Here's a pretty fantastic discovery we just made (although the disc was released a few years ago). It's a seventy-minute long single track entitled "Neheh", the result of four members of French prog-weirdos Magma jamming together one night in '73. We thought this would sound like a scaled down Magma, or some sort of jazz improv session. But, instead, this neither. It's absolutely unlike the jackboot precision of Magma circa '73's "Mechanik Destructiw Kommandoh" (which was in fact recorded, like, the next day!). Although this does share the esoteric spiritual aspects of Magma, there's none of Magma's grandiose rock/jazz/Wagner fusion here. Rather, it's a late-night excursion into kosmiche avant-hippy freakout realms, starting with unearthly vocal chant/drone and moving into percussion spasms, clarinet eruptions, and organ improv. So, instead of mother-band Magma, this should be compared to Amon Duul, the Sun City Girls, the No Neck Blues Band, Yahowah 13, and (closer to home) Thuja. Beautiful and wild, totally inspired. It's strange that this went unreleased until the '90s-- maybe Vander and Co. didn't want to dilute the Magma concept with something so loose and organic and, uh, 'of the times'. Still, it's one of our absolute favorite Magma-related documents, and should even appeal to those scared off by Magma's prog/fusion chops. Recommended!! (By the way, along with this, we've restocked a bunch of Magma classics, and we definitely have 'em at the best price you'll probably find anywhere.)
Christian Vander = Magma. He's the mastermind behind the monumental music of spiritual prog/rock/jazz group Magma, one of the late twentieth century's (and now early 21st century's) obscure musical visionairies. Not, perhaps, in the godlike catagory with his hero John Coltrane, but a genius nonetheless. This double cd set is brand new on Magma's Seventh Records, but consists mostly of tracks recorded between 1972 and 1975, with a two minute piano/voice coda newly recorded this year. It's Vander solo, purely solo (live in concert), on his main instrument: the drums! Two discs's worth of epic, incredible drum soloing, yes! That might sound tedious and self-indulgent, but, if you're in the right frame of mind/soul, it's not. It's really a religious experience, as Vander turns his drum kit into a virtural orchestra for his personal spiritual celebration via percussion. Some vocals make an appearance, such as the bizarre high pitched yelps and low guttural proclamations at the start of the twenty-two minute "Korusz III" but mostly, it's drums, lots of drums...and some mysterious indeterminate noises...if there every was anybody who could coax 'feedback' out of an acoustic drum kit, I suppose Vander could... I haven't quite deciphered the French liner notes, but apparently the Korusz concept has something to do with the elements, with the cymbals symbolizing (cymbalizing?) fire, etc. There's also lots of great black & white pictures here of a seemingly-possessed Vander (who always looks a bit cave-man) behind his kit, wild hair flailing, beating the drums with abandon. In sum, true Magma fans (no, not fans--there must be a more appropriate word: followers? devotees? acolytes?) need this. Maybe not anybody else could handle it. You remember "Metallica Drummer"? Well, this is for the "Magma Drummer" in you... Amazing, exhausting, AND energizing.
Magma fans, here's a qualified heads up. Magma maestro Christian Vander does a bird-themed "orchestral" release (voices, piano, percussion, and keyboards -- no real orchestra, unfortunately, but it sounds loads better than Glenn Danzig's orchestral synth effort, remember that?). The vocals are definitely the thing here most in the Magma vein, totally over the top at parts, Vander and his wife Stella taking the lead but with plenty of choral back-up from their zeuhl cohorts. Musically, it has got its massive and majestic moments, with pretty piano interludes linking big, stirring emotional passages.
So, the big question: without the Magma connection, would I really be listening to this sort of thing? Well, and this is tough for a guy with a Magma wristwatch to admit, but, probably not... it's a bit too Peter & The Wolf at times. The vocals are awesome, the fake flutes aren't. Still, I bought one!
We really have to quote the label's press release on this, just for kicks: "Fifteen years in composition (1982 - 1997) and more than four years in the making, this music is something entirely new, bridging the compositional efforts of the 20th Century post Schoenbergian greats to create a 21st Century music which grasps the essence of the vast interior stillness behind all sound and pierces the intensity of silence behind all noise. Disavowing all mechanical tempos, this free-flowing masterpiece reveals itself through the formless form of vortices and spirals, cascading, recursive, ineffable. 65 minutes of fluttering wings, of song, of cries, of absolutely different sensations, this is a neo-impressionist composition of revolutionary proportions and aspirations." "I have found in the motion of swans and crows a parallel with the inner motion of the Kosmos itself. Or, at least, this is what I perceive in it."--Christian Vander, 6th March 2002
Wow. Dunno about all that, but as a bird-inspired cosmic keyboard symphony from the mastermind behind one of the most astounding '70s prog rock rock bands ever, this will tempt diehard Magma fans, though it is quite a bit more expensive that other Seventh label releases we've got, probably due to the fancy mini-lp sleeve style packaging this boasts, which unfortunately bears a graphically kinda crappy looking cover painting (of course, as is so often the case, there's some really nice artwork to be found in the cd booklet that could have made for a wonderful cover instead of what they chose...oh well, just look in the booket not at the cd sleeve when you're listening to this).
MPEG Download: "Sahiss Siiaaht" [/audio/vandersahiss.mp3]
MPEG Stream: "Sahiss Siiaaht" [/audio/vandersahiss.m3u]
Magma's Christian Vander (with his wife, vocalist Stella Vander) and others.
Best drummer in the world? Well that can be argued, and we don't want to get into that right now (good thing Elliott's not here anymore, I bet he and Andee could go on for hours discussing their favorite drummers...). But the point is that Magma mastermind Christian Vander definitely deserves to be included in the pantheon of percussionists who might be considered for the title of world's best. He'd certainly get the vote of quite a few fans of wigged-out prog rock, as exemplified by the band that he's led since the late '60s, the science fictional, spiritual French prog institution known as Magma. Such fans will probably be very interested in this release, a dvd version of what's essentially Vander's "drum instructional video", originally issued on video cassette in 1988. No, it's not a regular drum clinic thing like you might get from Carmine Appice or Dale Bozzio...
It's basically an interview (in French, with English subtitles) with Vander, the burly Magma mastermind smoking cigarettes while sitting (naturally enough) at his drum kit, ready to physically illustrate his answers to any drumming-related questions, which is pretty much what this film's all about. The Q&A is both philosophical and practical, touching upon specific Magma compositions, Vander's drumming theory and technique, and his influences (various American jazz drummers that his rather hip parents happened to know, and of course the music of John Coltrane). You'll learn about how he used to practice with his wrists underwater, with hammers, and with weights on his feet (which he doesn't recommend!). The disc is indexed into 33 sections, with titles like "How It All Started", "The Single Stroke Roll", "The Wrists", "The Respiration", "MDK", "The Memory Of Things...", "The Obsessive Music", "Before The Stroke", and "Striving For Ascension". Intercut with the interview segments, Vander provides many drumming demonstrations, shot from various camera angles, and sometimes repeated in slow-motion for clarity. Of course, he does some pretty amazing stuff. If you love drum solos, this is for you! (And connoisseurs of "drummer faces" will certainly find much to amuse them here -- Vander definitely gets into a "possessed" mode when he's doing his thing on the kit.) Probably essential for any Magma fans who are also drummers. Heck, for drummers who've never heard of Magma too. But non-drummer Magma fans should also find this interesting and enlightening, as it reveals a lot about one of the major elements of Magma that makes them such an incredible band. Approx. 1 hr, NTSC, all regions. ----* ----* In Stock, Not Yet Reviewed : ----* If you want to order one of these, just cut and paste the info into the comments area on the order form, or just email mailorder@aquariusrecords.org. A CERTAIN RATIO "Live America 1985" (Melodic) cd 14.98 ACID KING "III" (Small Stone) cd 15.98 AFRIRAMPO "Kore Ga Mayaku Da" (Tzadik) cd 15.98 AKIYAMA, MITCHELL / GUNTER MULLER "Points and Slashes" (Erstwhile) cd 14.98 ALIAS "All Things Fixable" (Goodwithmoney) cd 14.98 ALLIEN, ELLEN "Thrills" (BPitch Control) cd 15.98 ANNIE "Anniemal" (679 Recordings) cd 14.98 ARCHETTI, LUIGI / BO WIGET "Low Tide Digitals II" (Rune Grammofon) cd 16.98 BACKDOOR MEN, THE "Sodra Esplanaden #4" (Subliminal Sounds) cd 16.98 BLUT AUS NORD "The Work Which Transforms God / Thematic Emanation Of Archetypal Multiplicity" (Candlelight) 2cd 13.98 BRIGMAN, GEORGE AND SPLIT "I Can Hear The Ants Dancin'" (Solid) cd 16.98 C-RAYZ WALZ "Year Of The Beast" (Definitive Jux) cd/lp 16.98/17.98 CAPTAIN BEEFHEART "Prime Quality Beef" (Oz-It Morpheus) cd 15.98 CARTER, CHRISTINA & BLACK FOREST / BLACK SEA "s/t" (Time Lag) cd 13.98 CARTER, TOM & MARCIA BASSETT "Zaika I-IV" (Eclipse) lp 14.98 CHRYSTAL BELLE SCRODD "Belle de Jour" (Klang Galerie) cd 17.98 CHRYSTAL BELLE SCRODD "The Inevitable Chrystal Belle Scrodd Record" (Klang Galerie) cd 17.98 CLEANING WOMEN "Aelita - The Queen Of Mars" (BV2 Productions) cd 17.98 CLEANING WOMEN "Pulsator" (BV2) cd 15.98 COMUS "Song To Comus: The Complete Collection" (Castle Music) 2cd 27.00 DAISY CHAIN, THE "Straight Or Lame" (Sundazed) cd 14.98 DECAYES, THE "horNetZ" (Mind's Ear Records) cd 22.00 DECEASED "As The Weird Travel On" (Thrash Corner) cd 14.98 DEERHOOF / SICBAY "split" (Modern Radio Record Label) 7" 4.98 DOCTOR WHO AT THE BBC RADIOPHONIC WORKSHOP "Volume 1: The Early Years, 1963-1969" (Mute) cd 21.00 DOCTOR WHO AT THE BBC RADIOPHONIC WORKSHOP "Volume 2: New Beginnings, 1970-1980" (Mute) cd 21.00 ENO, BRIAN "Another Day On Earth" (Opal / Hannibal) cd 16.98 EVERGREEN TERRACE "Sincerity Is An Easy Disguise In This Business" (Eulogy) cd 13.98 EXPERIMENTAL AUDIO RESEARCH "Worn To A Shadow" (Lumberton Trading Company) cd 14.98 FANNYPACK "See You Next Tuesday" (Tommy Boy) cd 17.98 FIFTHS OF SEVEN "Spry From Bitter Anise Folds" (Les Disques du Soleil) cd 15.98 FIRE "Could You Understand Me" (Skyf Zol) cd 17.98 FOO FIGHTERS "In Your Honor" (Sony) 2cd 17.98 FOREST "As A Song In The Harvest Of Grief" (ISO666) cd 14.98 FORREST, JASON / DONNA SUMMER "Mastadon Razor / 100% Goodiepal" (LJUD) 7" 9.98 FREEFORM "Outside In" (Skam) cd 17.98 FUNERAL MIST "Devilry" (Ajna Offensive) cd 14.98 FUNKADELIC "America Eats Its Young" (Westbound) cd 17.98 FUNKADELIC "Free Your Mind..." (Westbound) cd 17.98 FUNKADELIC "Let's Take To The Stage" (Westbound) cd 17.98 FUNKADELIC "Maggot Brain" (Westbound) cd 17.98 FUNKADELIC "s/t" (Westbound) cd/cd 17.98/17.98 FUNKADELIC "Standing On The Verge Of Getting It On" (Westbound) cd 17.98 GENE LOVES JEZEBEL "Discover" (Beggars Banquet) 2cd 13.98 GENE LOVES JEZEBEL "Immigrant" (Beggars Banquet) 2cd 13.98 GENE LOVES JEZEBEL "Promise" (Beggars Banquet) 2cd 13.98 GET UP KIDS "Live At Granada" cd GONZALEZ, WALLY "On The Road" (Vicor) cd 15.98 GONZALEZ, WALLY "Tunog Pinoy" (Vicor) cd 15.98 GRIFFIN, VICTOR "Late For An Early Grave" (Outlaw) cd 14.98 H.P. LOVECRAFT "Dreams In The Witch House: The Complete Philips Recordings" (Rev-Ola) cd 14.98 JENNINGS, WAYLON "When Sin Stops" (Masked Bandit) cd 14.98 JORGE, SEU "Carolina" (Mr Bongo) cd 16.98 KALEIDOSCOPE "Faintly Blowing" (Repertoire) cd 19.98 KIRCHIN, BASIL "Abstractions of the Industrial North" (Trunk) cd 17.98 KORAY, ERKIN "s/t" (MIZ) lp 28.00 LARSEN "MUSM" (Enterruption) 2lp 17.98 LIPPOK, ROBERT & BARBARA MORGENSTERN "Tesri" (Monika) cd 15.98 LONG LIVE DEATH "Bound To the Wheel" (Secret Eye) cd 13.98 MASADA "Sanhedrin" (Tzadik) 2cd 34.00 MESHUGGAH "Catch Thirtythree" (Nuclear Blast) cd 16.98 MONOLAKE "Polygon Cities" (Monolake) cd 16.98 MONOSOV, ILYA & PRESTON SWIRNOFF "Seven Recorded Works" (Eclipse) lp 13.98 MONOSOV, ILYA & PRESTON SWIRNOFF "The Shining Path" (Eclipse) lp 13.98 MOOG "A Documentary Film By Hans Fjellestad" (Plexifilm) dvd 19.98 MOPING SWANS, THE "Lightninghead To Coffeepot" (Fading Captain) cd 10.98 MY CAT IS AN ALIEN "When The Windmill's Whirl Dies" (Eclipse) 2lp 15.98 NDEGEOCELLO, MESHELLE "The Spirit Music Jamia: Dance Of The Infidel" (Shanachie) cd 16.98 NEGURA BUNGET "Inarborat Kosmos" (Code 666) cd 13.98 NELSON, WILLIE "The Ghost" (Masked Bandit) cd 14.98 NILE "Annihilation Of The Wicked" (Relapse) cd 14.98 NORDENSTAM, STINA "The World Is Saved" (V2) cd 14.98 OCEAN, THE "Fluxion" (Throne) cd 13.98 ODD NOSDAM "Burner" (Anticon) cd 14.98 OFERMOD "Mysterion Tes Anomias" (Norma Evangelium Diaboli) cd ep 13.98 OL' DIRTY BASTARD "The Definitive Story" (Atlantic) cd 17.98 OWENS, BUCK "After the Dance" (Masked Weasel) cd 11.98 PAUL NEWMAN "This Is How It Is Lost" (Emperor Jones) cd 13.98 PEPPERMINTS "Jesus Chryst" (Paw Tracks) cd 15.98 PERNICE BROTHERS "Discover A Lovelier You" (Ashmont) cd 14.98 RUBY, JACK "Hi Fi" (Auralux) cd 17.98 RUINS OF BEVERAST, THE "Unlock The Shrine" (Van) cd 13.98 SCHMIDT, CHARLIE "Xanthe Terra" (Strange Attractors Audio House) cd 13.98 SHOCKED, MICHELLE "Threesome (Limited Edition)" 3cd 33.00 SKULLFLOWER "Orange Canyon Mind" (Crucial Blast) cd 15.98 SO SO MANY WHITE WHITE TIGERS "s/t" (Weird Forest) picture disc 11.98 SPIRES THAT IN THE SUNSET RISE "Four Winds the Walker" (Secret Eye) cd 13.98 SPOOKY, DJ & DAVE LOMBARDO "Drums Of Death" (Thirsty Ear) cd 15.98 SUGIMOTO, TAKU "Live In Australia" (Improvised Music of Japan) cd 27.00 TAR PET "The Artist Revealed Is Taralie Dawn" (Eclipse) lp 14.98 TARENTEL "Ghost Weight" (Acuarela) cd 11.98 TARWATER "The Needle Was Travelling" (Morr Music) cd 16.98 TRAFFIC SOUND "Yellow Sea Years" (Vampisoul) cd 21.00 TRAVELING BELL "Scatter Ways" (Secret Eye) cd 13.98 UFO OR DIE "Shock Stoppers" (Skin Graft) comic + 7" 5.50 V/A "Folk Is Not A Four Letter Word" (Delay 68) cd 14.98 V/A "Ikon Records Story" (Frantic) 2cd 26.00 V/A "Inside Deep Note Vol. 2: Music Of 1970s Adult Cinema" (Grammofonpladen) cd + dvd 16.98 V/A "Made In Sheffield" (Plexifilm) dvd 19.98 V/A "Passion Of Laja Aijala" (BV2 Productions) cd 16.98 V/A "Soul Sisters: The Sights And Sounds Of The African-American Underground" (Black Beauty) cd 14.98 VOLCANO THE BEAR "Catonapotato" (Digitalis) cd 14.98 WHITE ROCK "Tarpit" (Troubleman Limited) cd 13.98 WHY? "Sanddollars, The EP" (Anticon) cd ep 9.98 WOODEN WAND AND THE VANISHING VOICE "Xiao" (Troubleman Unlimited) cd 13.98 XENAKIS, IANNIS "Electronic Music 1: La Legende d'Eer" (Mode) dvd 26.00 ZION I "True & Livin" (LiveUp) cd 15.98 ZS "Karate Bump" (Planaria) cd 8.98 ZZZZ / UZ JSME DOMA "split" (PolyVinyl) 7" 4.98 _______________________________________________________________________ ABOUT MAILORDER
Early '70s Vander solo record that is really a scaled-down Magma in disguise, doing soundtrack music for a film version of Tristan & Isolde. I really want to see the movie after hearing this music, can't imagine how they work it into the action. Very hyper stuff -- Ruins fans be aware that is is the sort of Magma that will remind you most of that band. Recommended.
More Coltrane-worship from Magma's Christian Vander and co.
More inspired jazz, Coltrane 1965 style, from Magma's Mr. Vander.
Impulse! style jazz from Magma's Vander. Includes a version of Coltrane's "Like Sonny".
Been wanting to list this for a while, they finally came back in, Aguirre's 180g gram vinyl reissue of this vintage library music lp by cosmic composer Vandroogenbroeck, originally released in 1980. It's kind of a no brainer how cool this is - 'cause it's got striking cover art by H.R. Giger, Vandroogenbroeck was a crucial member of trippy Swiss krautrock psychonauts Brainticket in the early '70s, and weird synth-laden library music is always a good bet too, especially when the tracks are given such descriptors as "mysterious vision, ethereal" and "pathetic, dark, mystic" to pick two from the back cover. To the layman, the music here is not far removed from the electronic work of more recognized 20th century avant gardists. Kind of the hippy version of Subotnick in other words. Eerie sci-fi sounds abound here - the whistling, echoing sounds of the dancing "Asteroids", the abstract unease of "Interstellar Insects", the nervous percussiveness of "Elements", the sweeping intensity of "Lost Planet", the sinister burbling bubbling drones of "Dark Plasma", etc. We could imagine it being used for some outer space, Outer Limits type of suspenseful low budget TV show. Makes for good listening with the lights off, eyes closed, staring into inner space, too.
Oh, and compact disc folks, sorry this hasn't been reissued on cd - not by itself, anyway. But it IS available on the third disc of a 4cd box set of Brainticket albums and related rarities released by Cleopatra in 2011, called Vintage Anthology 1971-1980, if you're interested we can try to order you one, they're like fifty bucks, but does include Brainticket's classic Cottonwood Hill, the Drum Circus album, and a lot of of other cool stuff along with Biomechanoid.
The long unavailable solo soundtrack debut of Greek composer Evangelos Odysseas Papathanassiou (aka Vangelis) finally gets an official reissue. The soundtrack to this obscure 1970 French film directed by Henry Chapier (so obscure that the only info IMDB has on it is this eight minute opening sequence found here: http://www.ina.fr/video/VDD08000001/sex-power-video.html), has only seen previous release as a bootleg cd-r and it has been rumored that Vangelis himself has suppressed many attempts to reissue it. Sex-Power, starring a young Jane Birkin, is similar to Zabriskie Point in that it seems to be a desert quest for meaning by young beautiful intellectuals giving up on society for more earthly concerns like walking in the desert naked, and apparently having lots of sex... But regardless of the arty tone of the film, in our book, you can't go wrong with the music of early seventies Vangelis. Early Vangelis recordings are often marked by exotic instrumentation (tribal percussion, water gongs, flutes, and ethnic string instruments) as well as piano, early synthesizer and ethereal female vocal choruses. Like Morricone's majestic early soundtrack work, Sex-Power has a strange free-folk mystery of lilting passages and beguiling pensive mystical soundscapes. It was recorded the same year Vangelis's prog band Aphrodite's Child released their final album, the legendary 666.
Recommended for fans of the soundtrack work of Jean-Claude Vannier, Lubos Fiser, and Alain Goraguer, and of course very limited!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Some reissues of long-lost gems arrive here with little fanfare and turn out to be great nonetheless. This one though, came our way emblazed with blurbs proclaiming its immense awesomeness quoting the likes of Jim O'Rourke, Tim Gane, Jarvis Cocker and David Holmes. And guess what? Those guys do indeed know what they're talking about! This IS pretty fantastic. Here we have an action-packed instrumental concept album whose title translates into English as The Child Killer Of The Flies, which musically narrates a simple but creepy story by Serge Gainsbourg (written *after* he heard the album, not before, and included the liner notes, explaining each track title) about the horrific revenge of flies on a child who had tortured them. This musical story-telling is by way of schizoid arrangements of tracks that range in sound from groovy pop to jazz to avant-garde tape music to fuzz guitar rock! Sounds good, eh? Good n' weird for sure.
L'Enfant Assassin Des Mouches is a "Fellini-esque psychedelic symphony" originally released (but poorly distributed and relegated to general obscurity) in 1972, credited to a unknown group called Isolitudes. The man behind Insolitudes, though, was one Jean-Claude Vannier, a musician and producer from the happening '60s French pop ("Ye Ye music") scene who had scored film soundtracks and collaborated with Serge Gainsbourg, most famously providing the arrangements for Gainsbourg's highly-rated L'Histoire De Melody Nelson album (the reissue of which we wish we had in stock also, but haven't been able to get a hold of lately). This record is thereby cited as the follow-up to that one-of-a-kind conceptual classic. Itself it's pretty much one-of-a-kind too. Funky and groovy, as well as deliriously, disorientingly hallucinogenic, this will hit you with lush string arrangements one moment, sound effects of sheer terror the next... it's psych, it's prog, it's funk, it's musique concrete. There's even a chorus of car horns put to good use here! It's the freakiest 'sploitation soundtrack that never was. This reissue includes two bonus tracks from a rare 7" single entitled Point D'Interrogation, and also boasts extensive and informative (and quite laudatory) liner notes by DJ Andy Votel. Very recommended!
As a rule, we're usually not so keen on live albums (from rock bands, that is -- jazz is another matter). Who needs to hear a bunch of crowd noise and clapping? Live albums are notorious for time-wasting drum solos, cliched stage banter, poor sound, bad mixes, and unwanted cover versions ("Hound Dog", y'know, that sort of thing). Plus half the time they're faked. Of course, that doesn't mean some aren't classics: Kick Out The Jams, Lights Out, Live At Last, Tokyo Tapes, Band Of Gypsies...
And while we're NOT suggesting that this particular recording by this late-'70s Greek hard rock outfit is as good as any of those, it is still pretty good for a live album from a band we've never even heard of before! And, it's also the only way you're gonna get to hear 'em since the Vavoura Band never made a studio album back then. And if you're into heavy '70s hard rock proto-metal action, you probably DO want to hear 'em. Heavy, bluesy, a little proggy, with some some ethnic folk influences, these guys (who were apparently famous for trashing their equipment a la The Who) manage to remind us of both Hawkwind and Black Sabbath at various points on this record. They also remind us of a really freaky longhaired '70s bar band in full guitar-splooge mode -- 'cause that's what they are, basically. Pretty cool. 12 tracks, 11 live, 1 studio, recorded mostly circa '77-'79 with one track from '81. English vocals for the most part.
Last year we raved about the Insane Technical Sci-Fi Thrash Metal Mastery of this group's 2nd album, Outer Isolation. And, having subsequently seen 'em play n' slay live, we're even more convinced that Arizona's Vektor are one of thee very best metal bands currently going. Live, their music was complex yet ragin', these guys effortlessly, amazingly technical, but ready to party at the same time. Plus one of the guitarists has a tattoo on his arm that sez, 'Sci-fi or die', how cool is that?
Sadly, though, the record label Vektor was signed to, Heavy Artillery, has just folded. And so for the time being, the Outer Isolation cd is out of print, with its planned release on vinyl also in limbo. WTF? But, since Vektor has gotta be a hot property, we imagine they'll soon be signed to another label... However, for the time being, we can't get their newer album. But, we DID manage to grab a last few copies of this, their 2009 debut, for those that missed it. We didn't actually review it when it came out before, either, though we should have.
Utter next-level mind-boggling shred, that's heavy and hectic, and impossibly catchy too, like a brilliant mix of Voivod, Coroner, Destruction, and Megadeth. With their chugging rollercoaster riffs, exquisite neo-classical melodies, and outer space atmospherics, plus the vocalist's uncanny ability to switch from guttural tones to an inhuman shriek (they say in space, no one can hear you scream, but you'll hear this guy, and your dog will hear him better!), Vektor are one of the few 'retro-80s-thrash-revival' acts that we consider to be actually equal or superior to the best bands back then.
Basically, If you liked Outer Isolation, you'll like this too, in fact, how come you don't have it already?? And if you haven't yet heard any Vektor, well, check this out! But be quick, we only got like 5 copies, and then they're gone...
For those that haven't heard the legendary Hungarian group VHK (aka Vagtazo Halottkemek, or the Galloping Coroners) before, how the heck to describe 'em? Well, this primal psychedelic punk ensemble has been around for years (their first album came out in 1988, but they had formed as far back as the mid '70s!) and they're for sure a band equally at home in a radical '80s punk squat, or on an ancient Indo-European battlefield, or out in space among the stars. As well as at home now on Ektro / Full Contact, the eccentric label associated with our fave Finnish space rock weirdos, Circle. They have put out previous albums on Jello Biafra's Alternative Tentacles label, and can certainly be considered one of the most significant, and definitely unique, Eastern European "punk" bands ever. Their sound is part pagan improv, part raucous gypsy-punk hoedown, part Hawkwind style blast-off. Their naturally "tribal" sound even reminded one person here, who hadn't heard 'em before, of Echo And The Bunnymen - but way more raw and wild and loose and heavy.
They've been on some sort of hiatus for quite a few years now (their last release came out in 1999), so it was a pleasant and exciting surprise to find 'em back again with this record, and at full force! The powerful, expressive voice of VHK's frontman, "Grandpierre Atilla", leads the charge, singing and screaming with passion in his native language. Yet, this album begins in a deceptively mellow mood, VHK conjuring a shamanistic campfire ritual on opening track "Handshake", at least at first, being acoustic, melodic, and in a way almost comforting. Those aspects persist, but as the album progresses, it builds and builds in intensity, always offering much compelling rhythmic drive and dark atmospheric vibes, culminating in a track, "Hun Testveriseg" ("The Hun Brotherhood"), recorded live at a festival last year called Black Noise, where we really can imagine these guys coming across as reincarnations of their ancestors, channeling their warrior spirit with electricity and amplification.
You want some "music review math"? Well, there's moments on this album that sound like the Sun City Girls jamming with Neurosis, and we'd further suggest that VHK are perfect for anyone who enjoys both Acid Mothers Temple and Rudimentary Peni.
Of course, if you already know VHK, you'll be happy they're galloping again! Old fans like us will love this. And for those who have yet to be trampled underfoot, this is a fantastic introduction to the mythology of this strange band. We realize that we we've never previously reviewed anything by VHK (we've only referenced them twice before on our site, in fact, in reviews of records by countryish space rockers U.S. Christmas and avant-folky black metallers Hollenthon). Glad we're able to rectify that now with this write-up.
Limited vinyl version available now, get 'em while you can. We also should hopefully be stocking a cd of this at some point in the future.
Packaged like a miniature passport, this 3" cd by the globetrotting French-Canadian duo Vialka squeezes five hectic songs into about 22 minutes. They're a quirky bass and drums two-piece, a bit along the lines of Ruins, Sabot, or Hella, with the drummer (a woman) providing most of the somewhat dramatic vox, that go well with the skronky twists and turns of their energetic music. These songs were apparently written in a small mountain village in Slovenia this past winter and recorded in "a fit of early morning low-fidelity mayhem" in Geneva, Switzerland this summer. We don't know much else about this band, but they just played here in San Francisco and we bought a few (six) copies of this release, that's all we have and all we're gonna have so be quick if you want one of these "Vialka Passeports".
French prog from the seventies can move us in just the right ways, especially if it hits that sweet spot between Kosmiche new age and sublime Euro-jazz, yet still has that individually eccentric feel that you only get from the French. Patrick Vian's sole 1976 lp Bruits et Temps Analogues, famously included on the Nurse With Wound list, is just such a record. An amalgam of Michael Rother sky gliding electronic music and a mellower take on the "Superficial Music" of Bernard Szajner, Vian packs a lot of punch into his compositions, propelled forward by the hypnotic counterpoint of sunny guitar lines, analog Moog washes, flutes and all kinds of dazzling rhythmic instrumentation, such as kinetic jazz drumming, and deep vibraphones, the latter thanks to the help of Mino Cinelu (who had played with the likes of Gong, Weather Report and Miles Davis). There's also an exotica quality at play here especially on the track, "Orenock" which feels like we're on safari on some strange desolate planet, as well as some avant-garde tendencies, such as using tape manipulations of recordings of American sporting events on the musique concrete piece, "Tricentennial Drag". Vian began his musical career in the legendary French prog /free jazz band Red Noise, but the vibe on Bruits et Temps Analogues is way more serene and groovy. It lives up to its awesome cover painting. Originally released on the Egg / Barclay label, it's about time this stellar album got reissued. Thanks Staubgold! Highest Recommendation!!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
First off, Violence Fog is Allan's new favorite band name ever (sorry, Dirty Lust). As soon as he (me, I) saw it listed in one of our supplier's catalogs, I had to order it. Plus, the description said that it had flutes on it, so I knew that Andee would
Not sure when/where/how we first found out about Visitors and their 1974 self-titled album, but for the prog lovers here at Aquarius, it was love at first sight - literally, check out that cover art! A hyperencephalic space alien standing in a glowing doorway, the open door labeled "Sesame". The back cover is pretty freaky too: the disembodied heads of members of Visitors floating in front of an atomic mushroom cloud that's exploding out of a giant egg! And, yes, the music lived up to these silly-strange images. The album's heavy opener, "Dies Irae", with backwards effects, faux-Gregorian chant, wild synth flourishes, and wailing psych guitar, among other outre ingredients, is a grand(iose) introduction to the Visitors' over-the-top prog pleasures, coming off like a hybrid of Magma and an Ennio Morricone soundtrack. The tracks that follow maintain the same majestic/eccentric momentum. Imagine our favorite, craziest '70s Italian prog (Osanna, Area, Museo Rosenbach, etc.) meeting up with groovy orchestrations of a Serge Gainsbourg or Jean-Claude Vannier album. Visitors being in fact French, hence the latter comparisons.
Both Andee and Allan acquired copies of this cd for themselves as soon as they could, and always wanted to get it for Aquarius too, but only recently did we manage to contact the label in France and were able to order a bunch of this reissue to highlight. At the same time, we also finally figured out that a lot of AQ customers might be interested in this for another, specific, reason - Visitors was an exploitation-prog project of musical mastermind Jean-Pierre Massiera, whose surreal pop productions were the subject of two recent, quite popular collections we've been selling: Psychoses: Freakoid (1963-1978) and Psychoses: Discoid (1974-1981). Visitors actually appeared on both volumes, with "Flatwoods Story" (from this album) on Freakoid and "V-i-s-i-t-o-r-s" on Discoid.
Now's your chance to hear, from start to finish, an entire cult sci-fi concept album as envisioned by Massiera, unabashed prog bombast that's often haunting yet groovy at the same time. Although, at the time of its release, Visitors was a one-off album intended a cash-in on the progressive rock fad of the early '70s, its sci-fi concept probably not meant to be taken seriously either, nowadays it seems as valid, and certainly as enjoyable, as any other of the fabulous prog excesses of its era.
The cd booklet with this reissue includes photos, and liner notes in English giving a detailed history of Massiera's career, and includes full credits for all the twenty musicians and singers who participated, left anonymous on the original release. Among them, you'll find a future member of Magma, virtuoso violinist Didier Lockwood. And we were interested to learn that the "deep vocals" that occasionally pop up on the album were by Massiera himself.
One of the aQ metallers (that would be Allan), and a friend of his, who's played in some serious SF metal bands over the years, have this thing where they often text "VOIVOD!!!" to each other, in all-caps like that, when they're stoked about something or want to express the affirmative (this stems from repeated viewings of a Voivod dvd release from a few years ago, wherein a voice shouted "VOIVOD!!!" as you selected each chapter on the menu screen). Well, if anything to arrive at aQuarius this week deserves a hearty VOIVOD!!! this is it, of course - the brand new album from the brand new version of the famed French-Canadian sci-fi thrash/prog metal masters. The band's previous two studio albums psychically existed under a rather morbid cloud, as Voivod's founding guitarist and riff master Piggy had passed away in 2005, but (somewhat remarkably) remained as their guitarist, participating posthumously via a vast catalog of guitar parts he'd recorded on his hard drive before he died. Of course all Voivod fans wanted to hear Piggy playing - even from beyond the grave - but it made those albums (2006's Katorz and 2009's Infini) seem less the work of an ongoing, active band, than bittersweet memorials, no matter how good they were (and they certainly had their moments, especially the latter one). Each of those releases seemed like part of a slow, sad goodbye.
But then, thankfully deciding that Voivod must again live, really live, the surviving Voivodians, including erstwhile bassist Blacky (who last recorded with the band on 1991's Angel Rat), recruited a new guitarist to replace the late Piggy - and they chose wisely. New guitarist Daniel "Chewy" Mongrain (ex-Martyr) already has proved, via last year's ripping live album Warriors Of Ice, that he can play their older material, and now here on the long awaited Target Earth, demonstrates he can do justice to Piggy's legacy in contributing to new Voivod songs too. We doubt any Voivod fan would not agree that Chewy fits perfectly into the Voivod mechanism, you'll see. Thus revitalized, the post-Piggy Voivod simply kills it on this new album. Alienating and energetic, full of tension and aggression, it's a collection of very Voivodian compositions, off-kilter and complex - yet catchy. Heck if it doesn't sound like it could have come out directly following their late '80s classics Dimension Hatross and Nothingface. Definitely the best thing they've done in years, making us forget the alt/pop/punk/grunge stylings of the albums they did with Jason from Metallica, though we shan't get into a debate about the merits of the industrial flavored E-Force era albums (sorry, we're already getting a bit into the weeds here for those of you who are not major Voivod fanatics).
Suffice to say, Target Earth (hmm, didn't they know that was already the title of a Screamer album?) is replete with all the Voivod-isms you desire: the heavy, herky-jerky riffs and rhythms, the confusional time changes, the delirious dissonant sci-fi post punk atmospherics, the mega-advanced drumming of Away*, the thick angular blower bass lines of Blacky, the melodic, yet gruff and ragged (moreso than ever) droning vocals of Snake� that's all here, and so are the SONGS, they're good too! And Chewy, he sure does Piggy proud. Definitely call it a comeback - so look out Vektor, your grandpappas are back, and mean business! VOIVOD!!!!
*And his cover art too, of course, here in a slightly cartoonish style (and garish color scheme) very much like the one he did for the Orthrelm/Behold The Arctopus split cd a while back�
Ok, maybe this is weird to admit, but you know how sometimes you get to thinking about your own inevitable death? And all the things you'd miss about being alive? Well, I (Allan) can remember back in 1993 having such morbid thoughts, and specifically thinking how one major bummer about being dead would be that I'd never ever get to listen to THIS particular album again. I mean, it's not like I was thinking that The Outer Limits by Canadian cult metallers Voivod was, like, a reason to live, it didn't prevent me from trying suicide or anything dramatic like that. But it was something that, when contemplating my own mortality, I knew I'd miss. Considering my endless spinning of this when it came out, maybe that's no surprise. The riffs, the lyrics, the artwork, there was a lot to obsess over here!
Now, 15 years later, it's finally been reissued. And so of course I've got to recommend it, maybe you won't like it as much as I did (and still do) but do you really want to go to your grave without ever finding out? It's the Voivod album that followed their somewhat controversial leftfield stab at college radio alt-metal Angel Rat (1991), and for this Voivod fan turned out to be exactly what I wanted to hear from them, becoming my favorite Voivod ever next to their to their previous masterpiece Nothingface (1989), putting their psych, punk, and prog influences - from Pink Floyd to Iggy Pop - together in a practically perfect package. It took the avant-thrash complexities of Nothingface and mixed 'em with the more accessible, trippy melodicism of Angel Rat, making for a polished, technically brilliant album of individually memorable songs. Can't really even pick favorites among 'em, every one of the nine tracks here is so great, from the soaring, storming opener "Fix My Heart" to the the creepy "Le Pont Noir" to the album's 17-minute epic sci-fi centerpiece "Jack Luminous" (PROG!) to the groovy dark rocker "Wrong-Way Street". They also do another great Pink Floyd cover (after Nothingface's version of "Astronomy Domine"), this time powering up "The Nile Song".
The whole album has a majestically moody, ominous, vaguely sinister vibe, especially so when you pay attention to the narrative of such songs as "The Lost Machine" (one of the heavier numbers here, which could have appeared on Nothingface for sure, as could have the punkishly frantic "We Are Not Alone"). And, at the same time, these songs are all super catchy - in a quirky Voivod way, sometimes, or just plain catchy a la classic '70s rock like Alice Cooper. The Outer Limits sees Voivod perfecting their ability to totally rock out whist remaining spacey and psychedelic, with lyrics to match, with both "Time Warp" and "Moonbeam Rider" being great examples of this. Well, I could go on and on, talk about Snake's unique, compelling vocals and Piggy's stellar guitar playing and all, but instead let's leave it at that, for old Voivod fans and curious noobs! I will mention drummer Away's artwork - he provides evocative illustrations for each song in the cd booklet. Not only are they done in a cool, retro sci-fi style, but they, like the his cover drawing, are all in 3-D. And this numbered, limited edition, digipacked, digitally remastered, gold disk (whew!) reissue does indeed come with lil' red and blue 3-D glasses with which to properly view and appreciate Away's art!
Never before released live recording from Von Zamla's 1983 European tour, taken from two dates in Germany. Featuring Michel Berckmans [oboe & bassoon], Eino Haapala [guitar], Lars Hollmer [keyboards], Hans Loelv [keyboards], Wolfgang Salomon [bass], Marten Tiselius [drums], and performing tracks from No Make Up, Zamlaranama, and a Samla track. Challenging yet still filled to the brim with toe-tapping melodies and great playing.
A tome focused on the progressive metal music genre has been long overdue... perhaps in part due to the fact that the genre is so expansive and there are so many debatable definitions. Author Jeff Wagner (former editor for Metal Maniacs magazine) has taken the bull by the horns, focusing the spotlight on prog metal heavyweights Rush, Queensryche, Voivod, and Meshuggah - all very deservingly so - but we take a bit of issue with his grouping Dream Theater in with those true pioneers (yeah, we're going to catch some flak from DT fans for questioning their inclusion amongst those ranks, aren't we?!). Wagner presents the five bands as the standards by which pretty much all others covered in this book are held. Indeed, most of the other bands he features were inspired by one or more of those abovementioned innovators. Many nail 'the sound' very well, but break little new ground themselves. So we ponder, can they truly be permitted in the progressive metal arena? Hmmmm, 'tis something of a quandary when trying to define something which is supposed to be ever exploring, innovating and evolving. Nevertheless, if you are new to the genre (and would prefer to read a book than scour the internet to get yourself up to speed on the subject), this book is a terrific starting point... especially for the revisiting of the truly unique trailblazers Fates Warning, Thought Industry, and Celtic Frost. Particularly useful are the lists of recommendations in the back of the book to get any neophyte up to speed or to flesh out the collections of older fans. Oh, and the book features original cover artwork by Michel "Away" Langevin of Voivod. 400 page paperback. ----* ----* In Stock, Not Yet Reviewed : ----* If you want to order one of these, just click on the buy button and it will be added to your cart! ABRAHAMSSON, CARL "Fanzinera" (Trapart) book 37.00 ACEPHALIX "Deathless Master" (Southern Lord) cd 14.98 ADVANCE BASE "A Shut-In's Prayer" (Orindal Records) lp 12.98 AQUARIAN, DJIN "Destiny Of Aquarius" (Global Recording Artists) cd-r 14.98 ARARAT "II" (Elektrohasch) cd 16.98 BALTHROP, ALABAMA "We Have Electricity" (End Up) lp 14.98 BATTLES "Dross Glop" (Warp) cd 16.98 BLACKQUEEN "March Of The Obsidian Triumvirate" (Silentium Spells) cd ep 6.98 BLACKQUEEN / THE FAMILY CURSE "split" (Fainting Room) 7" 6.98 BLOWFLY "Disco" (Weird World) lp 14.98 BLUE PHANTOM "Distortions" (Kismet) cd 17.98 BUNKUR "Bludgeon" (Nuclear War Now! Productions) cd 10.98 BURIAL HEX "Book Of Delusions" (Cold Spring) cd 17.98 BURZUM "Umskiptar" (Back On Black) 2lp 38.00 CAN "The Lost Tapes" (Spoon / Mute) 3cd box set + book 32.00 CEYLEIB PEOPLE "Tanyet" (Vault) lp 16.98 CIRCLE "Serpent" (Ektro) cd 17.98 CODEINE "When I See The Sun" (Numero Group) 3 x 2lp + 3cd box set 83.00 COFFINS "March Of Despair" (Hammer Heart) cd/lp 12.98/17.98 DECEASED "Surreal Overdose" (Shrieks From The Hearse Records) cd 10.98 DELTA FUNKTIONEN "Traces" (Delsin) cd 17.98 DIIV "Oshin" (Captured Tracks) lp 16.98 DISTAL "Civilization" (Tectonic) cd 12.98 DJIN AQUARIAN & PLASTIC CRIMEWAVE SOUND "Save The World" (Prophase) lp 17.98 EL POLEN "Cholo (OST)" (Lion Productions) cd 16.98 EMERSON, DONNIE & JOE "Dreamin' Wild" (Light In The Attic) cd/lp 14.98/19.98 FATHER YOD "Ya Ho Wa's Morning Meditations" (Global Recording Artists) cd-r 25.00 FATHER YOD & THE SOURCE FAMILY "The Thought Adjusters" (Drag City) lp 22.00 FENNESZ, CHRISTIAN "Aun: The Beginning And The End Of All Things (Soundtrack)" (Ash International) cd 15.98 FLESH LIGHTS "Muscle Pop" (Twistworthy Records) lp 12.98 FORKBOY "1993-1999" (Kaos Kontrol / Arkisto) cd 13.98 GARY WAR "Jared's Lot" (Spectrum Spools) lp 22.00 GAY CAT PARK "Synthetic Woman" (Medical) lp 19.98 GRUMBLING FUR "Alice" (Latitudes) cd/lp 14.98/19.98 HAWKINS, SCREAMIN' JAY "Rare, Unissued or Just Plain Weird" (Rumble) lp 24.00 HELPFUL SOUL, THE "First Album" lp 19.98 HIGH SPIRITS "Another Night" (High Roller) lp 17.98 HOUSTON, PENELOPE "On Market Street" (Glitterhouse) lp 19.98 JESUS & MARY CHAIN "Stoned & Dethroned" (1972) lp 15.98 JOHANNSSON, JOHANN "Copenhagen Dreams: Music From The Film By Max Kestner" (NTOV) lp 21.00 KREIDLER / TARWATER "split" (Bureau B) 12" 12.98 LEOPOLD, PERRY "Experiments In Metaphysics" (Guerssen) lp 28.00 LES OLIVENSTEINS "s/t" (Born Bad) lp 21.00 LIARS "Wixiw" (Mute) lp 17.98 MAGIC TRICK "Ruler Of the Night" (Hardly Art) cd/lp 11.98/14.98 MANTRONIX "King of the Beats" (Warlock Records) 2cd 23.00 MARSHALL, OWEN "The Naked Truth" (Jazzman) cd/lp+7" 17.98/17.98 MEDITATIVE SECT "Laceration Points" (Merz Tapes) cassette 8.98 MONYPENY, DEREK "Limerance" (Underwater Experiences) cassette 3.98 MORKOBOT "Morbo" (Supernatural) cd 17.98 MOUNTAIN GOATS, THE "The Hound Chronicles & Hot Garden Stomp" (Shrimper) 2cd 15.98 MY BLOODY VALENTINE "Isn't Anything" (Sony) cd 27.00 MY BLOODY VALENTINE "Loveless" (Sony) 2cd 31.00 NAZORANAI (STEPHEN O'MALLEY + KEIJI HAINO + OREN AMBARCHI) "s/t" (Ideologic Organ) 2lp 32.00 NAZORANAI (STEPHEN O'MALLEY + KEIJI HAINO + OREN AMBARCHI) "s/t" (Ideologic Organ) cd 16.98 NIKE7UP "Lucky!" (Light Lodge) 7" 8.98 NILE "At The Gate Of Sethu" (Nuclear Blast) cd 15.98 NILES, JOHN JACOB "The Boone - Tolliver Recordings" (LM) cd 14.98 NO JOY "Negaverse" (Mexican Summer) 12" 15.98 NORTHERN HAZE "Sinnaktuq" (Supreme Echo) lp 24.00 OBITS "Let Me Dream If I Want To / The City Is Dead" (Sub Pop) 7" 5.50 OCTAVE ONE "Revisted: Here, There, And Beyond" (430 West Records) cd 17.98 OH NO "Ohnomite" (Five Day Weekend) cd 17.98 OLD MAN GLOOM "No" (Hydrahead) cd/2lp/cassette 14.98/28.00/12.98 OUTER SPACE "Akashic Record (Events: 1986-1990)" (Spectrum Spools) lp 22.00 PACO SALA "Ro-Me-Ro" (Digitalis) lp 19.98 PAINTING PETALS ON PLANET GHOST "Transparent Winter" (Silentes) cd 14.98 PEACOCK, ANNETTE "I'm The One" (Future Days Recordings / Light In The Attic) cd/2lp 15.98/33.00 PLANKTON WAT "Spirits" (Thrill Jockey) lp 15.98 PUBLIC IMAGE LTD. (P.I.L.) "This Is Public Image Limited" (PiL Official) cd/2lp /29.00 REPEAT AFTER ME "From The Mountaintop" (For Once Records) lp 9.98 RETRIBUTION GOSPEL CHOIR "The Revolution" (Sub Pop) 7" 5.98 ROOT "Heritage Of Satan" (Agonia) cd 16.98 SAINT VITUS "Die Healing" (Hellhound) cd 15.98 SCHEIDT, MIKE "Stay Awake" (Thrill Jockey) cd 14.98 SCOTT, RAYMOND QUINTETTE "Radio Music" (Doxy) lp 26.00 SEPULCRAL "Anthrophagy Of Doom" (Razorback) cd 10.98 SICULICIDIUM "A Rothado Viragok Szinuket Vesztik" (Valse Sinistre) cd 13.98 SOEBARDJA, BENNY "Gimme A Piece Of Gut Rock" (Strawberry Rain) lp 28.00 SOEBARDJA, BENNY "Night Train" (Strawberry Rain) 2lp 35.00 SONNY AND THE SUNSETS "Longtime Companion" (Polyvinyl) cd/lp 12.98/15.98 SPACE VACATION "Heart Attack" (self-released) lp 8.98 SPIRITUALIZED "Sweet Heart, Sweet Light" (Fat Possum) cd/2lp 13.98/19.98 SPOERRI AND BETHA SARASIN, BRUNO "AX+BY+CZ+D=0 (aka Kunst Am Computer)" (Dead-Cert) lp 26.00 STEREOLAB "Mars Audiac Quintet" (1972) 2lp 25.00 STEREOLAB "Transient Random-Noise Bursts With Announcements" (1972) 2lp 25.00 SURVIVE "s/t" (Light Lodge) 10" 10.98 T-REX "Tanx" (Fat Possum) lp 14.98 TALK TALK "Colour of Spring" (Parlophone) lp 44.00 TASTE OF DECAY "1984-1986" (Mannequin) cd 17.98 TENDERIZOR "Touch The Sword" (SickSickSick) lp 9.98 THOMAS, HENRY "Bull Doze Blues" (Mississippi / Little Axe) lp 13.98 UGLY CUSTARD "s/t" (Relics) cd/lp 17.98/17.98 ULAAN MARKHOR "s/t" (Soft Abuse) cd/lp 11.98/15.98 ULVER "Childhood's End" (K-Scope) cd 17.98 UTON "Echoes In The Wonderland" (DNT) lp 17.98 V/A "Eat The Dream: Gnawa Music From Essaouira" (Sublime Frequencies) lp 21.00 V/A "Wizzz Volume 1" (Born Bad) lp 21.00 V/A "WTNG 89.9 FM: Solid Bronze" (Numero) cd 11.98 VERGE "Sex & Violence" (Descending Towards Damnation) cd 10.98 VOCODER "Cuadro Sinoptico" (Dark Entries) 12" 11.98 VOWELS "Hooves, Leaves & the Death / As December Nightingales" (Sun & Moon) cd 13.98 WET HAIR "Spill Into Atmosphere" (De Stijl) lp 19.98 WHEELS, THE "Road Block" (Big Beat) cd 14.98 WHITE, EMILY JANE "Dark Undercoat" (Important) cd/lp 12.98/12.98 WHITE, EMILY JANE "Victorian America" (Talitres) 2lp 24.00 WHITE, JACK "Blunderbuss" (Columbia) lp 27.00 WICKED LADY "Psychotic Overkill" (Guerssen) cd 17.98 WINO & CONNY OCHS "Heavy Kingdom" (Exile On Mainstream) cd 16.98 WITCH MOUNTAIN "Cauldron Of The Wild" (Profound Lore) cd WOUNDED KINGS, THE "Embrace Of The Narrow House" (Eyes Like Snow) cd 17.98 YOUNG, LARRY "Larry Young's Fuel / Spaceball" (Arista) cd 19.98 YOUNG, NEIL "Americana" (Reprise) cd 13.98 YOUNGS, RICHARD "Amaranthine" (Mie) lp 25.00
We are so VERY pleased to now have these, nice vinyl reissues (for the first time ever, we're pretty sure) of the three earliest, eeriest albums from the '70s by obscure & unusual French composer Igor Wakhevitch! They're imports from a label based in Barcelona, so they're not that cheap, but they're worth it. Perhaps you remember, years and years ago, the Fractal label released a limited, now long out of print, six-cd box set of Wakhevitch's works circa 1970-1979? We all freaked over that - everyone who worked at aQ at the time bought a copy!! And it was his first three records, these ones, Logos, Docteur Faust, and Hathor, that we were most excited about. All are masterpieces of tense awe-inspiring surrealism constructed from neo-chamber music, spatial electronics, massive plodding percussion, and odd ethnic influences, and feature occasional contributions from French psych band Triangle and some other rock musicians (including Magma's famous bassist Jannick Top), making for an incredible combination of evocative modern classical composition (with choirs, etc.) and krautrockish rhythms and fuzzed guitar. While he was an early associate of Terry Riley and Soft Machine (Docteur Faust is dedicated to Robert Wyatt and Mike Rattledge), Wakhevitch's work is far more malevolent than those artists, taking on qualities that we suggest have more in common with, believe it or not, the Swans. It should not be a surprise that the Swans' Michael Gira has claimed Wakhevitch as one of his favorite musicians. And likewise no surprise that Wakhevitch appears on the infamous Nurse With Wound list. We figure that folks who enjoyed the recent reissues of the strange library music of Egisto Macchi and Alessandro Alessandroni, and the symphonic psychedelics of Jean-Claude Vannier and recent Record Of The Weeker William Sheller will find much twisted appeal in Wakhevitch's music. Also fans of the 20th century classical creepiness of the likes of Luigi Nono, Luc Ferrari, and Stockhausen and/or such out-there prog bands as Magma and Faust ought to find themselves enthused about these records too.
Wakhevitch's first album, 1970's Logos, bears the subtitle: "Rituel Sonore pour Group Pop (Triangle), Choeur mixte et Bande Magnetique" and yessir it's a "Rituel Sonore" all right. The eerie opening sets the stage for much of what is to follow, full of rumbling drone and sinister synth shimmer, accompanying otherworldly wordless vocals, like hearing some dramatic, disturbing vocal choir wailing away on a distant windswept planet. As the album progresses, to these strange sounds are added some symphonic-scale percussion (timpani and the like), and eventually, on side two, some urgent, repetitive rock freakout action occurs (that's the band Triangle), replete with heavy ominous echoing chords... It's a powerful mix of avant-classical choirs, electronic tape music, and psychedelic rock weirdness. This record was originally meant as music for a ballet - a very modern, dark and twisted one we can only imagine! Comes in a gatefold sleeve, with notes mentioning Wakhevitch's interest in the mysticism of Gurdieff among other things.
1971's Docteur Faust is equally mad. This occultic avant-classical and acid rock combination is again music for a ballet, it's a kaleidoscopic collage of psychedelic sounds, with sci-fi synths, funky heavy beats, mystic atmospheres, crazed electronics, fuzzed out riffage, tape manipulation, bizarre vocal outbursts, and so much more. Who knew ballets could be this trippy?? One of our favorite tracks in the whole Wakhevitch canon resides here, "Licorns", which in part appears to feature a whinnying horse playing a harpsichord! But that's sandwiched between many other parts equally maniacal and insane, groovy and distorted.
And then there's the even more esoteric Hathor from 1973, a Satanic opera of sorts, subtitled "Liturgie du Souffle pour la Resurrection des Morts". We don't have to tell you what that means. Another hallucinatory mixture of avant-classical moves and cosmic electronics in a majestic, ritualistic composition meant to raise the dead. Hathor lays on the thick synth drones from the get-go, with monkish vocal chants hovering over the bass-heavy whoosh. Ominous and epic! Of course Wakhevitch soon shifts sonic gears, with other psychedelic surprises in store - spoken word & screams, tinkling percussion, shuddering beats, organ melodies - but of these albums this is perhaps his space-iest and synth-iest. Also a gatefold, with insert.
All three albums are quite recommended, as uniquely powerful & deliriously demented listening experiences. They don't make 'em like this anymore!
We are so VERY pleased to now have these, nice vinyl reissues (for the first time ever, we're pretty sure) of the three earliest, eeriest albums from the '70s by obscure & unusual French composer Igor Wakhevitch! They're imports from a label based in Barcelona, so they're not that cheap, but they're worth it. Perhaps you remember, years and years ago, the Fractal label released a limited, now long out of print, six-cd box set of Wakhevitch's works circa 1970-1979? We all freaked over that - everyone who worked at aQ at the time bought a copy!! And it was his first three records, these ones, Logos, Docteur Faust, and Hathor, that we were most excited about. All are masterpieces of tense awe-inspiring surrealism constructed from neo-chamber music, spatial electronics, massive plodding percussion, and odd ethnic influences, and feature occasional contributions from French psych band Triangle and some other rock musicians (including Magma's famous bassist Jannick Top), making for an incredible combination of evocative modern classical composition (with choirs, etc.) and krautrockish rhythms and fuzzed guitar. While he was an early associate of Terry Riley and Soft Machine (Docteur Faust is dedicated to Robert Wyatt and Mike Rattledge), Wakhevitch's work is far more malevolent than those artists, taking on qualities that we suggest have more in common with, believe it or not, the Swans. It should not be a surprise that the Swans' Michael Gira has claimed Wakhevitch as one of his favorite musicians. And likewise no surprise that Wakhevitch appears on the infamous Nurse With Wound list. We figure that folks who enjoyed the recent reissues of the strange library music of Egisto Macchi and Alessandro Alessandroni, and the symphonic psychedelics of Jean-Claude Vannier and recent Record Of The Weeker William Sheller will find much twisted appeal in Wakhevitch's music. Also fans of the 20th century classical creepiness of the likes of Luigi Nono, Luc Ferrari, and Stockhausen and/or such out-there prog bands as Magma and Faust ought to find themselves enthused about these records too.
Wakhevitch's first album, 1970's Logos, bears the subtitle: "Rituel Sonore pour Group Pop (Triangle), Choeur mixte et Bande Magnetique" and yessir it's a "Rituel Sonore" all right. The eerie opening sets the stage for much of what is to follow, full of rumbling drone and sinister synth shimmer, accompanying otherworldly wordless vocals, like hearing some dramatic, disturbing vocal choir wailing away on a distant windswept planet. As the album progresses, to these strange sounds are added some symphonic-scale percussion (timpani and the like), and eventually, on side two, some urgent, repetitive rock freakout action occurs (that's the band Triangle), replete with heavy ominous echoing chords... It's a powerful mix of avant-classical choirs, electronic tape music, and psychedelic rock weirdness. This record was originally meant as music for a ballet - a very modern, dark and twisted one we can only imagine! Comes in a gatefold sleeve, with notes mentioning Wakhevitch's interest in the mysticism of Gurdieff among other things.
1971's Docteur Faust is equally mad. This occultic avant-classical and acid rock combination is again music for a ballet, it's a kaleidoscopic collage of psychedelic sounds, with sci-fi synths, funky heavy beats, mystic atmospheres, crazed electronics, fuzzed out riffage, tape manipulation, bizarre vocal outbursts, and so much more. Who knew ballets could be this trippy?? One of our favorite tracks in the whole Wakhevitch canon resides here, "Licorns", which in part appears to feature a whinnying horse playing a harpsichord! But that's sandwiched between many other parts equally maniacal and insane, groovy and distorted.
And then there's the even more esoteric Hathor from 1973, a Satanic opera of sorts, subtitled "Liturgie du Souffle pour la Resurrection des Morts". We don't have to tell you what that means. Another hallucinatory mixture of avant-classical moves and cosmic electronics in a majestic, ritualistic composition meant to raise the dead. Hathor lays on the thick synth drones from the get-go, with monkish vocal chants hovering over the bass-heavy whoosh. Ominous and epic! Of course Wakhevitch soon shifts sonic gears, with other psychedelic surprises in store - spoken word & screams, tinkling percussion, shuddering beats, organ melodies - but of these albums this is perhaps his space-iest and synth-iest. Also a gatefold, with insert.
All three albums are quite recommended, as uniquely powerful & deliriously demented listening experiences. They don't make 'em like this anymore!
We are so VERY pleased to now have these, nice vinyl reissues (for the first time ever, we're pretty sure) of the three earliest, eeriest albums from the '70s by obscure & unusual French composer Igor Wakhevitch! They're imports from a label based in Barcelona, so they're not that cheap, but they're worth it. Perhaps you remember, years and years ago, the Fractal label released a limited, now long out of print, six-cd box set of Wakhevitch's works circa 1970-1979? We all freaked over that - everyone who worked at aQ at the time bought a copy!! And it was his first three records, these ones, Logos, Docteur Faust, and Hathor, that we were most excited about. All are masterpieces of tense awe-inspiring surrealism constructed from neo-chamber music, spatial electronics, massive plodding percussion, and odd ethnic influences, and feature occasional contributions from French psych band Triangle and some other rock musicians (including Magma's famous bassist Jannick Top), making for an incredible combination of evocative modern classical composition (with choirs, etc.) and krautrockish rhythms and fuzzed guitar. While he was an early associate of Terry Riley and Soft Machine (Docteur Faust is dedicated to Robert Wyatt and Mike Rattledge), Wakhevitch's work is far more malevolent than those artists, taking on qualities that we suggest have more in common with, believe it or not, the Swans. It should not be a surprise that the Swans' Michael Gira has claimed Wakhevitch as one of his favorite musicians. And likewise no surprise that Wakhevitch appears on the infamous Nurse With Wound list. We figure that folks who enjoyed the recent reissues of the strange library music of Egisto Macchi and Alessandro Alessandroni, and the symphonic psychedelics of Jean-Claude Vannier and recent Record Of The Weeker William Sheller will find much twisted appeal in Wakhevitch's music. Also fans of the 20th century classical creepiness of the likes of Luigi Nono, Luc Ferrari, and Stockhausen and/or such out-there prog bands as Magma and Faust ought to find themselves enthused about these records too.
Wakhevitch's first album, 1970's Logos, bears the subtitle: "Rituel Sonore pour Group Pop (Triangle), Choeur mixte et Bande Magnetique" and yessir it's a "Rituel Sonore" all right. The eerie opening sets the stage for much of what is to follow, full of rumbling drone and sinister synth shimmer, accompanying otherworldly wordless vocals, like hearing some dramatic, disturbing vocal choir wailing away on a distant windswept planet. As the album progresses, to these strange sounds are added some symphonic-scale percussion (timpani and the like), and eventually, on side two, some urgent, repetitive rock freakout action occurs (that's the band Triangle), replete with heavy ominous echoing chords... It's a powerful mix of avant-classical choirs, electronic tape music, and psychedelic rock weirdness. This record was originally meant as music for a ballet - a very modern, dark and twisted one we can only imagine! Comes in a gatefold sleeve, with notes mentioning Wakhevitch's interest in the mysticism of Gurdieff among other things.
1971's Docteur Faust is equally mad. This occultic avant-classical and acid rock combination is again music for a ballet, it's a kaleidoscopic collage of psychedelic sounds, with sci-fi synths, funky heavy beats, mystic atmospheres, crazed electronics, fuzzed out riffage, tape manipulation, bizarre vocal outbursts, and so much more. Who knew ballets could be this trippy?? One of our favorite tracks in the whole Wakhevitch canon resides here, "Licorns", which in part appears to feature a whinnying horse playing a harpsichord! But that's sandwiched between many other parts equally maniacal and insane, groovy and distorted.
And then there's the even more esoteric Hathor from 1973, a Satanic opera of sorts, subtitled "Liturgie du Souffle pour la Resurrection des Morts". We don't have to tell you what that means. Another hallucinatory mixture of avant-classical moves and cosmic electronics in a majestic, ritualistic composition meant to raise the dead. Hathor lays on the thick synth drones from the get-go, with monkish vocal chants hovering over the bass-heavy whoosh. Ominous and epic! Of course Wakhevitch soon shifts sonic gears, with other psychedelic surprises in store - spoken word & screams, tinkling percussion, shuddering beats, organ melodies - but of these albums this is perhaps his space-iest and synth-iest. Also a gatefold, with insert.
All three albums are quite recommended, as uniquely powerful & deliriously demented listening experiences. They don't make 'em like this anymore!
Wow! Progressive Rock from Bolivia? Who knew?
Wara's first album from 1972 (the liner notes say they have recorded 16 albums as of 2004, but this is the first we have heard of them) is a strange hybrid of South American psych with classical symphonic elements, Andean native musical structures, soaring harmonies and boogie rhythms.
Incorporating a classical string section with flute and oboe alongside the shredding fuzz guitar, simmering organ and drum breaks, this is unlike any South American psych we've heard in awhile. While Wara is more of a psych band than a prog outfit, they lean towards '70s proto metal vocal theatrics and Beethoven rather than the Beatles, using long songs with varied passages of loud and soft dynamics. Killer!
Ye olde '70s prog rock treat time here, folks, particularly for those (like us) who like lots of flute in their prog! Coming to us via the excellent Guerssen label, who last list brought us William Nowik's Pan Symphony In E, this reissue of Belgian proggers Waterloo's one and only album First Battle from 1970 reveals another one-off gem from the dusty prog past that we had never heard of before but now are digging big time. This group's music is infused with the paisley psych poppiness of the likes of The Beatles and The Kinks, but also provides lots of pounding organ and flute rippage, making for a bombastic prog bounty indeed, a catchy one as well. Presumably influenced by certain of the British progressive rock outfits of the day, such as the The Nice, Jethro Tull, and Mk1 Deep Purple, this gets heavier too, sounding at times not unlike Uriah Heep, but with flute! It's got it all, really: sunny pop balladry, groovy brass rock arrangements (a la Blood Sweat & Tears), jazzy moves too (including some scat singing in the midst of 11 minute epic album closer "Diary Of An Old Man"). And plenty of flat out flashy instrumental action, guitars organ drums and FLUTE all in full force, charging forth on the battlefield of rock like triumphant prog troopers.
Fits in well with some other prog obscurities we've recommended previously... Blast Furnace comes to mind, also Supersister, Tetragon, Bachdenkel, Culpeper's Orchard, etc. Once again, we're wowed by the wonders of the reissue realm. How many more bands like this can there be??
To be sure, 'cause of how poppy this is, it might not be for those ONLY looking for the super dark or weird - though some of the lyrics ARE rather strange, like ferinstance the line "Can't you tell me where black children come from, daddy?" from the song "Black Born Children". What's that about? Also, don't expect any conceptual side-long song suites here, no this ain't Yes, in fact by prog standards only one song (the aforementioned "Diary Of An Old Man") is a double digit epic, the rest stay within the normal temporal parameters of pop single radio play, 2-3 minutes or so. But if you like the lighter (though no less tighter) side of prog, then check this out. It can only be regretted that Waterloo's First Battle was their last. Although, this reissue buffs up the original record's ten tracks with six extra bonus cuts from post-album singles and such. And, the cd booklet provides an in-depth history of the band in the liner notes, including mention of 'em jamming with members of Magma at one point!
Obscure, awesome 1971 krautrock proto-metal reissued! And they're called Weed. Need we say more? As always, we will say more, 'cause we've got to mention that the heavy electric organ bombast on this album is cranked out by none other than Ken Hensley of Uriah Heep fame, over in Germany on vacation or something. He appears here under the fairly transparent pseudonym of "Ken Lesley"! Having mentioned that, we realize we should probably review some actual Uriah Heep albums on our site one of these days, but this did just get reissued so we're writing about it now. (Sooner or later we will write up some Heep, but suffice to say that their first five albums RULE, circa '70-'73, though they go downhill pretty steeply after that. If you dig Deep Purple and haven't checked out the early Heep, you should.)
Anyway, back to Weed. Thanks to Hensley/Lesley, they DO sound a bit like Uriah Heep, especially on the killer opener "Sweet Morning Light". Despite (sarcastic?) lyrics about "sun shining bright, on everything in sight" and other seemingly positive things, the singer's depressed delivery and the downer dirginess of the heavy, groovy music creates a much darker, doomier mood! It's kinda brilliant, that contrast. Elsewhere, this album features the more mellow, melancholic acoustic balladry of "Loney Ship", one blues rocker, "Slowin' Down", and several other sorts of organ-ornate melodic kraut prog jams. It ends with another heavy highlight, the song "Weed" itself, the album's longest track at 7:14. And it's an instrumental. With a crunching, exceedingly Sabbathy main riff, or is it Led Zep? Kicks ass anyways. For the first and last tracks alone, this disc is something anyone interested in proto-doom should hear.
Also, Weed should get some sort of award as one of the earliest overt "stoner rock" bands ever, just based on their name, right? Them and Leafhound.
When is the (mostly) one man project of one Lars Pederson, who has been recording as When for almost 20 years now. This two disc collection (released on Garm from Ulver's Jester label) gathers songs and pieces and parts spanning When's entire existence. From
We make a LOT of things "highlights" on our list, you've doubtless noticed. So, what if we separated out a special section of MEGA-highlights? We're not gonna, but if we did, this would definitely be one of this list's MEGA-highlights, indeed. Our pal Brian from WFMU turned us on to this band a while back. So we were stoked to finally see a (vinyl-only) reissue now! Why so excited? 'Cause this oddly named band from Toledo, Ohio made one of the odder, yet enjoyable heavy metal rarities we've ever heard, this their only album, originally released in 1980. Well, it's nominally "heavy metal", though at times it's a bit like Devo doing heavy metal, with geeky sci-fi new wave inflections (as on "Sector 387"). At other times, it sounds more '60s and psychedelic, in fact psychedelic enough to get a review in that Acid Archives tome we just listed. Really White Boy and The Average Rat Band ought to appeal to anyone into the stranger side of late '70s hard rock, post-punk, proto-metal, poverty grind.
It all begins with a shimmering synth "Prelude", then... "Neon Warriors"! A tumble of drums, followed by a rapidfire, flash-rockin', fuzzed out riff onslaught, kinda like a low-budget Judas Priest. Oh yeah, that's the other thing, there's an ass-ton of FUZZ on here. Probably that's how they wound up in Acid Archives. "Maybe I'm A Fool" sounds more like Motorhead... sorta... then "The Prophet Song" harks back to Hendrix... and they even do a weird, broken down acoustic blues jam instrumental called "Blue Moon" before the record's over. Both rockin', and bizarre enough, to make both the AQ and WFMU warped hit parade for sure. Heck, they were basically making NWOFHM music (a la Steel Mammoth and Krypt Axeripper) long before those Finns came up with the idea. Or, imagine early Manilla Road meets George Brigman, maybe... Also probably for fans of Zolar-X, Todd Tamanend Clark, and the Happy Dragon-Band, amongst other eccentrics. Though this IS more metal than those. Closest perhaps to the likes of Dwarr, not that there's much like Dwarr.
This reissue on Roach is limited to 400 copies, by the way.
In case you missed it on our Record Store Day "in-between list" last Friday... but these are going fast! At this rate, gone within the week, if not sooner...
Last year - or maybe it was the year before - we told ourselves, hey, Record Store Day is awesome and all, but what would make it even more awesome? Maybe if we had our OWN release for Record Store Day! Something that, then, we could make sure our devoted mailorder customers wouldn't miss out on, also something that we could be absolutely sure we'd have, utterly unique to our store, amidst the chaos and uncertainty of all the other RSD releases.
So, this year, we did it! With the help of our good friends, Brooklyn's psychedelic space rockers extraordinare, you know 'em, you love 'em, White Hills. As those of you who live here in San Francisco may remember, White Hills brought their spaced out sounds to aQuarius for a fantastic instore on October 1st, 2010. Actually, they performed under the somewhat obvious pseudonym Black Valleys ('cause the venue they were playing that same night didn't want them doing another show the same day). In any case, their "Black Valleys" set turned out to be quite a bit different than an "ordinary" White Hills performance, being a drumless, droned-out duo performance specifically tailored to our space, trying (though probably failing!) to keep the volume low enough not to disturb our neighbors... but still hypnotizing us all with their nonetheless heavy sounds. The show was recorded, and it turned out GREAT.
Over a half hour long, the first few minutes of which are filled with shimmering, pretty pulsations and subtle sonic textures, as if this was the White Hills' version of Pop Ambient. It's both mesmeric and miasmic... Eventually waves of grinding fuzz enter the scene, and this slow building sonic juggernaut of throb and drone and drift takes on more massive proportions, propelled by what we can only say are almost ghostly riffs, giving this something of an Earth 2 vibe. We could go on and on, but somehow don't think we need to, since we know what White Hills fans are like (and you're all White Hills fans, right?).
So, digging the recording, White Hills gave us the go-ahead to release it as a special limited edition cd, for Record Store Day this year. And boy are we stoked.
LIMITED TO 300 hand-numbered copies, packaged in slim, dvd-style cases, with cool Op-Art inspired cover graphics by our pal Nathan Berlinguette, printed in black on fancy silvery paper. NOT sold in stores - except for ours!
NYC's White Hills blew us away last year with a bunch of limited edition, Julian Cope-approved cd-r releases documenting their mesmeric, motorik, heavy, and very Hawkwindy space rock sound. We're now very pleased to have their new full-length album in stock -- and it's a real cd, even though the (cool-looking) digipack it's contained within appears hand-assembled.
This time around, we are initially given the impression that White Hills has decided to mix it up a little, branching off into a more musicianly, refined post-rock realm rather than sticking entirely to the amplification n' effects laden, cosmic droneout krautrockishness set-the-controls ROCK of their cd-rs. Certainly there's more dynamics here, more ambient/acoustic interludes, lots of really pretty, even poppy bits. But what about the heavy hypnotic headnodders? They're here too, don't worry! Fans of Hawkwind, Neu!, Braindonor, Spacemen Three, Comets On Fire, Kinski, Titan, Pharaoh Overlord, etc. will certainly dig the likes of "Love Serve Remember" (which weirdly reminds us of the Painteens) and the distorted, psychedelic, jamming excess of the nearly 15 minute long album-closing title track, among others here. This new White Hills is perhaps more nuanced in some ways than their prior output, but any newfound delicacy hasn't dimmed the drugged dementia of the louder portions of this disc and they've always had their wonderfully blissful side anyway, so we're quite happy with their "progress"!
We'd been hearing good things about this band for ages. Someone we know was raving about 'em, and they also had the recommendation of Julian Cope... But we were having some difficulty tracking down the band, or a way to get their record for the store. Until an insane bit of coincidence / serendipity. In walked one Dave Weinberg, who a decade earlier had been Andee's boss at Holey Bagel in Noe Valley, across the street from the old aQuarius (back when Andee had time for two jobs). He had copies of a cd by his band, and what do you know? Dave's band just so happened to be White Hills! Wow. Thus we managed to get 30 or so copies of the second pressing of the No Game To Play cd-r (the first pressing is long out of print, as is the alternate version, which was drastically remixed, resequenced and retitled They've Got Blood Like We've Got Blood and released on Cope's Fuck Off And Di cd-r label) and it's just as good as we had hoped. In a word, SPACEROCK. Or if you prefer, two words. Either way, this is some seriously tripped out swirling cosmic proggy, krautrock flecked, keyboard drenched outer outer outer space rock. Think just the jams from all the best Hawkwind songs, or the dreamiest mellowest bits of your favorite Monster Magnet tracks. Mix in some Neu! and some Faust and even some Stereolab at times and you'll just be scratching the surface of White Hills' sound. The opening track is a grungy, lowslung garagey drug addled space rock stomp, think the Stooges dropping acid until they started drifting off and began to sound more like Hawkwind, a killer hypnotic riff, a simple shuffling drum beat, mumbled vocals buried in the mix, and a swirling squall of wigged out guitars and all manner of synthesizer squiggle and swoon. It sounds quite a bit like Circle too, that riff just repeating and repeating, mantra like, a super tranced out rock that you want to go on forever. The centerpiece of the record is definitely "They've Got Blood Like We've Got Blood", a near static synth swirl over a shuffling tribal rhythm, while guitars just sort of drift and float lazily amidst the whir and drone. Sounds a little bit like Brian Eno jamming with Crash Worship while somebody goes apeshit in the background on the synths. A gloriously mesmerizing hypnorock. Then a brief blast of straight up blown out, super distorted Neu! worship before the drifting ambient closer "Ulan", an abstract synthesizer soundscape that sounds like some lost Tangerine Dream jam. Blissy and totally dreamlike.
This is supposedly the final pressing, limited to 222 copies.
Psssst! White Hills fans!! Good news. We just got a few of the limited edition disc, Oddity II: Night Scene On Mill Mountain, "a collection of out-of-print and previously unreleased tracks" that was previously only available inside copies of the bands' 2011 cd Hp-1 purchased at Rough Trade shops over in England. At the time, we were bummed, why should only the Brits be able to get this quite desirable bonus goodie? Don't the White Hills love America?? Well, while they last, we now have these available to fans of the beloved Brooklyn psych band wherever you may be. Since it's supposed to slip right into the gatefold sleeve of the Hp-1 cd you (presumably) already have, these don't have much in the way of packaging, you just get a disc in a plain white sleeve. What's important, is what's on the disc, let's quote what it says here: "three Untitled Synth Experiments, the full-length alternative mix of BE YOURSELF from the Hawkwind Trilogy project, HEADS ON FIRE (outtake from the S/T LP), a recent Untitled Jam, and the full-length remix of NO GAME TO PLAY that appeared on the Fuck Off & Di release They've Got Blood Like We've Got Blood. Over 50 minutes of music for your listening pleasure!"
Pleasure indeed. Heck, this would be worth it just for the 27+ minute "No Game To Play" remix, probably the track, with its mantric chug, that first got us the most into White Hills back in their cd-r daze...
Back on list 126, I (Allan) wrote about my belated discovery of the greatness that is Wishbone Ash's self-titled 1970 debut. Well, now it's about time to follow that up with a rave review of another Wishbone Ash record, this being the newly remastered and expanded edition of their third album, 1972's "Argus". Giving this a few listens, I've come to the conclusion that while their first album is certainly somewhat more of a "heavy rock" outing (think Cream meets Thin Lizzy), "Argus" is equally great, and is actually destined to be one of my ALL TIME favorite albums! Seriously, I'm becoming kinda obsessed with listening to this, with its absolutely gorgeous, gentle melodies and its extended instrumental workouts. Some internet investigation reveals that I'm not alone -- this record is in fact considered by many fans to be Wishbone Ash's absolute masterpiece. They just got everything right on this release, from the evocative cover photo of an ancient sentry to the achingly beautiful, stirring music. I can't get enough of the three-part vocal harmonies, the dual guitar leads, or the melancholic power of the riffs. Favorite tracks include the beautiful British folk of "Leaf And Stream", the anthemic "Warrior", and the shoulda-been-a-pop-hit "Sometime World". The whole album has a timeless vibe. Maybe you could call their style "rural progressive" rock? It's melodic, mystical and complex in ways that make it sound simple.
In addition to being remastered, this new 30th anniversary edition includes three bonus tracks: the entire "Live From Memphis" promo-only EP. These live-on-the-radio versions of "Phoenix" (from their debut) and "Jail Bait" and "The Pilgrim" (from their second album, "Pilgrimage") add another half-hour to the disc, being even more jammed-out and epic than the original studio cuts! So even if you already have the old cd of "Argus", you should consider replacing it with this disc, these bonus tracks are worth it! The loud-soft dynamics and interlocking instrumental loveliness of the live "Pilgrim" are positively 'post-rock', but better of course.
Truly 'classic' rock that needs to be rediscovered. My advice for this week: pick up that new Champs album, and order a copy of this as well. You'll be set for a while then!
Oh man. The third album from the Swedish prog/psych/doom wizards Witchcraft is finally here. We can barely contain ourselves. They say third time's the charm, and of course with Witchcraft it can't help but being so, since the first two times were charmed as well. This band's debut destroyed us with its incredibly authentic retro Pentagram/Sabbath stylings, with lashings of flute and folkiness too. Their second album, Firewood, captivated us with an equally early '70s heavy progressive vibe. Now The Alchemist succeeds at giving us what we want from Witchcraft -and- pushing further into the realm of melodic, folky proggy rock that stands on its own far beyond being a mere tribute to its '70s ancestors.
Guitarist/singer Magnus Pelander and his band Witchcraft have pretty much proved that the old adage "they don't make 'em like they used to" isn't always true. Witchcraft sure as hell does. That it's 2007 not 1972 isn't evident from anything on here, though it sounds as fresh as a daisy at the same time. These guys are so old school analog you halfway expect that their cd would be made out of black plastic and have visible grooves in it. We certainly could imagine some DJ's looking for breaks wanting this on vinyl real bad, you could do some badass hiphop mix with parts of "Remembered" ferinstance. Bet Andy Votel digs this band. Totally sounds like they could have gotten a deal with his favorite progressive record label back in the day (that'd be the famed Vertigo) had Witchcraft really existed in the '70s... certainly the inclusion of the sax solo (yes, a sax solo!) at the end of "Remembered" helps make it sound like something from an old Vertigo LP! Elsewhere Witchcraft get super sweet and gentle, or break out the heavy riffs Sabbath style (like you'd expect -- Sabbath originally being a Vertigo band y'know) in a blend we can't help but love.
Magnus' emotive, melodic vocals are so crucial here, one of this record's shining strengths. He still sounds a bit like a Swedish-accented Ozzy, yet with a graceful finesse, belting it out expressively or crooning with lilting loveliness. His vocals are matched by the absolutely powerful and gorgeous guitarwork throughout the disc. This album sweeps us off our feet immediately with the instant-classic opener "Walk Between The Lines", which is followed by a re-recorded version of the A-side of last year's 7" single, "If Crimson Was Your Colour", an urgent, witchy rocker embellished with some tasty Moog licks. Then there's the loping "Leva", which though Magnus sings it in Swedish, still goes straight to our soul. The Sabbath factor is ratcheted up on "Hey Doctor", a lumbering doom-riffed downer lamentation/accusation. The next track, "Samaritan Burden" combines the heavy riffs with a mellower mood and more acoustic-y moments, masterfully structured. It's followed by the aforementioned "Remembered", definitely an album-standout that's so '70s in so many ways that pretty much only Witchcraft could have done it in this day and age. And then, speaking of standouts, comes the nearly 15 minute long title track, "The Alchemist"! We'll omit description other than to say it's of course an epic mindblower, closing the album with magnificent, mesmeric, proggier than thou flourish.
Definitely a Top 10 Best of 2007 album. We'd have made it Record Of The Week, but what we've got here is the somewhat pricier Japanese import edition (the domestic version is due out towards the end of the month), with a Japan-only bonus track added on at the end, "Sweet Honey Pie", a lovely, acoustic little number. Not sure when/if we'll get more, so we were wary about giving it pole position. But with or without bonus track, it's an AMAZING new effort from this fantastic band, highly recommended. Seriously, we'd have been happy taking all day to write this review, just 'cause we love listening to this album so much.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Oh man. The third album from the Swedish prog/psych/doom wizards Witchcraft is finally here. We can barely contain ourselves. They say third time's the charm, and of course with Witchcraft it can't help but being so, since the first two times were charmed as well. This band's debut destroyed us with its incredibly authentic retro Pentagram/Sabbath stylings, with lashings of flute and folkiness too. Their second album, Firewood, captivated us with an equally early '70s heavy progressive vibe. Now The Alchemist succeeds at giving us what we want from Witchcraft -and- pushing further into the realm of melodic, folky proggy rock that stands on its own far beyond being a mere tribute to its '70s ancestors.
Guitarist/singer Magnus Pelander and his band Witchcraft have pretty much proved that the old adage "they don't make 'em like they used to" isn't always true. Witchcraft sure as hell does. That it's 2007 not 1972 isn't evident from anything on here, though it sounds as fresh as a daisy at the same time. These guys are so old school analog you halfway expect that their cd would be made out of black plastic and have visible grooves in it. We certainly could imagine some DJ's looking for breaks wanting this on vinyl real bad, you could do some badass hiphop mix with parts of "Remembered" ferinstance. Bet Andy Votel digs this band. Totally sounds like they could have gotten a deal with his favorite progressive record label back in the day (that'd be the famed Vertigo) had Witchcraft really existed in the '70s... certainly the inclusion of the sax solo (yes, a sax solo!) at the end of "Remembered" helps make it sound like something from an old Vertigo LP! Elsewhere Witchcraft get super sweet and gentle, or break out the heavy riffs Sabbath style (like you'd expect -- Sabbath originally being a Vertigo band y'know) in a blend we can't help but love.
Magnus' emotive, melodic vocals are so crucial here, one of this record's shining strengths. He still sounds a bit like a Swedish-accented Ozzy, yet with a graceful finesse, belting it out expressively or crooning with lilting loveliness. His vocals are matched by the absolutely powerful and gorgeous guitarwork throughout the disc. This album sweeps us off our feet immediately with the instant-classic opener "Walk Between The Lines", which is followed by a re-recorded version of the A-side of last year's 7" single, "If Crimson Was Your Colour", an urgent, witchy rocker embellished with some tasty Moog licks. Then there's the loping "Leva", which though Magnus sings it in Swedish, still goes straight to our soul. The Sabbath factor is ratcheted up on "Hey Doctor", a lumbering doom-riffed downer lamentation/accusation. The next track, "Samaritan Burden" combines the heavy riffs with a mellower mood and more acoustic-y moments, masterfully structured. It's followed by the aforementioned "Remembered", definitely an album-standout that's so '70s in so many ways that pretty much only Witchcraft could have done it in this day and age. And then, speaking of standouts, comes the nearly 15 minute long title track, "The Alchemist"! We'll omit description other than to say it's of course an epic mindblower, closing the album with magnificent, mesmeric, proggier than thou flourish.
Definitely a Top 10 Best of 2007 album. We'd have made it Record Of The Week, but what we've got here is the somewhat pricier Japanese import edition (the domestic version is due out towards the end of the month), with a Japan-only bonus track added on at the end, "Sweet Honey Pie", a lovely, acoustic little number. Not sure when/if we'll get more, so we were wary about giving it pole position. But with or without bonus track, it's an AMAZING new effort from this fantastic band, highly recommended. Seriously, we'd have been happy taking all day to write this review, just 'cause we love listening to this album so much.
PERHAPS THEE BEST '70s-INSPIRED DOOM ALBUM EVER. Can't put it any plainer. This is sooo authentically old sounding, and sooo good. Sweden's Witchcraft have delved into the past through seemingly mystical means and come up with a masterpiece that sounds like it was recorded by some genius yet unknown downer-rock contemporary of Black Sabbath or Pentagram back in 1972. In a blindfold test, anyone into '70s heavy rock would be fooled for sure. Doomy retro-proto-metal full of heart-wrenching atmosphere, killer riffs, and melodic hooks galore. The mastermind behind Witchcraft, guitarist/vocalist Magnus Pellander, is obviously HUGELY into heavy '70s psych/prog rock. Doubtless he's got an extensive record collection with well-worn albums by Sabbath and a host of more obscure bands like Dust, Captain Beyond, November, Toad, Jerusalem, etc... But unlike so many other record collectors, instead of spending his time making want lists and grading LPs, Magnus *listened* to 'em, then went into the studio and wrote songs as good or BETTER than pretty much anything on those collector's platters. Literally, inspired stuff. As modern-day but '70s sounding records go, maybe only that Elope record we reviewed recently could compare in convincing us it was recorded thirty years ago -- imagine that album with heavier, fuzzier guitars and more melancholic vibrations. (Another one would be The Want album Southern Lord released a few years ago).
So we were super thrilled to hear that this band was putting out a full-length. And apparently other folks were too, 'cuz we've already sold a bunch of these in the store before even reviewing it! Kinda weird, since their only previous release, a 7" single paying tribute to two of Witchcraft main man Magnus Pelander's big heroes, Roky Erickson of the 13th Floor Elevators and Pentagram's Bobby Liebling, was a hard to find, import-only release (both tracks from which are included here, along with an obscure Pentagram cover making Witchcraft's love of Liebling even more obvious). On the strength of that single, though (and the few singles and compilation tracks recorded by Magnus's previous band, Norrsken), our anticipation for Witchcraft's debut album ran high. Well, as you've already gathered, we're even more thrilled to say that it more than lives up to our expectations! We have a handful of copies of the import vinyl as well, which includes a bonus track (another Pentagram cover).
Say revery shoddy, Blizzard Trifle fizz rack!!! Err... Sorry, what we meant to say is: Hey everybody, Wizard Rifle is back!!! Excuse us, it's just a very disorienting experience listening to this band, and things like logic and language tend to lose all meaning. But of course, anyone familiar with these Portland-spawned nutjobs first record Speak Loudly Say Nothing (which we rightly raved about when it came out) knows the sweaty shaky delirium that comes with Wizard Rifle's gonzo progged out noise rockin' math metal, and this record certainly shows the band in no danger of relenting in their sonic/psychological assault. In fact if anything, Here In The Deadlights might find them in an even more venomous, aggressive and ultimately metal mode. And possibly even a little more, dare we say... serious?? Sure, there are still song titles like "Buzzsaw Babes" and "Paul the Sky Tyrant", but there's also a consistent rumble of dissonant dread running across this record's five tracks, as well a genuinely frightening and twisted fury that brings to mind the aggro-avant-heaviness of early Mastodon and Today Is The Day (whose new album we've reviewed elsewhere on this list!). Across the album's relatively brief running time there are also hints of Sabbathian stoned out dirges, apocalyptic Neurosisian tribalisms, High On Fire-ish ale-soaked riffery, and Botch-esque teched out hardcore wizardry. But it's a blink and you'll miss it affair, as the songs seem to speed by in a whiplash blur of incomprehensible time signatures, while at the same time the band's use of repetition can induce a sort of hypnotic fever-trance, like being pumped full of morphine while someone shakes you by the shoulders and screams in your face for half an hour straight. Like we said... a disorienting experience! But one you'll want to experience again as soon as this record's over...
Vinyl version upcoming soon, btw.
Well, heck this is a no-brainer, gotta be stoked by this, considering that we highlighted Wooden Stake's debut ep Vampire Plague Exorcism last list, and made Blizaro's recent full-length City Of The Living Nightmare a Record Of The Week not long before that too! Obviously, eagerly awaited, so Hail Satan it's here already - the split release that sees these horror lovin' lunatics together on one cd with exclusive new material. First up, there's the deathly, doomed-out duo Wooden Stake, one of the heaviest and gnarliest of the current wave of female fronted "occult rock" acts a la Jex Thoth and The Devil's Blood; followed by (mostly) one-man band Blizaro, who continues to channel the sinister soundtracks of Italian giallo film through a psychedelic, DIY doom metal prism. Totaling five songs, 43 minutes (two tracks, 14'44" of Wooden Stake; three tracks, 27'53" of Blizaro) this disc is a delirious dose of underground doom weirdness indeed.
Wooden Stake gallop into view with "Death Reads The Black Tarot", Vanessa Nocera's witchy wail leading the charge, somberly supported by the rumbling riffage and bashing battery of Wayne Sarantopoulos (aka drummer Elektrokutioner, of Decrepitaph, Father Befouled, and Encoffination infamy, among others). Their other offering, "The Legend Of Blood Castle" is equally grim and gruesome, the Blood Castle practically coagulating around your ears as you listen to its legend...
Then the balance of the disc is given over to the bizarre progged-out rites of Blizaro, conducted via copious quantities of lumbering bass heavy trudge, psychotic vox, and psychedelic six string freakout. The tracks "Night Fumes" and "Edgar's Blood" are both about one half maniac metal chuggery, one half ominous church organ atmospheres, with a bit more melody on the metal side of the equation with regards to the latter. And then Blizaro winds things up with the calm yet creepy synth soundscape, "Final Escape/Zombie Feast", a Moog-laden mood piece. Nice!
Limited edition release, never to be repressed, FYI.
All right! More seemingly time-lost but actually quite contemporary psych-rock from the musical wizards that populate Sweden, a mystical land seemingly teeming with talented retro-rockers such as Elope and Dungen. Not only are The Works on the same label as (the now exceedingly and deservedly popular) Dungen, but members of Dungen and The Works have played in each other's bands, one of the Works playing live on tour with Dungen, while Dungen folks guest on this debut cd from The Works. But they don't sound exactly alike, of course -- this is less rustic, less folky than Dungen, more proggy, more bombastic. And The Works sing in English. But there ARE flutes. Along with spacey, symphonic washes of keyboards, organ, and Mellotron. Of course Mellotron. These guys are called The Works after all, and they're not gonna leave out anything that'll give 'em that authentic '60s/'70s psych-prog vibe! They certainly share some influences with Dungen but have other obvious ones of their own as well... listening to this, we mentally checked off the following as probable influences and/or possible comparisons: Pink Floyd, Sgt. Pepper's, Yes, Pugh Rogefeldt, The Who, Olivia Tremor Control, and Radiohead circa OK Computer. The latter especially really seems to surface as the album progresses, actually. We won't say this destroyed us quite like Dungen did, but for a modern day, backwards-glancing psych-prog-pop piece it's quite nice indeed!
Inspired perhaps by that brief moment in 1968 when Black Sabbath's Tony Iommi was a member of Jethro Tull, German throwback psychedelic blues rockers Wucan specialize in bellbottomed HEAVY FLUTE JAMS MAN!!!!!! Or wo-man. 'Cause Wucan is one of those female fronted retro-proto-metal bands that are so happenin' today. Female-fronted (she sings, in English and German, and is the one playing the flute) but not as "occult" as a lot of the other groups that have jumped on this particular bandwagon (a bandwagon we aren't at all opposed to, by the way). They've got the flute and the tough heavy fuzz riffs, but Wucan's jams come to reveal more of a funky/groovy vibe rather than a witchy one. And they bring in some of their trippy native krautrock heritage, as well (being German they also think it's ok to use the punning song title "Face In The Kraut" on here), wrapping things up with the 15+ minute "Wandersmann" filled with blues licks and lotsa spacey, freaky FX, choogling along, space truckin' all the way far out. So stuff here for Blood Ceremony fans and Acid Mothers Temple types too.
A Danish prog / power metal band named for Emily Bronte's classic gothic novel? Scoff if you must, but much like their last record The Shadow Cabinet, Salt is another classic chunk of over the top, epic, folk-flecked power metal. As we've mentioned before, the true test of a record is the 'why do you like it' test, where when you hear a song, or a record, without any knowledge of who it is, and thus no preconceived notions, you're forced to decide based simply on the sounds. Which is why at aQ, if we ever ask another employee what's playing, we can expect the response 'Why? Do you like it?' Which has most definitely resulted in someone claiming that yes, they do indeed like something, only to discover, that it was something they hated, or at least thought they hated.
Well, one of us was in a record store in another country, and Wuthering Heights was playing, the whole record, and it was incredible, enough that it was quickly purchased, and then obsessed over, which also meant returning home and buying EVERY record these guys ever made.
So we were pretty thrilled to discover a brand new Wuthering Heights, and we're happy to report it's just as great, bombastic, epic, majestic, over the top, like power metal should be. But Wuthering Heights definitely do their own thing, sure there's nimble super technical leads, wild rapidfire chugging guitars, soaring super dramatic Iron Maiden style vocals, but WH slip into strange folky breakdowns, breakdowns that often continue right on into the heavy bits, resulting in blasting portions of heaviness, that almost sound like super charged folk music, or death metal jigs or black metal polka... As if that weren't enough, they're also super proggy, with tons of parts, complicated arrangements, and they do all this while crafting super catchy songs. Obviously if you're into groups like Lost Horizon, Blind Guardian, Hammerfall, and other power metal purveyors, then this is right up your alley, but if you're into classic metal, epic and heavy, with killer vox and lots of solos, this might be worth checking out. And again, for power metal, this stuff is pretty weird, and thus we find ourselves digging this big time!
Some time ago (in the fall of 2006) our Andee took a trip to Japan. When he was there, he happened to visit a few (ok, many) record stores. In one of 'em, there was some amazingly epic power metal music playing. Andee and his travel buddy Josh both were instantly intrigued. It was like, the best thing they'd ever heard. Turned out it was a Danish prog-metal band called, believe it or not, Wuthering Heights. Andee bought a copy immediately. Josh too. When Andee got back to the States, Wuthering Heights was one of the "finds" that he gloated about, though his pleasure in doing so was tempered by the fact that mere weeks later, a (much cheaper) domestic USA version was released, with an entire bonus DVD disc added on! (The dvd featuring a live performance at the ProgPower USA fest in '04.)
This is that cd, and dvd. Andee can chalk up the extra expense of the Japanese version he got as going towards the greater good of finding out about this so we can share it with all of you... Stirring, sweeping, truly powerful power metal played with virtuoso precision, blazing away at 100mph, the speed taking nothing away from their grandiose, folky melodies. And best of all, the vocals. Nils Patrik Johansson has a commanding voice, his soaring singing with a rough edge that reminds us a lot of Ronnie James Dio himself!
So, technically superb. And Wuthering Heights are also eccentric and individual enough (with their proggy/folky parts), conjuring their own fantastic world, to stand apart from the generic Euro power metal hordes. And plus, they kick ass. Heck they're even unafraid of some harsh guitar skree now and then. Definitely worthy, on the strength of this album at any rate, to join the manly vanguard of the non-cheesy (ok, slightly cheesy) and less-generic Euro power metal hordes alongside the likes of AQ faves Blind Guardian, Falconer, and Lost Horizon (RIP).
