[ aquarius records — Electronic ]

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Showing results 401 through 450 of 5033.

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Obscure Italian Freestyle 12" from 1983 for those who love and miss the sounds of early Madonna, Regina and Vivian Vee.

Don't be expecting the awesome droned out druggy gothy smeary shoegazey electro pop of The Big Pink's A Brief History Of Love debut we raved about a while back, cuz this is not in fact a new Big Pink record, instead, it's a killer mix tape those guys compiled, that is very reminiscent of the recent F*>k Dance, Let's Art comp, a killer collection of witch house, nu-gaze, glow-wave, weirdo electronica and all the other twisted microgenres we've been digging lately. And like all good comps, a handful of familiar faces, and a bunch of new bands that we are now dying to hear more from. Witch house is definitely heavily represented, which is cool since, most of the witch house stuff has only been available on super limited cd-r's or as downloads, up first is GrillGrill (although typed properly the 'i's are little asci crosses), who unfurl a creepy stripped down slithery bit of slowcore electronic creep, with haunting atmospheres and weirdo sped up vox, Balam Acab's witch house anthem "See Birds" shows up, a fuzzy, almost dubsteppy bit of gently glitchy gauziness, with angelic vocals, wreathed in reverb, drifting over swirling industrial loops and shimmering synths, an old out of print Salem jam pops up too, a gloriously murky slow-mo shoegaze hip hop cough syrup doom pop crawl, there's also "Mumbai" by oOoOO, another witch house anthem, a slithery Portishead-y skittery downtempo drift with sped up vocal snippets, and super distorted synths. There's also Gang Gang Dance, who do a spaced out psychedelic Kate Bush meets the Boredoms sort of ethereal jam, dubstepper Joker chops up soul vocals and creates a super witchy stuttery dubbed out groove, the Big Pink do show up, with a heavily remixed (by Gang Gang Dance) slab of fuzzy synths, looped samples and tribal rhythms, Actress unfurl some super minimal laid back murky psychedelic techno, the Xx get all moody and sultry and smokey and dreamy, and that's about it for the names we know. But almost all of the tracks here are pretty great: Love Distance, Active Child, Henry Moan, Sewn Leather, Yusuf B, Light Asylum, Horse Macgyver, No Bra, the sounds ranging from looped swirling collaged sampledlic easy listening, to shoegazey eighties style new wave electropop, to fuzzy distorto hip hop creep, to fractured anthemic rhythmic indie pop, to various shades of what to these ears sounds very witch house-y, and on and on. Definitely anyone who dug that F*>k Dance comp will dig this too, but really, anyone with a voracious appetite for new sounds, who has been digging these latest strains of twisted electronica and warped electro pop, this is probably the mixtape you wished someone would make you!

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This latest release from Norwegian sound artist Geir Jenssen is a much darker, and less rhythmic affair than past releases. Based on an early sixties' dramatisation of Jules Verne's De La Terre A La Lune, Jennsen has sampled bits of dialogue, sounds from the MIR space station, and assorted other atmospheric detritus, incorporating them into his original sounds, resulting in an expansive nine part, minimal soundscape, that is darker and creepier than the subject matter would suggest. The record starts off quite tranquil, dreamy and somnambulent, simple melodies smeared into washes of minimal shimmer, but the sound rapidly takes on a quite ominous hue, sinister and subtly nightmarish, with buzzing sinewaves and threatening rumbles. This ominous drone forms the basis of the entire record, occasionally shifting into fuzzy shortwave interference, mysterious transmissions from the ether, buried rhythms, and subtle variations on Biosphere's glacially shifting low end. This actually sounds like it would be perfect horror movie music, haunting and tense, pregnant with the possibility of the sustained minor key drones erupting into something much more terrifying. But the fact that it never does only makes it that much more effective.

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SORRY. Still embracing mid-90s ambient electronica, Biosphere fabricates sub-zero atmospheres out of digital swoops, complete with buried radio samples and exotic percussion. It ends up sounding not unlike the ambient realms for Muslimgauze, if the political agenda were based on the plight of the French (whatever that might be) rather than the Palestinians.

When this came out on vinyl a couple months back, we sort of let is slip by; but the cd is a different matter. It's probably not that the music is all that different (other than the obvious fact that the cd is almost 25 minutes longer than the LP), but Biosphere's ambient beatitudes work so much better through the extended / not-having-to-rise-from-the-couch format of a cd. Biosphere is the work of Norway's Gier Jenssen, who has been producing some mighty fine ambient based electronica for nearly 15 years. Dropsonde retains all of Biosphere's lovely ambient swaths, arctic lullabies, and hypno-dreamtime loopings, not too warm and not too cold. Just right! The one detour to this records is found in Jenssen's occasional splashes of skittering jazz percussion, rendering Dropsonde the Norwegian parallel to the noirish timbres that Amon Tobin had crafted on his brilliant Supermodified and Permutations albums. Unlike so much "ambient" music which disguises a lack of good ideas behind tasteful synth patches and sultry grooves, Biosphere has always stood out in the slightly misnamed genre (after all, how can ambient music have beats?), and Dropsonde is yet another feather in his cap.

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Two lovely tracks of nocturnal electronica from the perennially exceptional Biosphere (aka Geir Jenssen). While he recently produced the N-Plants album, a disc rippling with taut rhythms amidst his signature warm ambience, the tracks here date back to 2006 when he was working on the Dropsonde album. Both of these tracks represent some of the darkest work we've heard from Biosphere, marking a considerable detour away from his typical work; and we're certainly not complaining at all. Glacial and arctic references abound in this Norwegian's work, but on the A side "Fluvialmorfologi," they take on the ominous pall of what BJ Nilsen mustered under his older Hazard moniker, through sodden drones and rasping sinewave tones. The B side "Feber" is more in keeping with the somber nature of the aforementioned Dropsonde album, built upon a languid loop of minor-key strings topped with subtle effects and melodic interludes, not too far from the work of Leyland Kirby or the Konigsforst period of Gas. Great stuff, but we would expect no less from Biosphere!

Overt rhythms had seemingly disappeared from Biosphere's work over the past decade, as he had been building his lush ambient electronica from orchestral loops and samples. Dropesonde may have broken into an electronic jazz shuffle for a moment or two, but all of his signature ambient-techno structures seemed to be something of the distant past (especially from his 1994 album Patasknik). That is until the 2011 release of N-Plants, which is the first album from Biosphere to feature the drum machine with any regularity since maybe Cirque in 2000. Gier Jenssen hasn't lost his touch, that's for sure, as a clean, mechanical breakbeat punches through the slow-as-molasses basslines and heavenly ambient swooshes on "Shika-1." Blooping melodies march alongside the clockwork rhythms of "Joyo" and "Ikata-1," and "Genkai-1" could be some missing Boards Of Canada track from Music Has The Right To Children with its off-kilter sub-melody locked in step with a warmly cybernetic tumble of algorithmic notes and a gliding hip-hop breakbeat. This is all well and good as simply a great Biosphere record, but Jenssen actually finished this album in early 2011 as a study on the architectural designs of the Japanese nuclear power plants built during the reconstruction period in the middle of the 20th century. On completion of N-Plants, he saw this as a soundtrack to those plants, their relationship to the turbulent landscape, and the potential damage caused by radiation contamination if something were to happen. Little did Jenssen know that the Fukushima Daiichi nuclear power plant would succumb to the damage from an earthquake and subsequent tsunami. While his precognition is downright spooky, the album is not. It's quite lovely and lilting even in its mechanical design.

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Most of the sensorially depressed semantics of the Chill-Out subculture that arose out of the rave scene had the pretense of such cutesy catch phrases as "I Think Therefore I Ambient." Ugh. The majority of the music that was championed within that early '90s Ambient scene has failed to age with any dignity or grace, instead fading away as mindless New Age drivel. Biosphere - the Ambient project of Norwegian Geir Jensen - has always been the exception to that rule, by never allowing his music to comfortably fall into the regions of aural wallpaper. His first two albums "Microgravity" and "Patashnik" would probably transcend their status as minor classics in their thoughtful recomibinations of Techno propulsion and Ambient utopianism, if it weren't for the ill-advised (though fashionable at the time) use of extra-terrestrial imagery. At the height of the Ambient-Techno phenomenon in 1995 or so, Levi's licensed a Biosphere track off of "Patashnik" for a jeans commercial, which had the same steroid-injected effect on Biosphere's sales as those of Spiritualized, Trio, and Nick Drake with their Volkswagen. Wisely, Jensen took the money and ran from commercial success. He has since declared his permanent base of operations to be Tromso, Norway - located some 400 miles north of the Arctic Circle - and has signed to the exceptional Touch label. Both decisions have resulted in a profound maturation of the Biosphere sound far away from the puerile Chill Out agendas. "Shenzhou" is the third Biosphere record for Touch, and continues to describe aural environments that are at once decidedly Arctic, yet wholly inviting and warm. Jensen has drawn a very direct line on this album back to Impressionist composer Claude Debussy by basing this album on some very old vinyl recordings of various Debussy pieces. The surface noise crackle may parallel that of the recent Touch production from turntablist Philip Jeck, but "Shenzhou" doesn't extend the comparison beyond their similar source materials. This is distinctly a Biosphere album filled with synaesthetic driftings, subtle rhythmic pulsations, and hypnotic loopings, all culled from the muted instrumentation of those Debussy compositions. Biosphere has yet again succeeded in crafting an exceptionally poetic album that is as accessible as it is subtly expressive. Recommended.

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Substrata is often heralded as the grand statement of Biosphere, and gets lumped alongside Boards Of Canada's Music Has The Right To Children and Aphex Twin's Selected Ambient Works Vol. II as one of the best electronica records from the '90s. There's little to argue with such claims, even with a half-dozen or so of stellar records that followed this album. Originally released back in 1997 on All Saints Records and repackaged as a double-disc with Biosphere's soundtrack to the Russian silent film Man With A Movie Camera in 2001, now the album gets released on vinyl for the very first time, alongside the vinyl of Biosphere's latest, N-Plants. Like all great ambient records, Substrata works because of its subtlety, balancing soft-focus melodies that never assert themselves too much, but never fade so far into the background to become irrelevant. Given that his previous records smoothed out contemporary techno for the chill-out crowd, Substrata is a logical extension of Biosphere's sound for billowing synth-pad sequences and time-suspending ambience that never has to give over to the release of a big 909 backbeat. "Chukhung" cycles through muted arpeggios with layered chiming strings that gently rasps against the pastoral ambience to give the piece a crescendo of drama and softened tension. "The Things I Tell You" refines the tremolo / delay ambience that Pete Namlook was churning out into a quintessential Biosphere number rippling in time with an arctic wind pushing flecks of snow across a landscape lit by the midnight sun. Vocal snippets swimming in echo, aqueous passages, reverberant acoustic guitar plucks, and looped field recordings dot the album's resonant ambient hum, providing small signposts more to mark the passage of time than to assign any particular allusion. Biosphere rounds out the vinyl edition with a 14 minute bonus track entitled "Laika", although it's unclear as to when this track was produced. This album offers up beautiful music for lucid dreams.

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After a few very nice ambient techno albums for the R&S sublabel Apollo, Biosphere released the purely ambient album "Substrata" in 1997 on All Saints. Now a member of the Touch Records roster, Biosphere has reissued that album as a double cd with the

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Wireless is a pristinely recorded live album from Biosphere, the Norwegian pioneer of silken ambient techno, who has released a handful of stellar albums over the past two decades now. The set is a seamless interweave of various tracks from his previous records including the jazz inflected rhythms extracted from his Dropsonde album back in 2005 to the locomotive digital breakbeats on track "Kobresia" from his 1997 Substrata album, and sampling from Cirque dotted amongst the tracks. There are three cuts which hadn't appeared previously including a interlude of soft-focus static with field recordings and the book-ending "Pneuma" tracks that feature Biosphere recontextualizing the maudlin bellows of a trombone amidst his ambient wash and drift. For better or for worse, Biosphere leaves behind all of the Apollo recordings from the early '90s; after all, this was performed for a Touch Festival and released on Touch. So why not 'play' all of the hits from his ongoing Touch years?

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SORRY. Using the recently reissued electro-acoustic masterpiece "Electric" by Arne Nordheim as the sole source material, Biosphere's and Deathprod's remixes are ice-laden, mesmerizing abstractions of sweeping electronic darkness.

Pulsating electronic euro-pop from Sweden. Co-released by syrup-pop label Kindercore and light'n'fluffy electronic pop label Emperor Norton. The perfect place for this release to be. At times sounding very much like the soundtrack to Sega Saturn's Bomberman videogame. Soothing, swirling and sweet.

Another new release from local label Time Released Sound, and another collection of gorgeous haunting mesmer, this one the work of a duo called Birch And Meadow, which is David Wenngren from Library Tapes, and a Swedish vocalist named Sara Forslund, the two whip up a dark droning concoction of soft noise mesmer and lush layered torch song minimalism, the opener is a thick sprawl of droning thrum, layered and softly pulsing, wreathed in static and hiss, shot through with high end sine wave tones and buried barely there melodies, Foslund's breathy vocals settled right into the drones, neither drowning out the other, minus those vocals, this would be a primo slab of minimal dronemusic, without the drones, some gorgeous singer/songwriter action, but together, it's a gloriously dark and hauntingly psychedelic bit of avant songcraft. And while the whole record is not nearly as deep and droney, it's all haunting and languid, darkly mysterious and beautifully eerie, Wenngren crafting lush sonic backdrops, swirling tangles of reverbed guitar, strange creaks and moans, machine like metallic buzz, field recordings of footsteps and birdsongs, wheezing chordal swells, cricket like skitter and crumbling distorted low end, ethereal komische synth shimmer, weirdly processed melodies, haunting fields of crackle and hum, all of which Forslund winds her sultry voice around, channeling classic seventies British folk and transforming it into something more alien, more murky and moody, tense and intense, definitely one of the darker releases on TRS, and thus, maybe one of our favorites. As with all the Time Released Sound releases, there are two version, one super limited and quite deluxe, and as always, no expense is spared with the packaging, the deluxe version this time around is LIMITED TO 100 COPIES, and comes in a hinged reel-to-reel box, which is adorned with collaged images from a 100 year old book on butterflies, the front of the box cut out, making it resemble an old fashioned specimen box, a small magnifying glass affixed to one corner of the box. The cut out reveals the insert an accordion like fold out adorned with more butterflies, and hand colored leaves and flowers, beneath which lies the disc, in a picture sleeve, with printed lyric sheet. So nice! Then of course there's also the less expensive standard version, which comes sans box and insert, housed in a simple standard picture sleeve, with a printed lyric insert.

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SORRY. Somewhere between the tape decay experiments of William Basinski, the faded memory soundtracks of Leyland Kirby's Caretaker, and the sprawling sonic shadowscapes of Stars Of The Lid, lies Bird Traps, aka Marcus Skinner. His guitars, organs and field recordings are fleshed out by a proper string section, and the results are sublime, with the strings front and center, Skinner composing and adding coloration, subtle sonic backdrops to the aching, mournful string arrangements, the whole thing managing to evoke much of the same mood and mystery as those above mentioned artists, but without distortion or decay. On the surface, the sound of Bird Traps is like some string quartet, frozen mid performance, and suspended in amber, the sounds slowed down to a crawl, and unfurling like the score to some heartbreaking time lapse film, a melancholic threnody, simple and stirring. The first two tracks are truly majestic, it's not hard to imagine the sound here as the score to some visual survey of sweeping plains, massive canyons, snowy peaks, but it's only on the second track that the machinations behind the scenes slowly drift to the fore, a little bit of looped whir here, of subtly static shimmer there, all the while, the strings continue to soar, the arrangement spread out into delicate chordal swells, heady and hypnotic, and with a depth not easily perceived with a glancing listen. In fact, Bird Traps seem to function in two distinct manners, perhaps not intentionally, one, simply as gorgeous, cinematic string based loveliness, the other, some serious deep listening, with headphones. Tracks like "Minor Tapestry" begin to sound more like Phill Niblock, with constantly shifting overtones, layered drones, all deftly woven into the otherwise placed stringscapes. Not surprisingly, "Loose Knit" might be our favorite track here, it's the one where the strings take on a bit more of a supporting role, the dynamics as such, that they ebb and flow, leaving wide open space for choral like organs, and for the sibilant murmur of random field recordings, all adding grit and texture to the tracks haunting, drone out drift, before returning to something a bit less shadowy for the closer, which again, finds the sound slipping into something approaching a more modern minimalism / drone arrangement, but those strings, they keep the sound alive and seemingly expanding ever outward, a sonic time lapse blossoming, sun dappled and dreamlike, mesmerizing and impossibly, and mysteriously beautiful.

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Ah folks, proof that you shouldn't judge a book (or cd) by its cover! When Mike Sempert first dropped off a copy of this new release of his solo project Birds & Batteries its appearance (cover art, title, handmade sleeves, etc) initially struck us as perhaps a Jewelled Antler related or inspired release. Listening to it brought very different impressions. Blending together rootsy Americana, post-rock and electronica, the first song's stuttery programmed rhythms and hypnotic loops of arpeggiated melodies contrast well with Sempert's deep, melancholic vocals and guitar, bass and drums. Winding its way around the proceedings are some slippery stringy sounds that we guess is pedal steel or an e-bowed electric guitar or perhaps a synthesizer. He also enlists his friends to contribute saxophone, clarinet, female vocals (by Ms Heather Masse) and percussion in the form of a box of sugar! A very cool introduction to this recent SF transplant (from the far reaches of the Eastern Seaboard)!

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Murky underwater jams from deep space, Birds You Once Knew is one of two Von Himmel related releases on this list (the other being Black Thread), and will not only appeal to fans of that band, but probably those of you digging the current crop of synth lords like Umberto, Zombi, and Gatekeeper. The main difference here is that BYOK doesn't really fit into the retro agenda of John Carpenter worshipping fan boys, instead operating on that distinct Von Himmel wavelength of melody and rhythm to take you into strange and majestic worlds. Unlike VH though, whose collage-like jams bring about all kinds of disorientation in the best of ways, BYOK lets things ride out without abrupt shifts and turns, and the results are perfect for zoning out into oblivion. Throughout the tape, synths wander about and give you the feeling of being transported to beautiful lo-fi worlds of pink skies, inflatable trees, and rainbow colored oceans. Or something. The drum machines are primitive and perfectly suited to get your ass moving into LaLa Land where you will dance your life away and never sleep again. It's a surprisingly fun affair with the greatest strength being its inherent tunefulness and the ease with which the friendly machines fool you into believing they beat with a human heart. Check it out!

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SORRY. Nic Birmingham (one half of Dummy Run, whose other member may very well be in Stock, Hausen & Walkman) presents a whole lot of maniacal drill & bass that pushes much more drill than bass (it's all on the high-end register, folks) with whip snap hard disc scratching over digitally crispy lego beats.

You just might hear this on Wild 94.9, the Bay Area's dance station! Gentlemen, the transformation is complete. Bis are totally pumpin' out the dance tracks. Not a single glimmer of their past Scottish elfin indie pop selves. This album is even eons away from their Powerpuff Girls theme song. Sounding like they're shooting for a more mature audience, they've stripped away any of the sweet charm and energy of their past releases (particularly "Social Dancing" which successfully fused all of these key Bis elements). Alas, what we're left with is decent, if almost faceless, music. If you just wanna dance the night away in fluffy '80s discoland, this might be for you. Also features mixes by Adult., Tommie Sunshine and Ectomorph (Perhaps hoping to move a few more units, SpinArt Records threw the "electroclash" tag on the shrinkwrap. Argh!).

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Poppy and bright electronica from this Japanese artist. Low-attention span stuff (but not frenzied) cutting from one thing/loop and back again...like having a tv playing old reruns on in one room, a ballroom dancing class in the other, and a dj in the middle mixing the two, whilst adding beats from her crate of contemporary trip hop and whatnot. Nice (if inexplicable) Levi's Red Tab reference in the artwork, by the way.

Don't let the surfer dude moniker fool you. These Bitchin Bajas feature members of aQ faves Cave, and continue to deliver gorgeous collections of modern krautrock / new age bliss, this new one maybe the blissiest yet, totally tranquil kraut-psych drift that continues to channel the masters into two sidelong sprawls of smolder and shimmer, opening with some serious Michael Rother worthy kraut-age, all super distorted guitar melodies draped over slowly unfurling guitar figures and softly chiming tones, all woven into a deeply meditative mesmer, which builds to a seriously psychedelic coda, before settling once again into more blissed out shimmer. The second half of the A side is all swooping backwards melodies, tangled up with fluttering woodwinds, some serious prog-kraut for sure, lush layers, slow shifting textures, tinkling chimes, blooping basslines, and near the end, some progged out flute that adds a while new vibe to the proceedings. The flipside begins with a brief piece for two prepared organs, and is a gorgeous stretch of lush, thick drones, rife with slow shifting overtones, the sound warm and rich, we would have happily got lost in that track for the duration of the side, but it's really just an intro, for the nearly sidelong "Turiya", which for some reason we were expecting to be super rhythmic, as if it would explode into some driving motorik groove, but instead, it's another fantastically blissful and tranquil drift, a percolating prismatic synthscape, hazy and shimmery, some buried buzz and dreamy distortion, bur for the most part, just a glorious sprawl of kosmische dreaminess. No download code, but does include a small printed insert. Sorry no cd version, only lp and cassette for some dumb reason.

Sebastien Meissner, aka Bizz Circuits, has also released albums as Random_Inc and Open_Source, among other names. Here, he plunders his record collection for samples that are recontextualized in a pretty much unrecognizable way, allowing the resultant electronic fuzz to take on meanings completely separate from their sources, which (according to Meissner) include everything from Ornette Coleman to Metallica to other contemporary electronic and micro-sound artitsts. Apparently, the package relates to Meissner's childhood pop obsessions, referenced by titles such as "Blinded With Science" and "Can't Get No Satisfaction (Thank God)." An interesing, pleasant puzzle to be enjoyed by appreciators of the Mille Plateaux aesthetic.

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We've said it once, we'll say it again. Actually, we've probably said it a million times, but we'll STILL say it again. There are some sounds we just never get sick of. NEVER. The bombinating buzz of grim black metal is one, a drone-y relentless hypnotic swirl that never fails to lull us into a beautifully blackened state. And of course, super distorted, blown out ragga drum and bass is another (a la aQ faves The Bug). This here is a prime slab of that classic sound. Bizzy B was one of the most influential junglists of the early nineties having released his first blast of brutality in 1991. The stuff on this here ep is BRAND NEW, but you'd never know it from the sound, and is the follow up to Volumes I and II, released in '93 / '94. HUGE amen breaks, super complex and chaotic, crunchy synth stabs and lots of creepy ambience and found sounds. But it's all about the rhythm. We've joked that someone could just make a 24 hour loop of the amen break and we could lay there blissfully listening forever. The Amen break, for those of you who don't know, is a drum loop, THE drum loop, that was sped up and chopped up and basically become the primary building block for jungle and drum and bass. The loop is from the Winstons' track "Amen Brother", hence the name. And the original is the perfect shuffling stutter step funky beat, but once it's been tweaked and messed with and sped up and chopped up, it becomes a relentlessly convoluted, pounding and pummeling beat that we just never get tired of. There are a few snippets of cringeworthy diva style vocals, but skip those brief moments and you're left with a divine slab of darkcore jungle madness!

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Having recently left the obscurant electronica ensemble Stillupsteypa, Icelandic transplant Heimir Bjorgulfsson has wasted no time in starting up some new projects. This collaboration with Swedish installation artist Jonas Ohlsson was commissioned by Extrapool - an arts residency program which, in conjunction with Staalplaat, gives two likeminded artists unlimited access to a really nice recording studio for a week and publishes the results as a limited edition CD. While Bjorgulfsson's work is certainly a known quantity through his numerous solo projects and the AQ-endorsed Stilluppsteypa albums, Ohlsson has primarily been active in the Northern European gallery scene, executing willfully sloppy installations of consumerist excess, punk-as-fuck attitudes, and that post-ironic sentiment that's so fashionable in San Francisco galleries these days. That said, Ohlsson's resume cites some training in electro-acoustic compositions and he also seems to have a taste for Acid House. In their condensed studio session, Bjorgulffsson and Ohlsson have produced a surprisingly diverse album, splattering through fractured techno beats, at times strangulated into Matmos-esque noise-funk and others into the classic Sahko sound with frigid shards of electricity cascading down upon taut rhythms. Most everything in the Brombron series has been quite good, and "Unspoken Word Tour" is no exception.

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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. 9 versions of "Alarm Call", including ones by "Bjeck" (Beck), Matmos, Andy Bradfield and Mark Bell. Plus a video directed by Alexander McQueen, bad boy clothing designer.

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

SORRY. While there are 4 remix singles of Bjork's "Alarm Call," the only one of any merit is from Matmos who deconstructs her vocals into snippets of vocoded utterances and breathy slurs. The heady downtempo electro breaks and squiggly sampling weirdness that one expects from the San Francisco duo dominate their two remixes. Beck (here cutely identified as "Bjeck") adds an exceptionally good carnivalesque mix on flipside. The other 3 mixes which we do have in stock feature DJ Krust with his two brittle drum & bass reworkings on one of the singles, a dreadful single of handbag house courtesy of Alan Braxe and Ben Diamond, and the last single from LFO member Mark Bell, who coincidentally co-wrote the original song with Bjork.

Bjork is one of those rare artists that has somehow managed to juggle underground /independent credibility, with mainstream success. Obviously she's one of the most popular performers in the world, and you'll hear her music in movies and commercials, on the radio and at Starbucks, she performs at huge events and is constantly on the red carpet. Yet somehow she remains surprisingly subversive, her music quite strange, especially by popular music standards, she's got a brilliantly twisted aesthetic, and she loves collaborating, and doesn't hesitate to hook up with the most unlikely of musical bedfellows. Let's not forget that our pals in Matmos, as well as Jay Lesser, have been long time collaborators, and historically, her remixes have been AMAZING, and her choice or remixers impeccable, in fact we still remember discovering the Alec Empire remix of "Yoga", which at the time was one of the coolest things we've heard. Since those days, Bjork's popularity has hardly waned, but neither has her experimental streak, which brings us to this new remix record, and for aQ folks, a quick look at the list of remixer shouldbe all it takes considering there are two mixes by Omar Souleyman and two by Death Grips!! Holy crap, and all four are as good as you'd hope. The rest of the remixers include Hudson Mohawke, Matthew Herbert, Current Value, The Slips, These New Puritans and more. The two Souleyman tracks are about as close as we're gonna get to an Omar / Bjork dream duet, and really, it sounds like they just took Bjork's vocals and wove them into a Souleyman jam, but it works, a crazy dabke blowout, with Bjork's dreamy vox drifting amidst all of Souleyman's whoops and passionate crooning, and those pulsing exotic rhythms. The two Death Grips mixes are dark and sinister, beat heavy, a little hip hoppy, but also sorta glitched out, these sound much more like DG worked their sound into the originals, but again, it's a great match, and darkens Bjork's sound considerably. The second mix is a dense collaged plunderphonic freakout, that churns and roils, stutters and skitters around the swoonsome main melody, and Bjork's soaring vox. There's also some serious ribcage rattling dubstep style bass wabble, that swoops in, super dramatically. The rest of the tracks vary from shimmery prismatic electro-pop (Hudson Mohawke), to seeping almost orchestral dreamdrone shimmer (Matthew Herbert), there's some slo-mo dubstep creep, that explodes into a blurred barrage of big beat pummel (Current Value), and some super abstract skeletal stutter-step electro (16 Bit) and so much more. It's all pretty great, but SO worth it just for the Souleyman and Death Grips tracks, and both bands tackle Bjork's "Thunderbolt", and it's super cool to hear what each band brings to the same song!

MPEG stream: Crystalline (Omar Souleyman Remix)
MPEG stream: Sacrifice (Death Grips Remix)
MPEG stream: Thunderbolt (Death Grips Remix)
MPEG stream: Thunderbolt (Omar Souleyman Remix)

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

SORRY.

Forget about the multimedia / iPad formats of this new album via which Bjork originally released Biophilia, all that app stuff just gets in the way, and clouds the fact that this is one of the most emotionally intense, dark, and rewarding albums Bjork has crafted yet. Biophilia continues display what a rare vision Bjork has, making her undisputedly one of the most imaginative and original musicians of our time. Filled with haunting organs, primitive electronics, majestic harps, delicate bells, and of course one of the most commanding and mystifying voices we've heard. It's a record that shares the intimacy of Vespertine, the dark intensity of Medulla, and the focus and power of Homogenic. Much of Biophilia is filled with slower, brooding sounds. But the moments of ecstatic release that come on tracks like "Crystaline", "Mutual Core", and "Natura" are so perfectly paced, making us freak out and lose ourselves in the sound before returning to the heavy emotional essence of the rest of the record. When Bjork sings lines like 'craving miracles', you are reminded that she is one of the view artists who has the ability to truly create magic and miracles with her music. She continues to be steadfast in her vision and uncompromising approach to making music. These songs slowly crawl beneath your skin, recalling the best moments of records by Brigitte Fontaine and Robert Wyatt, yet so utterly modern, futuristic and timeless all at once. Brilliant!

MPEG stream: Crystalline
MPEG stream: Mutual Core
MPEG stream: Thunderbolt
MPEG stream: Nattura

Even weirder than her last record, with orchestrated stuff and more jazz/lounge crooning. Cover is a Photoshop masterpiece art-directed by Alexander McQueen that must be seen to be believed.

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

SORRY. 6 versions of Hunter spread over three cd singles, some featuring remixes by U-ziq and State of Bengal. Plus the absolutely great Funkstorung remix of "All if Full of Love", and the DJ Krust remix of "So Broken". We don't expect to be able to stock these again, and supplies are very limited.

Can Bjork do no wrong? Well, her record label certainly can, by making $19 the suggested list price for this new 35 minute long (mini) album! Fortunately we're able to offer it for a little less, although our suppliers will probably jack up the price once our initial supply runs out... However, Bjork (and past Bjork collaborator, producer Mark Bell) have come up with a nice little disc here, the soundtrack (or at least, songs from soundtrack) to the eagerly awaited 'round these parts, Cannes film festival award-winning, Bjork-starring film by Lars Von Trier. It's certainly very "soundtracky" at first listen, super orchestral and all, but there's some very interesting technoish weirdness to be found here too. It seems that Bjork and co. have been listening to the the Raster school of clicks and cuts electronica (along with the Art of Noise and, Jim thinks, Gilbert & Sullivan). "Surface noise" crackle (a la Pole and, well, Portishead) and crinkly rhythm programming mixes nicely with That Voice on the track "Scatterheart". Yes, That Voice. When it comes down to it, even $19 wouldn't be too much to pay to hear this brilliant woman sing. We're hopeless Bjork fans, I guess, but "Selmasongs" is, as we expected, a joy, even if it isn't another "Homogenic". Can't wait for a real full-length Bjork album tho, one where she's free from the distractions of acting in a movie and constrained by cinematic convention / directorial needs. ...Oh, and we should mention that she duets with a few folks on this disc, among them Catherine Deneuve and Radiohead's Thom Yorke.

This is REALLY good. Rerecorded reinterpretations of songs from Bjork's Homogenic album, plus one brand new song. The people involved include Mark Bell (of LFO), The Brodsky Quartet, Tricky, deaf percussionist Evelyn Glennie, Howie B., Dillinjah, and Talvin Singh. Ranges from dancefloor-ready techno to weird neoclassical sparseness to jungle. Wow!

Funkstorung has previously made a name for themselves with a few singles for their Mask label (which could be seen as an anagram for Skam - who are certainly the origin for Funkstorung / Mask in terms of aesthetics). If you liked the last Autechre and Boards of Canada records, you shouldn't let this pass you by! Funkstorung fractures three different remixes from the last track from Bjork's Homogenic album that range from disjointed breakbeats to weird drum & bass.

Most female fronted, angry rock bands probably get tired of getting tagged Riot Grrl, especially since for all intents and purposes, Riot Grrl ceased to be relevant years ago, maybe even ceased to exist entirely. BUT, if anyone was hoping to spawn a revival, Black Bug would be the band to make it happen. The A side of this 7", "I Don't Like You" is a mother fucking ANTHEM. The main riff totally distorted and so in-the-red it threatens to just fall to pieces, but then the chorus kicks in, and another guitar, EVEN MORE distorted and heavy and high in the mix, lurches into action, and lays waste to EVERYTHING. The drums are a mere pitter pat when faced with such blown out riffage, but it doesn't even matter. The vocals, though, seal the deal, distorted, wrapped in effects, howled with haughty pissed intensity, as loud and corrosive as the guitars it snarls around. And the hook, shit, if you gussied it up and got rid of some of the guitars and re-recorded it in a real studio we're talking something like the Breeders' "Cannonball", but instead, as is, it's a fierce fucked up, filthy fucking ANTHEM! Like the Raveonettes if they were 13 years old, obsessed with Turbonegro, and SO pissed at their shit for brains boyfriend. Or maybe Daisy Chainsaw, but with a singer who is less waifish and sexy, and more bad ass and scary as shit. Reminds us a bit of Monarch punk rock alter ego Rainbow Of Death. The flipside is not quite the ANTHEM as the A side, but it still slays, processed synthy buzz, tons of effects, this one more groovy and almost dance-y, in a sort of robotic way, more sassy pissed girl vocals. It's not hard to imagine Black Bug waiting outside some dance club and then kicking the living shit out of Uffie. Hellz Yeah!! Cool thick black and blue sleeve, pressed on coke bottle clear vinyl.

Been just a little confused by this Lo Recordings release... and we're not the only ones. Ok, get this: a 1978 French disco single by the hitherto unknown Black Devil's Disco Club (perhaps, or was it titled Disco Club by an artist named Black Devil?) was reissued on 12" vinyl a couple years ago by the Rephlex label. 'Twas some pretty cool dance music for retro-minded folks, full of spacey electronics and bongo rhythms, the sort of thing that jaded DJs are always happy to dig up from the vinyl past. Now we get this album by the same artist... or is it? And is this new stuff, or old? Or a bit of both? (Most likely). Verrrrry mysterious. (Though we're sure that in certain circles all is obvious about this, not to us though.) Anyway, what really matters is, have we still got some pretty cool dance music for retro-minded folks? And the answer is yes. Super groooovy, what sound to us like sampled '70s Italo-disco synth beat stylings, full of analog sizzle. Goofily effected vox intrude amusingly as well, at times. It's a bit Giorgio Moroder, but more organic somehow. 6 tracks, 32 minutes, (maybe) 28 years in the making, and right on time, really. The mystery of it all is heightened by the packaging -- an all black jewel case, with the credits ("written and produced by Bernard Fevre") and track titles printed only on the cardstock slipcover. Inside the jewelcase, in lieu of a cd booklet, you get a folded, 10" x 10" one-sided, black-and-white photo of Mssr. Fevre (presumably), taken back in '78? Dunno.

MPEG stream: The Devil In Us
MPEG stream: I Regret The Flower Power

Hmm. We're pretty big fans of Bernard Fevre's earlier Black Devil Disco Club releases, but this new one is a bit of a departure. Rather than continue to mine/emulate his archive of '70s-recorded Italo-disco cosmic synth stuff, which was a motherlode of instrumental atmospheric grooviness, here he's recruited an impressive (and unlikely!) array of guest vocalists, including Nancy Sinatra, Jon Spencer, and Afrika Bambaataa, along with members of Yacht and The Horrors, and Fevre's compositions backing them up are suddenly in a much more current-sounding synth-pop dance music style. We can see people really digging this, of course, but not because of the things that previously attracted us to the Black Devil Disco Club. Give us his spacey "library music" any day. Well, some of this still evokes the likes of Morodoer and Kraftwerk for sure, but that's overshadowed by all the guest stars. Check out the sound samples is our advice.

MPEG stream: Fuzzy Dream
MPEG stream: Distrust
MPEG stream: Stay Insane

Lo previously brought us the most excellent, very much of the retro moment Black Devil Disco Club disc entitled 28 After, which was (supposedly) an archival document of the late '70s Parisian answer to Italo-Disco and Giorgio Moroder. We say supposedly 'cause the whole BDDC thing is intentionally shrouded in mystery, and it's been postulated that the contents of that disc are probably partly old and partly new. It's conclusively the case, though, that the man behind BDDC, one Bernard Fevre, WAS indeed active making music in the '70s. And now under the BDDC name, Lo has re-released Fevre's 1975 "library music" album, The Strange World Of Bernard Fevre. Sort of, that is. Being BDDC, things aren't that straightforward. First off, note that this cd is titled The Strange NEW World of Bernard Fevre, and features obviously all-new cover art. Furthermore, some research reveals that 7 of the 14 tracks on here appeared on the authentic, original LP, but 7 didn't... likewise, an equal number of tracks from the 1975 record don't show up on this disc (we're disappointed not to get to hear the likes of "Hell Ride" ferinstance). But not THAT disappointed, since what we have here, whenever and wherever it's from, is pretty neat!! Super groovy and super moody, these rhythmic instrumentals are laced with sinister synth, driven by tick-tock drum machines and thick bass lines. Eerie Goblin-y atmospheres meet the icy electro robotics of Kraftwerk. Or imagine John Carpenter gone disco. With plenty of entrancing, elegant melody to make this a good at home in the evening listen. Regardless of whether all these tracks were composed/recorded at the same time (the ones not from the original Strange World Of Bernard Fevre could be outtakes from that LP, or other unreleased material from the era, OR they could have been produced on vintage analog equipment just yesterday, we don't know, and for that matter we're not really sure if everything has been remixed or rerecorded recently), they certainly all SOUND like they all belong together. Anyone into minimal wave, or Italo-disco, or that "So Young But So Cold" comp of French synthwerks circa '77-'82, that sort of thing, should find themselves getting all tingly over this. Furthermore, if the slinky tempos were sped up just a bit, and you did some choppy edits and/or dropped in some glitchery, you'd practically have skweee!

MPEG stream: Dali
MPEG stream: Dangerous Mixture
MPEG stream: Pendulum

So, can you really call a song "Pinball Wizard", if it's not actually "Pinball Wizard"??? We guess you can, if you're Black Dice. They don't give a damn. Or maybe it IS a version of "Pinball Wizard", but so fucked up Black Dice style as to be unrecognizable. Whatever it is, it's the opening track on this new platter from Brooklyn weirdos Black Dice, the entire nine tracks of which represent another damaged dose of what we've previously referred to as their usual "sampled and collagey, beat driven electro-noise" shenanigans. Piled with broken beats, looped noises, distorted vocal blurts, farting synths, etc., their lysergic grooves sound kinda like a really woozy drugged out Pop Will Eat Itself making an album for the Boredoms' Super Roots series or something. All kinds of chaotic craziness, but weirdly catchy though!

MPEG stream: Pinball Wizard
MPEG stream: The Jacker
MPEG stream: Shithouse Drifter

Record number two from this Seattle one man band, whose first release, a cd-r called Spectral Disorder on the Debacle label, was a huge hit around here. Spectral Disorder was a super psychedelic sprawl of blown out percussion, gristled rhythms, and swirling shimmering synths. There were definite moments of darkness, but it was definitely more prismatic and dreamily hazy. We made comparisons to Tim Hecker, lots of the record had the same sort of ethereal washed out pixelated quality. But this new one starts out way differently, a churning, grinding, gnarled industrial groove, that seems to meld the witchy avant beatscaping of modern outfits like Demdike Stare, with the more abject, greyed out rhythms of early eighties industrial outfits like Esplendor Geometrico and Le Syndicat. But listen close and you'll hear some playful blooping electro bass buried beneath the roiling rhythms, which gives the song a weird woozy twist. After a brief bit of kosmische, new age-y flutter, the record shifts gears, and slips back into a sound more in keeping with that first record. Ghostlike swaths of ethereal chordal thrum, drifting over a haze the evokes some sort of sun dappled pastoral landscape, the beats here, skeletal and spare, wrapped around looped melodies that sound like harps, underpinned by cricket like chirps, the vibe almost Boards Of Canada like, warm and lush and lovely, but still a little bit twisted. The rest of the record sort of splits the difference, flitting from chaotic blurred swaths of manic layered loops and cascading beats, bursts of tangled melodies and soft noise swirls, all churning hypnotically, to ultra minimal dronescapes, the sound like bleating horns, or weirdly processed synths, long tones that pulse and pulsate and undulate, unfurling all manner of overtones and sonic colorations, and finally to the dark, haunting techno closer, that takes that sound we've been digging so much lately, Silent Servant, Prurient, Shed and the like, and adds some twists, plenty of stutters and hiccups, disrupting what could otherwise be some serious driving, shadowy techno, and lacing it with all sorts of textures, and dynamics, caustic and crunchy one second, woozy, and muted and pulsing the next, finally finishing off in a flurry of sine wave swirl and skipping-cd skitter. Awesome! Includes a download code too!!

MPEG stream: Ashe
MPEG stream: Three Masks
MPEG stream: Jaune

First full-length lp from Nelson Bean, aka Black Hat, whose previous two releases blew our collective minds, and this new one is somehow even better. Bean traffics in a sort of psychedelic, dark cosmic electronica, that in the past, has touched on aQ faves like Demdike Stare, Tim Hecker, Techno Animal, DHR, even weirdo industrial like Esplendor Geometrico. On this new one, it seems that all of those influences/references have been distilled into something much more pure and organic sounding. Three sprawling tracks, the first, a hauntological skitterscape, that fuses slow-beat lope to heaving swells of pixelated crunch, a little bit witch house, a little bit IDM, but blurred and blackened, transformed into something more sinister, and more abstract, the opening 9+ minute track in constant flux, so much so, that it's nearly impossible to review without explicitly describing each iteration, and yet, over the course of the song, Bean manages to keep some sort of sonic narrative, the song not at all fragmented, and not sounding like a bunch of random ideas mashed together, instead, the sound blossoms and unwinds, from hazy, washed out skitter, to dense gristly thrum, rife with rib cage rattling bass pulsations, to claustrophobic minimal electro that sounds like it was plucked from some obscure cassette release on Hospital, to blown out industrial techno crunch, and that's just the first track. The second half of the A side is much more abstract, with gorgeous swirls of chordal thrum, drifting and shimmering, a sort of sinister new age, dense and cosmic, lush and layered, a sprawling landscape of overlapping tones, and buried melodies, the sounds unwinding in slow-motion, hazy, and washed out, bleary and blackened, but smeared into strangely prismatic streaks of sound, hauntingly hypnotic. The whole of the B side is taken up by the nearly 18 minute "Memory Triptych", and might be Bean's finest moment, an epic sprawl of hushed skitter, of murky loops, of keening, melancholic melody, all woven into something at once bleak and mysterious, but also warm and lovely, the sounds warbly and woozy, the beats more like constellations of crackle and pop, wound around soft swirls of static soaked shimmer, and strange alien pulsations, at one point, a melody surfaces, that sounds almost like humming/crooning, that 'vocal' is accompanied by a sonic shift, where the sounds begin to fracture, and become more agitated and aggressive, the vibe much more industrial, but fused to a sort of wistful pop ambience, a dizzying dream-drone dirge, driven by a strange rhythmic tangle buried beneath the surface, the sound gnarled and roiling, before about halfway through, like a storm breaking, the sounds shift dramatically, and become downright lovely, laced with what sounds like faux birdsong, the sounds suddenly warm and lush, softly soaring, all the grinding industrialism, now pushed into the background, smeared into a dense, churning backdrop, that adds a soft bit of shadow, to the otherwise, glimmering, gristly, glitchy dreaminess... Super swank packaging, heavy full color jacket, with printed insert, and download code!

MPEG stream: Imaginary Friends
MPEG stream: Memory Triptych

Seefeel plus Slowdive plus Locust plus Mojave 3. That's the kind of musical math that should have most aQ customers freaking out just a bit. And what happens when you add all that up? You get the debut from Black Hearted Brother, which is in fact a trio featuring both Mark Van Hoen (Locust, Seefeel) and Neil Halstead (Slowdive, Mojave 3), along with Nick Holton (Opulent Oog, Coley Park), who together have crafted a dreamy bit of psychedelic shoegaze, equal parts motorik krautrock-style mesmer, distortion drenched noise pop bliss out, and shimmery electronic flecked indie pop, all in equal measure, depending on the track, often fusing all of that into something heady and fantastic. Just check out the opening title track, which blossoms slowly from drone-y synthscape, to softly pulsing slowcore, to full on psychedelic kraut-pop space out, the whole thing laced with hazy minor key melodies, warm swirls of soft focus chordal thrum, plenty of drones, and effects and subtle electronics, fans of Stereolab and the New Lines and other retro poppers will find much to love, although the sound is not necessarily strictly retro, it does harken back to certain sounds and groups of the past, a fabulous pastiche of old favorites and new sounds. But that opener is really just one side of the group's sound. "(I Don't Mean To) Wonder" is a very Flaming Lips sounding dream pop trip out, with heavily effected vocals, and some seriously crunchy guitars, while "This Is How It Feels" sounds like some lost Mercury Rev jam, epic and majestic, bombastic, and noise drenched, but perfectly poppy, rife with hooks and melodies, all obscured by clouds of fuzzed out sounds and soft little electronic flurries. And so it goes, from fuzzed out electro-pop ("Got Your Love"), to loping FX drenched minimal psychedelic slowcore balladry ("If I Was Here To Change Your Mind"), to soaring anthemic noise pop ("UFO"), to super experimental psychedelic blowouts, equal parts hushed strummy folk, and free form space jam ("Time In The Machine"), to woozy, warped, damaged downer pop weirdness ("Oh Crust"), to sweet shimmery electronic pop dreaminess ("Take Heart"). Fantastic stuff, definitely recommended for fans of any of the members' previous groups, as well as other modern more experimental pop groups like Phoenix, the Flaming Lips, etc...

MPEG stream: Stars Are Our Home
MPEG stream: (I Don't Mean To) Wonder
MPEG stream: If I Was Here To Change Your Mind
MPEG stream: UFO