar like sound, the whole thing dense and druggy, swirly and shimmery. Redg Weeks gives the original a serious dub overhaul, the bass CRANKED, the drums heavily reverbed, the snare hits sent careening into the ether, the whole thing dirgey and hypnotic, dark and droney, some seriously mesmeric loping dub psych minimalism for sure. Tom Furse from the Horrors, hews a bit closer to the original, adding subtle synth swirls, and tonal colorations, adding textures and layers, the overall effect making the song a whole lot more spacey and trippy. SUPER LIMITED!! Like most of the Record Store Day releases, while we have a bunch, it's very likely, we won't be able to get (many/any) more. Comes housed in an old school style big hole 12" sleep, decorated with the same sort of fractal design as the cover of the full length.

Another special Record Store Day release, and another one we were truly excited about, two 12"s of remixes from former aQ Record Of The Weekers Goat, whose ROTW, World Music, was a dizzying collection of twisted and mysterious Swedish psychedelic space rock, heavy on the twisted grooviness, rhythmic and propulsive, and laced with cool double-dutch style vocals, wild percussion, we weren't the only ones who flipped for these guys (and gal). So Rocket Recordings picked what seems to be most folks favorite track, and got some like minded sonic saboteurs to take a stab and remixing it and making it their own. A bunch of remixers we knew: High Wolf, Teeth Of The Sea, Gnod, Cherrystones, Hookworms and Tom Furse (of UK goth rockers the Horrors), but a bunch we didn't: Raikes Parade, Thought Forms, Redg Weeks, Cage & Aviary. While a lot of the remixers only slightly tweaked the originals, some went all out and pulled the song apart and reassembled the pieces into something entirely different. The second volume starts off with Gnod, who team up with the previously unknown to us Raikes Parade, for something a whole lot more minimal, that main riff, suspended in a haze of disembodied vox, tinkling chimes, fractured music box melodies and ominous synth squelch. Soon a stuttery beat surfaces, giving the song an almost dubstep vibe, the original elements of the song blurred into thick swirling clouds of atmospheric background sound. Cherrystones version transforms the more rocking original into a lurching creep, a hiccuping beat and some blorping synths, draped over the washed out remnants of the original, woozy melodies all tangled up in the proceedings, the feel very Eastern and exotic, this track too, dubbed out and a little bit Muslimgauze-y. UK space rockers Hookworms, whose full length we'll be reviewing hopefully soon, turn the original into something way more laid back and washed out, employing mostly the drums and the bassline from the original, smearing all the other sounds into a druggy swirl, the perfect backdrop for some slowburn guitar, and spaced out psychedelic shimmer. Finally, Cage & Aviary strip Goat's sound WAY down, and craft some woozy, warbly, electro-house groovery, pulsing and loping, warped melodies draped over sheets of crumbling guitars, all faded into the background, the vox too, chopped up into weird little melodic blurts, all beneath woozy basslines, warped FX and that hypnotic relentless rhythm. SUPER LIMITED!! Like most of the Record Store Day releases, while we have a bunch, it's very likely, we won't be able to get (many/any) more. Comes housed in an old school style big hole 12" sleep, decorated with the same sort of fractal design as the cover of the full length.

After the four song Decline & Fall ep from earlier this year, legendary industrial metal duo Godflesh follow it up with their first full length in THIRTEEN YEARS, the first since 2001's Hymns, and like Decline & Fall, it's a total time machine trip, the band sounding pretty much as good as they did back in the day. All the elements are present, the robotic drum machine pummel, the crushing down tuned riffage, the thick rumbling bass, Justin Broadrick's throaty bellow. When we first heard about Godflesh's reformation and return, we were sort of expecting it to be more of a Godflesh lite, with some of Broadrick's other more poppy band Jesu finding its way into Godflesh's new sound. But that new sound is pretty much their old sound, and we're definitely not complaining. Other than the first couple Pitchshifter records, which were widely considered to be Godflesh ripoffs anyway, no other industrial metal band has managed to pull it off like these guys, creating epically tranced out mechanical metal mesmer, pounding, and churning, a bleakly psychedelic mechanoid doom, that at times had us thinking of modern, machine-making, one man doom band Author & Punisher, which makes sense since he no doubt owes pretty much his whole sound to Godflesh, but for folks late to the party, young 'uns who maybe missed out on Godflesh the first time around, and who have been digging stuff like A&P, this is the OG shit, or the OIM (original industrial metal?) shit. And it's not just the sound, the songs too, long stretches of grinding riffage, give way to more spaced out psychedelic passages, cascades of minor key melody draped over stuttering drum machines, and undulating bass buzz, the vocals too, even occasionally slip into a more sort of monk-like chant before returning to that distinctive bark, the songs weirdly catchy, which is quite a feat for music like this, but for every atmospheric bit, every buried hook, every melodic moment, it's more than made up for by some seriously brutal metallic crush, flurries of pounding behemoth beats, and probably some of the most punishing, skull-caving, down-tuned distorto, industrial-doom riffage you've likely heard in a long, long time. Killer.

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This pioneering industrial-metal duo return with another slab of sledgehammer pain. Too bad they're just to stoned to know that the drum'n'bass breaks they're using are just a little tired. And Justin Broadrick's grunting vocals haven't gotten any easier to take. Still, this delivers some of the trademark Godflesh sound that made their classic Streetcleaner one of the most nihilistically heavy albums ever.

"Abri" is the eighty-eleventh album from Goem -- the hyper-prolific Dutch trio of musique concrete artists doing minimalist techno. By now, the Goem sound is starting to show the limitations of working with minimalist rhythms that are so minimal that

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Goem is the exceedingly reductive post-techno ensemble comprised of Peter Duimelinks, Roel Meelkop, and Frans De Waard. Drawing from both the gentle modulations of Terry Riley's minimalism and the stripped down techno rhythms of Jeff Mills, early Pan Sonic,

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Goem is the post-techno production team comprised of three guys (Roel Meelkop, Peter Duimelinks, and Frans De Waard) known more for their contemporary musique concrete /drone work. For this record, Frans De Waard commissioned remixes of the material found on the "Reduktie" which embraced the hyperminimal clickery and tone generation of Mika Vainio's solo work as �. The remixologists have for the most part left a good chunk of the structure intact with a monophunk techno minimalism, but have rearranged / reconstructed / recycled the various bleeps and blips through the wonders of the laptop. Featured remixes are Stilluppsteypa, L.O.S.D., Taylor Deupree, Kim Cascone, Jos Smolders, Starfish Pool, Surge, Radboud Mens, Institut Fuer Feinmotorik, and /Slo-Fi.