We first heard the Golden Ring on the amazing compilation Raks Raks Raks: 17 Golden Garage Psych Nuggets From The Iranian 60's Scene, and we knew we had to hear more, and just like that, a collection of 7"s and assorted tracks from the band that was one of the first and most important Iranian garage bands, mixing traditional Iranian music and instrumentation with Western pop of the time, like the Beatles, the results were mindblowing, totally ahead of their time, even know these songs sound incredible, catchy and groovy, but also totally psychedelic and mysterious.
The band never recorded a proper album, which makes this collection all the more amazing, every track here rules, it's a wonder this wasn't reissued ages ago. This is head and shoulders above much of the stuff that gets touted as lost classics.
The collection begins with "Tulip" that sounds like it could have been a Joe Meek production, in fact much of this record had us thinking it could have been a made up band masterminded by Meek, it's that far out, and that brilliant. "Tulip" adds swirling organ to twangy surf guitars, definitely offering a nod, intentional or otherwise to the Telstars, but it's track two where things get really good.
"Beauty" begins with tinkling melodies, and Bollywood like vocals, the sound swirling and definitely psychedelic, very dynamic and groovy, but them in come soaring operatic female vocals, and did we mention the stop start breakdown complete with whistling, so good, so totally classic, but at the same time, so unlike any of the other vintage garage rock we've heard.
And so it goes, much of the record is definitely very Middle Eastern sounding, almost like Iranian folk music given a garage makeover, the Beatles influence is definitely all over the place, as is plenty of whistling, and more of that swirly organ, the production is fantastic, lush, but definitely experimental, there's harmonica, giving those tracks a twangy Morricone vibe, there are dizzying organ driven rockers, the sound murky and washed out, the melodies tangled and weirdly atonal, there are some parts that sound very Bollywood, others just sound totally far out.
"Sun Full Moon" is a favorite, the whole song warped and warbly, guitars bending and swerving, the harmonicas practically melting, it sounds like the pitch is constantly shifting, like a mistake in mastering, but the result is super tripped out and amazing. This whole collection is just fantastic, hard to work on the list cuz this is pretty much all we want to listen to. Totally recommended.
This super duper group stars Wilco's Jeff Tweedy, Dan Murphy of Soul Asylum, Run Westy Run singer Kraig Johnson, and The Jayhawks' Gary Louris and Marc Perlman. It's taken the gents eight long years to get another album together. You might recall their last one the casually patchy Weird Tales came out back in 1998. Another Fine Day is their third full length, a generous fifteen song serving of Golden Smog. It starts out as pretty much by the books country rock. That's all fine and dandy enough, but on the fifth song the band throws the listener a great curve ball. "Corvette" is an unexpectedly lightning bolt of power pop (uh, we just found out that it was originally written for an actual Corvette commercial... sigh.). The vocals for this one tune sound charmingly like Guided By Voices' Robert Pollard. We hit repeat on that one a bunch of times. It's a perfect mixtape tune. The follow-up ain't no slouch either. It's a gentle psych rock number reminiscent of Bowie and Bolan that starts out with a willowy instrumental intro. Nice! From there the album continues it's pleasingly varied path from the sweet pretty pop of "Cure For This" to the considerably grittier electric guitar riffin' of "Hurricane". Despite Golden Smog being a side project for many of its members, they've assembled a very dedicated, fleshed out, un-side project-y album. Recommended.
Record number two from these Midwestern dronelords, with some loose connection to black ambient soundscapers Locrian, even if it doesn't go much beyond playing together and living in the same city. That said, if you dug the Locrian record from a few lists back, odds are you'll dig this to.
There's no black metal woven into the Golden Sores' sound, instead they offer up more of a spaced out krautdrone, ethereral, ephemeral, but somehow still dense and thick and HEAVY. Not sure what the instrumentation is, we'd like to think there are some guitars in there, but it hardly matters, it's what comes out of the speakers that matters, not what goes onto the tape. And what is coming out of our speakers right now is some gloriously heavy, throbbing, pulsating buzzing psychedelic dronemusick. The first track is just some totally divine spaced out new age kosmiche drone, the second is a wall of crumbling blown out distorted buzz, like taking the primordial ooze of Earth or Sunn, and hurling it into the heart of a dying star. The tracks shift after that from deep cavernous rumbles, to billowing clouds of blackened shimmer, to muted snarling buzzscapes, to glimmering outer space druggy drifts, and finally, to a gorgeously sprawling expanse of low end throb, crank the bass on your stereo and you'll have things vibrating right off your shelves, a sound so phsyical, after it's over, merely hearing music without actually feeling it, barely seems like enough.
Definitive deep drone listening for sure, recommended for those of you who gravitate toward the heavier, spacier side of the low end spectrum, as previously explored by the likes of Expo 70, Locrian, Vulture Club, Fear Falls Burning, RST, To Blacken The Pages, Karl Bosmann, Pussygutt and the like.
The last Fresh & Onlys full length was probably our favorite so far, but this SF garage pop combo don't seem to show any signs of letting up. Two new tracks, more of the same, big drums, jangly guitars, lush reverbed vocals, male and female, harmonies, hooks galore, total sweet sixties pop filtered through the more fuzzy blown out lo-if garage of today, few do it better, a little Kinks, a little Beatles, a lot of crunch and shimmer and shuffle and soar. Surfy, garage-y, hazy and washed out and summery and so goddamn catchy.
Teamed up with the F&O's here are Golden Triangle, hyped as the next big thing, we weren't super into their recent full length, but these two tracks have us reconsidering our position.
Fuzzy, crunchy riffs, sixties girl group vox, definitely fits perfectly alongside the current crop of 'Girls (Dum Dum, Vivian, etc.), but with way more of an eighties post-punk vibe, especially on the second track, with its chiming guitars, jungly tribal rhythm, two chord chug, and animal sounds. Cool!
Well, you know we're fans of this band!! We hosted a fun party here last week for the release of this new album (their 2nd) and in 201X we made their self-titled debut a Record Of The Week - this one really coulda been too, as Golden Void make Records Of This Or Any Other Week, really, as far as we're concerned. We've been in love with them ever since their first single came out on Valley King. Just, y'know, dang good stuff if you like heavy rock and psych music. If'n you don't know, Golden Void is a Bay Area band featuring members of both stellar psych squads Assemble Head In Sunburst Sound and Earthless, in particular showcasing the considerable talents of guitarist/vocalist Isaiah Mitchell, who takes the endless jamming / soloing style of his instrumental power trio Earthless and, without taming his searing solos entirely, puts 'em to use in a much more, let's say 'catchy song oriented', classic rock (that you somehow never heard before) format.
The magic is maintained on this sophomore outing, Golden Void again shining forth with their brand of mellow heaviness, very 'Cali', with vibes for miles, hooky and hypnotic, swinging and stonery, their loping grooves laced with achingly incandescent guitar soloing from Mr. Mitchell - though the rest of the band are no slouches either and keep up their end too amidst his astral-travellin' guitar forays. Lots of dreamy melody is the order of the day, the laid-back vocals a big part of the appeal, Isaiah's singing blending nicely with the backing vocals provided by keyboardist Camilla. They also riff it up quite heavily when they wanna, the band not lacking in power.
When we saw 'em play The Chapel here on Valencia Street last weekend, the day after the party, they had an old school liquid light show behind 'em, and they were perfect for it. Especially on numbers like (from this record) the super spaced out and mesmeric "Astral Plane", that one having a bit of Sufficiently Breathless era Captain Beyondness to it, we'd say. But the thing is, even though they were giving off that San Francisco ballroom, psychedelic '60s vibe, with the light show and all, and you could suppose the feel of something like Hendrix doing "All Along The Watchtower" sorta sums up where Golden Void are coming from, at the same time they're not throwback hippies, and this doesn't really seem like a retro affair, you know it's modern, it's got a different energy. Cool that they can make that work, sounding both so classic and current. Peeps into old Queens Of The Stone Age should check 'em out, also fans of Woods albums like Bend Beyond, if you haven't already. And of course anyone into classic old heavy psych rock with songs you that'll get stuck in your head, too!
So, once again, a winner. Golden Void rule. Wish we could party with them all the time, and whenever we spin their records, we feel like we are!
FYI, regarding the lp version, while they last we have a batch on some special colored vinyl that Thrill Jockey was nice enough to let us have.
One of our most anticipated releases for this year's Record Store Day was definitely this two song slab of heavy, seventies style, psychedelic space rock blissout from these former aQ Record Of The Weekers, fronted by Earthless axeman Isaiah Mitchell, along with Camilla Saufley-Mitchell from Assemble Head In Sunburst Sound and a couple other local rockers. And like on their self titled debut, the two tracks here find Golden Void channeling some serious classic psych rock sounds, swirling clouds of FX drenched guitar shreddery, draped over spidery reverby melodies, throbbing basslines, echo drenched vox, and stoned motorik rhythms that occasionally explode into wild flurries of chaotic bombast, heady and hypnotic, the A side here sounds like it could have been plucked right off their record proper, a little laid back, spaced out, druggy and drifty, slipping from hazy sun baked stoner rock to sixties/seventies style psychedelic jangle and back again, and of course the whole thing is teeming with killer guitarwork, crunch riffs, swirling atmosphere, and yeah, some kick ass soloing. The B side though is a whole 'nother story, the band seeming to ditch an semblance of song, in favor of total Hawkwind style endless space jam, from the get go, the band lock into a slow spiraling zoner spaceout, in fact, it fades in as if we're just joining a jam already in progress, and it plays out like that, the band filling up the whole side with one billowing cloud of bongsmoke psych shred freakout, the drums and bass locked into a woozy drift, while Mitchell basically unfurls a sky full of wild guitar tangle, the song smokes, but then smolders as it settles down into something broodier and more mellow and hypnotic, which is where it fades out, but we imagine the jam most likely went on way longer!!
This was as we mentioned, a Record Store Day release, so it's super limited and now out of print, we ordered extras so aQ list readers would get a shot, and were lucky enought to get a bunch, but they're going fast, and once we run out, we won't be able to get more.
Another supergroup / side project from kick ass 7" label Valley King, after a Carlton Melton single and a Sweet Apple single, came the ruling Nothing Like You 7" from Spiders, a new Swedish outfit that includes members of Graveyard and Witchcraft, now we have Golden Void, another new band, this one made up of members of San Diego shredders Earthless and Bay Area psychedelic stoners Assemble Head In Sunburst Sound, recorded right here in SF by Phil Manley (Trans Am, The Fucking Champs, etc.).
Golden Void's sound is SO kick ass and SO hits the spot, totally heavy, hooky, groovy stoner rock, big riffs, lots of organ, soaring vocals, and yeah, of course some seriously shredding leads, totally catchy, a modern take on some mix of all your teenage faves, Kiss, Thin Lizzy, Skynrd, just totally rocking, laced with plenty of psychedelic swirl, and a distinctly laid back classic rock vibe. Also reminds us a LOT of aQ stoner rock faves Freedom Hawk, the A side of this here single, might be THEE rocking jam of the summer. And we're thinking that when these guys come out with a full length, we might just have us a new favorite record...
LIMITED TO 500 COPIES!! Each cover beautifully silkscreened, hand numbered, and signed by the cover artist
We first heard Golden Void, via their debut single on local label Valley King, and were immediately blown away, so much so that we could pretty much only muster up a bunch of wild gushing to explain how much we loved it. It went like this:
"Golden Void's sound is SO kick ass and SO hits the spot, totally heavy, hooky, groovy stoner rock, big riffs, lots of organ, soaring vocals, and yeah, of course some seriously shredding leads, totally catchy, a modern take on some mix of all your teenage faves, Kiss, Thin Lizzy, Skynrd, just totally rocking, laced with plenty of psychedelic swirl, and a distinctly laid back classic rock vibe. Also reminds us a LOT of aQ stoner rock faces Freedom Hawk, the A side of this here single, might be THEE rocking jam of the summer. And we're thinking that when these guys come out with a full length, we might just have us a new favorite record..."
Well, we pretty much called it, cuz these guys DO have a new record, and it most absolutely IS our new favorite, in fact, we got a copy a while back, even though it only just came out, and it has to be one of THEE most played records in the store, by pretty much everyone here, and almost every time we played it, customers in the store had to find out what it was, and more often than not, ordered themselves a copy.
So yeah, Golden Void is the new band from Earthless' Isaiah Mitchell, along with Camilla Saufley-Mitchell (his wife?) from Assemble Head In Sunburst Sound, as well as few other locals, and they have come up with easily the best retro rock, heavy psych record of the year. In addition to the above mentioned outfits, we hear plenty of Captain Beyond, Ozzy era Sabbath, Blue Oyster Cult, even Witchcraft, the sound is heavy and hooky, the songs good enough to actually BE classic rock tunes, not just sounding like them, had this record come out in 1976, we'd be hearing this shit on classic rock radio non stop. Sun baked and blown out, more mellow than metallic, very California-esque in its vibe, a totally classic, vintage seventies sound, right down to the recording, and again, the songs. We can't tell you how many bands have the sound nailed but not the songs, but every track here is perfect, and impossibly catchy, the sort of songs you'll have stuck in your head forEVER.
"Art Of Invading" starts things off, organ driven proto metal psychedelic radness, wild drumming, the vocals bathed in reverb, the sound stone-y and heavy, super dynamic, and it is Mitchell's band after all, so plenty of super melodic, wildly shredding leads. "Virtue" cranks things up a notch, and weirdly reminds us of the sort of sound that aQ faves Malachai were conjuring up in the studio, super heavy, riffy, laid back vox, and hooks galore, and the drumming, holy shit, crazy busy, but perfect for the song, which leads directly into "Jetsun Dolma", the slow groover of the record, the psychedelic ballad, that has a bit of an Allman Brothers vibe, laced with woozy swirls of washed out organ, and killer wah guitar.
It's at this point that the record gets REALLY good. Even better than the first half. "Badlands" might be our most played song on the record, with its churning organ heavy groove, crazy catchy chorus, and killer proggy breakdown midsong. Then come the two tracks from the Valley King single, which along with "Badlands", are absolutely the perfect retro psych heavy rock one-two-three punch. "Shady Grove" is the band at their poppiest, and sort of Southern rockiest, such a goddamn great song, and the main melody, especially when Mitchell solos off of it, untouchable. And then there's "The Curve", which might be even poppier, but is also heavier, some of us hear Kiss like crazy, but a smarter, heavier, more psychedelic version of Kiss, more killer guitar harmonies, and probably the catchiest leads on the whole record. There's also the bluesy breakdown midsong, which is so seventies, Mitchell lacing it with all sorts of subtle guitar shreddery, and then the slow build back to the main riff, pretty much impossible to resist headbanging or air guitaring or BOTH.
Finally, the record finishes off with "Atlantis", which might be the most psychedelic of the bunch, with its slithery main melody, and washed out vocals, the whole thing hazy and tripped out, but still heavy and groovy, slipping from the dense drum heavy verses, to the soaring swoonsome chorus, the two separated by a super cool angular guitar break. The second half of the track adds extra guitar shred, and a bit of sonic heft, before the music drops out, leaving just the vocals to fade out in a druggy haze.
Holy shit. Even after maybe a hundred listens, we're still not tired of this. Anyone into any of the above mentioned outfits, as well as obviously Earthless, Assemble Head, Comets On Fire, etc. will definitely lose their shit over these guys, as will most folks into heavy, hooky retro rock heavy psych radness, which we're guessing is probably a whole lot of YOU.
A very welcome return to form for Goldfrapp. Sometimes it's best to know what you do best and just take it to its highest level of excellence. And what Goldfrapp do best is create total modern day disco delights that flow with such ease and pleasure. We hadn't been too crazy about their last couple outings which found them trying to veer in a more folk and rock based sound, but Head First is making us fall in love with them all over again. Songs that take off high to the sky and float in clouds of smoke with such an infectious glow. The first time we played this in the store one of our customers nailed it, saying "It's like the best part of the '80s with better production." And for sure there is a very nice '80s feeling on Head First, with so many folks going back to the detached and cold side of '80s glory, it's really nice to hear the more colorful and pure fun side of '80s dance glory updated in such a wonderful way. Listening to Head First makes you feel like you are dancing in the ending credits of Fame, or amidst all sorts of beautiful people in a fantastical club with Xanadu being projected onto the sparkling dancefloor while Giorgio Moroder is on the decks, the confluence of all these sights and sounds sweeping you away. Welcome back Goldfrapp!
There's another Goldmund record! And so soon after his gem Two Point Discrimination. For those new to the man and the band, Goldmund is Keith Kenniff (aka Helios) and his brand of solo piano music excels in borrowing from twentieth century composers like Feldman, Cardew, and Glass, and infusing them with the charm of folk melodies from the 19th and early 20th century. Over his last 4 releases, he has done a remarkable job creating a truly singular voice with great economy. The effect can be nostalgic, though the compositions are too clever to be pigeonholed as such. Additionally, the recording quality is phenomenally detailed and closely mic'd. One of the great pleasures in Goldmund's past recordings and on this one too, is all of the rich and textural sounds from the piano. You can hear the friction of the keys, and hear the thump of the hammers on the strings. All of this keeps the sometimes sepia drenched content in a generally forward thinking mode; a sort of autumnal nostalgia for next winter, and in time, next Spring. Kenniff lives in Boston and it shows. The whole thing is very New England, and more than a bit puritan, with its stark yet warm aesthetic. Above all it is truly listenable and well conceived music that doesn't really demand your attention as much as it generously wraps itself around whatever you were already paying attention too, and infuses it with a bit of wistful beauty or bittersweet melancholy. Very much recommended for those of you who find yourselves staring out of windows� thinking.
Two Point Discrimination features an all too short twenty four minutes of new piano compositions from Goldmund aka Keith Keniff aka Helios! There's eleven tracks in all, quite fleeting in length with only one clocking in over three minutes.
Their one word titles together form a single sentence -- "Leading then from light to shadow they will see as one". You might say that the latter is Kenniff's more Brian Eno-esque ambient side, whereas Goldmund is his Philip Glass-ian persona. Austere and beautiful as always!
German Oak isn't the only recent reissue from the murky zone of long-lost krautrock to get us frothing lately. There's also this welcome reissue of the Golem album, via excellent archival imprint Lion Productions (and their UK associates Acme Records). This one has a mysterious backstory indeed. We'll briefly try to give you the basics here, though there's lots more info in the liner notes that come with this release... During the mid '90s there was a resurgence of interest in krautrock, when all kinds of long lost kraut classics were being reissued on cd (many via the grey area Germanofon label), and Julian Cope came out with his infamous Krautrocksampler book. Virgin UK got into the act with a series of compilations called Unknown Deutschland. They featured tracks by some totally unknown bands, The Nazgul, Golem, Temple, Galactic Explorers, and others, supposedly originally released as limited edition lps (100 copies? 25?!) by an art gallery associated label called Pyramid, circa '72-'74, amazing archival stuff indeed. But were they fakes? Perhaps '90s recordings, cashing in on the krautrock boom? Some thought so, on account of how nobody had ever seen or heard of these records before. Definitely it seemed likely that all were the work of the same bunch of musicians, recording under different names. Eventually a label called Psi-Fi came out with reissues (?) of some of the individual albums, which hardly settled the question. This, one, by Golem, even deepened the mystery, as someone named "Genius P. Orridge" was credited as producer... Throbbing Gristle and Psychic TV fans will find that rather curious. Who knows, maybe a coincidence.
The controversy has never been definitively settled. But the general consensus is that these recordings do date from Germany in the '70s, maybe more like the late '70s. In any case it's the music that matters, and yeah by that measure there's no doubting that Golem is prime krautrock indeed, sure sounds like it to us! Freeform, all-instrumental, organ and synth heavy space rock for fans of Gila, Guru Guru, Ash Ra Tempel, etc. Five long tracks (including a 14 minute 3 part suite) of superbly spaced out jamming, loose and lysergic, with an edgy, throbbing pulse throughout, and blasts of fuzzed out guitar. Title track "Orion Awakes" starts the trip off right, dark and heavy, "Stellar Launch" also builds up from nervous atmospheres and propulsive motorik rhythms to sheer ecstatic chaos, "Godhead Dance" wah's it up a la Hendrix, "Jupiter & Beyond" (the suite) is suitably far out and freaky, and the repetitive riff rock finale of "The Returning" is a catchy fuzz buzz, almost pop, yet ultra distorted, that reminds us a heck of a lot of AQ garage psych faves The Heads!! Spacemen 3, too. Also could almost be something from one of J. Cope's Braindonor discs too. Super cool.
Like we said, packaged with copious liner notes, this edition far superior to the long out of print one on Psi-Fi, though that did have nice silver metallic cover that this doesn't replicate. Here's hoping that Lion next reissues The Nazgul one, it's good too, how could it not be with a lineup consisting of Frodo, Gandalf, and Pippin?
Yet another guitar / drum duo! And man are these guys heavy as fuck! What do you expect with a name like Goliath Bird Eater? Usually when a band decides to go bassless, it seems like a really bad idea, and we always tend to think "dude, you guys would be SO much heavier with a bass player", but in the case of GBE, we're not sure what the heck they would do with a bass player. Every conceivable inch of space is stuffed with super pounding blown out drumming or crushing downtuned metallic guitars, or during those brief moments where there are neither, dense tangled squalls of feedback freakout. There are definite nods to the Champs, and to Hella, even though this is ostensibly a 'metal' record, it's definitely got a serious post rock vibe, especially the drumming. It almost sounds like a more minimal version of the Dazzling Killmen. Which is not a bad thing at all. Hard to believe GBE mainman Bobb Bruno once did time in indie rock outfit Polar Goldie Cats cuz man can he wield an axe like nobody's business. Be sure and stick around for the final 30 minute track, a dreamy, slow burning krautrocky bliss out, all droning keyboard and simple shuffling drums, that waits until the last three minutes to break out into some super aggro metallic bombast. Cool exploding veined octopus lady cover art too!
Oh those unmistakable bad girl vocals of Ms Holly Golightly! A bit brash, a bit raunchy, slightly nasal, slightly slurred, slightly snarky, you've just gotta love it! She's taken care of business both as a member of the trashy garage rawk combo Thee Headcoatees (the female counterpart to Billy Childish's wry, raw and gritty Thee Headcoats) and as a solo artist. Here's her latest full length filled with a bit slower than usual, creepin' tunes that bring to mind old Rolling Stones and Wanda Jackson. Y'know, she's probably the kinda gal your mom might not be too happy to hear you've been hangin' around with, but we won't tell. Bad influence? Pshaw! Just show her the album cover. Looks innocent enough, don't it?
Beautiful songs from this sassy lady who spent four years as a member of the Billy Childish extended family, namely the Headcoatees. Released on local label Smartguy and the packaging is great. (The cover of the 7" has a stick figure girl jumping off a bridge and it's captioned "in private, and often in public, women are bad losers when rejected in love...") Instrumentation includes violin and banjo, which perfectly back her sexy, gritty vocals. Two really great songs that may or may not be new (I feel like I've heard different recordings of these before so if you have some Holly Golightly records be wary). I do believe however that they are new -recordings- of these songs. And if you don't already own any of her records this is a good, inexpensive place to start.
We've stocked this right-on collection before (it came out in 2001), but somehow we missed reviewin' it, so... Prominent female member of Billy Childish's garage-rawkin' entourage (most notably head hostess of Thee Headcoatees), Ms Holly Golightly kicks ass. Perhaps the best (non-live) way to hear a garage rock tune is on the vinyl 7" format, but what d'ya do when your a big ol' Holly fan and your turntable's on the blink? Aaah, you hope that a kind record label in London will re-release two dozen of 'em on one cd. Well chappy, you're in luck 'cause the Damaged Goods label has done just that! Included in the rambunctious bunch are covers of Lee Hazlewood's "Sand", Ike Turner's "Your Love Is Mine" and Pavement's "Box Elder".
Though this is not new, we have not listed any of her work before and I, Sadie, thought it important to bring her to your attention, starting with this, her first lovely release. Holly Golightly joined the Billy Childish auxiliary group Thee
Smoking new ep from one of our favorite strong and saucy songstresses Holy Golightly along with The Brokeoffs, her backup band who joined forces with her a couple years ago, and are proving to have the same kind of spicy demeanor as her former co-conspirator Billy Childish. Deliciously twangy, sassy and packing a serious wallop, Devil Do is reminding us all over again why we fell so hard for Miss Golightly all those years ago. Each of the four tracks here are totally great but the real stand out and wonderful oddball of the bunch is the dark and brooding closer "Whoopie Ti Yi Yo" which almost sounds like what might happen if Golightly lent her voice to a record by Earth! We are keeping are fingers crossed for more songs in this direction, but truly whatever Holly does it's always damn fine!
Oh Holly, you get us every time! With her timeless voice and snarly attitude, Golightly is one of the fiercest singers and songwriters of our time! With her new band The Brokeoffs we get to hear her take a break from her usual garage juke joint gems and explore the moonshine drenched world of Appalachia. From sparse country ballads to haunting blues, this record shows that no matter what musical direction Golightly takes on, the results are always fantastic. Musically, it's almost like a stripped down version of those haunting Tom Waits soundscapes, with an ever so wonderfully warped country twang and then of course the icing on the cake is Golightly's spot on vocals and delivery which make the songs so immediate and engaging. So nice!
Miss Golightly continues on along the dusty country road she set off on her last album, 2007's You Can't Buy A Gun When You're Crying. No signs of the garage anywhere, but fear not she nails the country roots just as well and with as much grit and guts as she does the garage rawk. Her unmistakable he-done-me-wrong voice is perfect for the genre. A perfect balance of girlish sass and world weary womanly know-how, she can really belt out the blues, and The Brokeoffs are right there with her! Also for fans of The Sadies when they've got Ms Neko in tow (or vice versa)!
You know the notion of the wise old hermit sitting on a mountaintop? You'd expect to find an Eastern guru like that up on some Himalayan peak, but of course leave it to a bunch of Swiss and German hippies in the '70s to relocate that mountaintop guru concept to the Alps, and why not? These krautrockers, organized as one of Rolf-Ulrich Kaiser's "Cosmic Couriers" projects, found the perfect frontman, enlisting Swiss writer/folklorist Sergius Golowin (an expert on both Alpine myths and magic mushrooms, not to mention a friend of fugitive acid maven Timothy Leary) to provide mystic recitations over the Eastern-inspired druggy kraut bliss a-sprawl on this 1973 LSD dipped/tripped/hipped "supersession" happening. Said spaced out sounds generated, via flute Mellotron bongos electronics piano tablas organ glockenspiel & guitars, by a cast of musicians including folkies Witthuser & Westrupp, members of hard progsters Wallenstein, and last but not least, he of much kosmiche cred, Klaus Schulze! Actually, Golowin's echoey German-language spoken vox, while adding to the esoteric atmosphere, really take a back seat to the trancey music found on these three long tracks, the longest and most dramatic of which is the third, "Die Hoch-Keit", at almost 20 minutes taking up all of the original vinyl's second side. It begins like an eerie interlude from a particularly psychedelic Spaghetti Western soundtrack, full of abstract percussive sputter, cascading piano, and whispered vocals, its rhythms eventually coalescing into minimalist, Reich/Reichel style pulsations, having a looping, Moolah-like aspect. It and the other two equally freaky pieces on here make for mind expanding, maybe not exactly relaxing music, having a nervous energy that might have something to do with the general drug vibe... yet some portions of this album are quite angelic. While kraut fiends will want this 'cause it was one of the first of Kaiser's post-OHR Cosmic Couriers label albums, released after Ash Ra Tempel's Seven Up and before Walter Wegmuller's Tarot, even the less obsessed might find this an interesting Astral-Alpine excursion!
It's been reissued before, on Spalax, but this new edition boasts much more in the way of liner notes in the thick cd booklet, including some fairly recent interviews with the late Sergius Golowin himself, who passed away in 2006, a true hippie guru 'til the end.
Oh god my eyes, my eyes! Don't look at the cover (the head of Gong's Daevid Allen on a naked pregnant woman's body in stereo) or back cover (Acid Mothers Temple's Kawabata Makoto sitting on the toilet), just listen: it's the sound of '70s trippy hippy psych vets Gong getting it on with Japan's Acid Mothers Temple. Yep, white-haired pixie Daevid Allen and his current-day cohorts (that's our pal Josh Pollock playing guitar!) meet up with AMT's Kawabata and Cotton Casino for a rollercoaster musical love-in, the tracks incorporating everything from heavy riffing to George W. Bush samples to ravey dance grooves. It's goofy and freaky, with rapping/chanting vocals that will either charm you with their psychedelic nonsense lyrics or drive you utterly mad. I guess it had to happen. If you ever thought that AMT was too serious, or not indulgent enough, or should sound more like the Talking Heads, then this is for you!! Long time Gong fans should note that Gilli Smyth shows up on one track.
One of our favorite tracks from Flying Lotus's excellent Los Angeles record was the penultimate track "Testament" that featured a singer we imagined was discovered in some remote smoky opium den in Morocco. The voice felt ancient, a weezing whispering mixture of Jimmy Scott and Billie Holiday that we thought could have been a sample from an old dusty recording. Well, it turns out that voice is one Sumach Ecks (aka Gonjasufi), a San Diego based yoga instructor and one-time rapper and DJ who in a chance meeting with The Gaslamp Killer and Flying Lotus in Las Vegas, struck up a bond with the two producers and they started working together. A Sufi And A Killer is an amazing debut, a perfect fit between the dark off-kilter beats of Flying Lotus, Burial and King Midas Sound. But it also surprisingly displays a lot of vocal and musical range, moving into some rockier moments, tripping out on short interludes or sometimes delving down strange, mysterious but always interesting sonic tangents. Supposedly it took much longer to mix than it did to record, showing a dedication to detail that is truly rewarding to listen to. Highly recommended!
Now available on vinyl!
One of our favorite tracks from Flying Lotus's excellent Los Angeles record was the penultimate track "Testament" that featured a singer we imagined was discovered in some remote smoky opium den in Morocco. The voice felt ancient, a weezing whispering mixture of Jimmy Scott and Billie Holiday that we thought could have been a sample from an old dusty recording. Well, it turns out that voice is one Sumach Ecks (aka Gonjasufi), a San Diego based yoga instructor and one-time rapper and DJ who in a chance meeting with The Gaslamp Killer and Flying Lotus in Las Vegas, struck up a bond with the two producers and they started working together. A Sufi And A Killer is an amazing debut, a perfect fit between the dark off-kilter beats of Flying Lotus, Burial and King Midas Sound. But it also surprisingly displays a lot of vocal and musical range, moving into some rockier moments, tripping out on short interludes or sometimes delving down strange, mysterious but always interesting sonic tangents. Supposedly it took much longer to mix than it did to record, showing a dedication to detail that is truly rewarding to listen to. Highly recommended!
Mu.Zz.Le is a 10 song mini-album that acts as a sort of a temporary fix until the next Gonjasufi full length. While these are songs that easily could have been left-over from the A Killer and A Sufi sessions (an album we loved!), the flow here has a more tight-knit focus than the kitchen sink approach of the first album. Blurry spectral keyboards and pitched-shifted vocals, not to mention the odd typographical layout of the title, display a witch-house production influence, but the sounds are scuffed and blunted with enough of the stoned grime of his debut that it feels like a natural progression. The tone rides heavily on the melancholy with echoing vocals far-off in the mix and slow doomy beats, but with everything sounding at arm's distance, it may take awhile for the emotional and melodic heft of the songs to really sink in. But it's definitely worth the wait.
A few years ago electro wizard/producer Gonzales surprised us all with the release of an immaculate and beautiful solo piano recording. For some weird reason the record seemed to come and go in the blink of an eye, but thankfully the Sunnyside label has saved the day and made this gorgeous record available once again. Best known for his production work with the likes of Peaches, Feist and various artists on the Kitty-Yo label as well as his own forays into electro-pop and hip-hop, Gonzales shows that you just never know what somebody has up their sleeves. Playing piano since he was a young child, Solo Piano is the work of an obviously gifted musician but also someone with a keen sense of rich melody and elegant execution. Conjuring up the spirit of Erik Satie and George Gershwin, Solo Piano is that perfect mix of skill and simplicity. Short tracks, breezy and tranquil and beautiful. Oh so nice!
If you loved Veneer, than we imagine you will be just as smitten with In Our Nature, as Gonzalez delivers another disc full of well-crafted yet subdued pop melancholy. Features a striking cover of Massive Attack's "Teardrop", otherwise known as the theme from TV show House.
Woah, it's like the day before the day before Christmas, so if we're ever gonna list this we'd better do it now, eh?! Although, this specially-priced, hour-long disc from ex-Comets On Fire/Gargantula/Exploding Crustaceans member Chris Gonzalez, despite its rather over the top Xmas theme, could be enjoyed at other times of the year as well. We suppose. It's funny ha-ha and also funny weird too. Probably playing it in July would make it more of the latter. Basically, Chris, seemingly intoxicated with the Yuletide spirit, has decided to have his way with a bunch of traditional holiday songs (including "Rudolph The Red Nosed Reindeer", "Winter Wonderland", "Silent Night" and "Little Drummer Boy"... indeed all but one of of the twelve tracks are traditional Christmas tunes, see if you can guess which one isn't). However, several are barely recognizable when he's through with 'em! He tackles each song differently, but you've gonna hear a lot of chaotic, distorted, deranged lo-fi lounge and hard rock stylings, recorded on a four-track, with various "guests"... some of it in front of a (fake) live audience, complete with heckling. It's all about as ridiculous as can be. Christmas comedy doesn't get much more silly and surreal -- or noisy. The hip-hopped version of "Jingle Bells" that morphs into a Slayer song might be the low point...and the high point too. Or maybe that would be the "all star celebrity jam" version of "Simple Having A Wonderful Christmastime" that allegedly features Lars Ulrich, Eddie Vedder, Jah Rule, and Donald Duck, among others! Will Santa think Chris has been naughty or nice with this lil' cd? Well it's hard to judge. He's probably just asking "why?" But for a mere six bucks this might be a fine last-minute novelty stocking-stuffer for the wacky music fan on your list.
Delia Gonzalez and Gavin Russom's alchemic synthesizer excursions invoking 70's Klaus Schulze/Manuel Gottsching/Tangerine Dream's long-form synth-prog efforts get the remix treatment on this single. What you get is an alternate take and 3 remixes of the song "Relevee" from their self-titled full length on DFA. The remixers are DFA (of course), Baby Ford ('80s acid-house, anyone?) and the minimalist house of Carl Craig, whose latest remixes, this and his remix of Rhythm and Sound's "Poor People Must Work" is actually making us enjoy house music. Which, as you well know, is quite a feat around here.
Somehow missed this when it came out last year. But with Delia & Gavin being recent Arthur Magazine cover stars we figured we should get on the ball. Some of us remember hearing a 12" of theirs on DFA that stood out as it was really like nothing else on the label. These weren't sounds interested in making you dance and shaking your ass, instead they were about creating a trance, a hypnotizing, tranquil and space-bound dreamlike state. The album takes the same approach and even widens and propels its effect. With 5 long songs that will no doubt make you think of the best of Tangerine Dream. So entrancing and mesmerizing. The Days of Mars sort of sounds like trying to travel to outer space in an old helicopter that rises ever so slowly with its rotors going around and around, an analog starship travelling through some druggy digital universe. Taking cues from lots of the best of 70's electronic minded ambient recordings, like the collaborations between Eno & Cluster, as well as the most spaced out moments of pre-Wall Pink Floyd, this is a record that totally nails its sound so well. Something so mesmerizing, empty, and creepy about its presence. There have been times near closing hour where there will be just one person in the store and this will be on and there's just the weirdest tension that begins to permeate the store. Like a film loop of a acid drenched washed out kodachrome shot image that you can't stop staring at. This is the sound of hours after the rave, days of being awake, nights of being in a complete daze. A late night early morning eyes wide shut dreamstate blissout for sure! We are hooked!
If the cruddy weather we've seen recently in San Francisco decides to come back, we have the perfect rainy day indie-folk record to make us feel ok with it. Minimal arrangements of pensive Spanish-inflected guitar accompany Gonzalez' sedate yet strong voice that falls somewhere between Nick Drake and a male version of Juan Molina, without the electronic accompaniments. Before we heard this, we wrongly assumed this was a folk-tronica record in the vein of Molina or Beck but thankfully Veneer avoids such trappings (Swedish electronic duo The Knife do provide the only beats -- barely audible heart-beats). With an economy and restraint, unheard of in many contemporary singer-songwriters, Gonzalez wisely lets his sophisticated finger-picking express the melancholic heft of the songs. Beautiful.
Wally Gonzalez, guitarist from the Phillippines' proto stoner rock combo the Juan De La Cruz band, stepped out in the late '70s with these two newly cd-ified solo records, 1977's Tunog Pinoy and 1978's On The Road. They're not that heavy but do feature lotsa wailing Wally guitar action -- and wild/cheesy keyboard synth sizzlin' too. Wally fronts 'em both on guitar and vocals and although each was recorded with a different backing band, the two discs are pretty similar. Slow-burning mellow psych pop ballads are mixed with strutting boogie numbers. What titles there are in English are along the lines of "Rock & Roll Mama", "Wally's Blues", "Rockin' Roller" and, uh, "Screw". Neither album is as raw and gritty as the best of Juan De La Cruz, but this is still good fun hard rock and folky balladry, Filipino style, with a polyester '70s sheen that will either kitschly add to your enjoyment or perhaps ruin it totally.
Wally Gonzalez, guitarist from the Phillippines' proto stoner rock combo the Juan De La Cruz band, stepped out in the late '70s with these two newly cd-ified solo records, 1977's Tunog Pinoy and 1978's On The Road. They're not that heavy but do feature lotsa wailing Wally guitar action -- and wild/cheesy keyboard synth sizzlin' too. Wally fronts 'em both on guitar and vocals and although each was recorded with a different backing band, the two discs are pretty similar. Slow-burning mellow psych pop ballads are mixed with strutting boogie numbers. What titles there are in English are along the lines of "Rock & Roll Mama", "Wally's Blues", "Rockin' Roller" and, uh, "Screw". Neither album is as raw and gritty as the best of Juan De La Cruz, but this is still good fun hard rock and folky balladry, Filipino style, with a polyester '70s sheen that will either kitschly add to your enjoyment or perhaps ruin it totally.
What happens when the dooooom takes hold of experimental jazzzz? Good For Cows' latest mooooozzzzzic. Heh Heh. On Audumla drummer Ches Smith (Secret Chiefs 3, Xiu Xiu, John Zorn among others) and bassist Devin Hoff (formerly of Xiu Xiu) churn and rumble their way through nine instrumental jams. We can't say for sure if these sounds are beneficial for cattle, and we doubt we'll be hearing this cd played out in a pasture anytime soon to find out. The bass is a deep sludge-y boiled ooze, the drums are all rhythmic angularities. Electronics and effects provide additional atmospheric texture and unexpected shocks of lightning and sheets of rain in this aural thunderstorm. Some passages definitely brings to mind horror movie soundtracks from the '70s. Ultra ominous and heavy.
It seems San Francisco's Good for You aren't aiming to break any new ground with this debut album, but y'know often it's nice to tread a very familiar, well-trodden path. This hails from the catchy emo-land that'll never go out of style. All salute the early strains of Superchunk, Doug Martsch's pre-Built To Spill band the much more tense and angstful Treepeople, and the boy/girl
Loping pop with plaintive vocals that alternately brought to mind Robert Smith (The Cure), Jarvis Cocker (Pulp) and Stephin Merritt (Magnetic Fields). Sort of like a low-key indie Coldplay. And please know that to me this is by no means a bad thing! A
Endless Bummer is such a good name for a record. Usually we're not all that into puns as titles (or band names), but Endless Bummer manages to be a pun, while sort of flipping the spirit of the original inside out. We always wanted to call a record Endless Bummer, but we've now been beat to the punch TWICE. At least. Once in the nineties by Further, whose Endless Bummer was an effervescent chunk of in the red post-Pavement slacker Beach Boys worship, and now this record right here, by the mysteriously named Good Stuff House, whose own particular Endless Bummer is much darker and more sedate, a sprawling drift of minimal shimmer and fluttery folk enveloped by dense clouds of natural reverb and billows of soft buzz.
We didn't know too much about Good Stuff House, we had another cd-r that we dug quite a bit, but which went out of print before we could get enough to review, but now we know just why we liked GSH so much, it's the two guys from dronedrift duo Zelienople, and none other than long time aQ fave, guitarist Scott Tuma, he of the legendary Souled American as well as a clutch of amazing solo records (including a recent record of the week). Pretty much hard to go wrong. And Endless Bummer is further proof of just how far from wrong these guys can get....
Apparently Endless Bummer was recorded in unorthodox spaces, warehouses, churches, basements, and it's not just the band performing live, but much like Taj Mahal Travellers 30 years earlier, who would record various performances, then broadcast them into the space, playing along live, often more than once, every step adding more and more murk and buzz and reverb and echo, the sound getting less and less distinct, until it became the sound of drifting along some murky body of water, through a sonic fog so thick it clings to the surface of the water, every note sounding like it had travelled up from the bottom of the sea, or echoing off of the distant shore. Tuma offers up bits of his gorgeous distinctive guitar, and while they do manage to hover briefly, they seem to absorb the sounds around them, soft spidery tendrils transformed into thick swells, the trio introducing bits of voice, various other sounds, all rendered almost immediately unrecognizable, becoming more another part of this sprawling organic whole, cymbal sizzle becomes shimmering clouds, drifting over the drifting murkscape below.
The sound is simultaneously muddy, murky and lo-fi, yet warm, glistening, and subtly melodic, everything is muted, the softened edges barely hiding the glowing sonic glimmers within. Gorgeous.
LIMITED TO 300 COPIES. Packaged in super subtle silver ink on pale blue fold over origami style sleeve.
Originally released as a super limited cd-r on Time-Lag in 2006, this is the long awaited vinyl resurrection of Good Stuff House's untitled debut. As you may know, Good Stuff House is (or was) the trio of Scott Tuma of Souled American and Mike Weis and Matt Christensen of experimental drift-drone duo Zelienople. We reviewed a while back a cd-r on Root Strata with the evocative title of Endless Bummer, and that was seemingly the last we heard from this mysterious crew. But since we never got a chance to review their first release, we're glad to bring it to you now, courtesy of the fine folks at the Indian Queen and Holodeck labels.
Rooted in the same sorrowful dust/dusk as Endless Bummer, Untitled feels freshly fertile, a spidery mist in a resonant boggy forest. The sound of splintery banjo, hand drums, church chimes and sleigh bells feels like a slow train ride of creeping death, but far removed from present time, instead in a sepia toned past where mournful violin and bowed strings march funereally into the woods for ceremonial burial, the body becoming one with the earth in the beautifully removed timbre of decaying drones, and skeletal Appalachia. Piercing through the murk, a host of voices far away bleakly sing with squalled guitar slides and cavernous ambiance, the sound bloating intensely or becoming deathly sparse in carefully wrought filigrees of graceful dreamy drift. Gorgeous and limited to 300 copies!
Download card included.
Oh Googoosh! We were pretty thrilled when this came in as we've been anticipating a collection of her recordings ever since many of us first heard her mind blowing track "Talagh" on that great Pomegranates compilation of Persian pop, psych, and funk from the '60s and '70s. Luckily, Iranian singer Googoosh was no one hit wonder, as this collection shows that pretty much every song she made during this era (1970-'75) is totally awe-inspiring. Like the perfect cross between the explosive psychedelia of Selda and the introspective folk of Pari Zangeneh. Her voice reels you in and the music's alluring and dynamic swirling melodies leave you in the throes of serious sonic pleasure.
Much like Turkey's Selda, Googoosh's music had such a brave and fiery political stance to it as well. Sadly much of her music was banned by the Iranian government by the end of the 1970s, and many of her records were literally burned and destroyed. Luckily, from what copies did remain, Andy Votel worked his Finders Keepers magic and has compiled an amazing collection of one of the greatest voices to come out of Iran (and anywhere else for that matter)!
Whoa, nuthugger! Does this quench (or clench) your supergroup craving? Hella's Zach Hill, former Marilyn Manson guitarist Twiggy Ramirez and Chris Goss of Masters Of Reality. Strange bedfellows, indeed! Not surprisingly this total mish mash of musical personalities have made a total mish-mash musical stew that doesn't really resemble any of their other bands' stuff... well, maybe Hella a wee bit! Pretty hard to put into words. Give 'er a spin and see for yourself!
Sam Gopal was an Indian tabla player, making the scene in Swinging Sixties London. His 1969 Escalator album is pretty obscure, but a classic as far as we're concerned. Sam's percussion of course does a lot to set it apart from the paisley pack (not that Eastern sounds weren't unheard of back then), but it's really vocalist/guitarist Ian "Lemmy" Willis (yes, Lemmy Kilmister from Motorhead) who really shines here. The young Lemmy conjures up some incredibly liquid, languid dark psych on tracks like "The Dark Lord" and "You're Alone Now". Reminds us a bit of Twink's Think Pink album, or even T2. So starkly beautiful. Mellow, melodic, mystical. Not heavy in a loud way (nothing like Motorhead that's for sure!!), but "heavy" nonetheless if you know what we mean. Some of the songs definitely do rock out, but still remain somehow muted and moody. It's gorgeous stuff, the downer, down-tempo mood spoiled only a bit by covers of "Back Door Man" and "Season Of The Witch" (the later with R&B-ish female backing vocals). Aside from those, though, supposedly all the songs on here were written by Lemmy in one night, up on speed! Wow. Jeez, is Lemmy the best or what? Hendrix roadie, onetime Hawklord, metal icon...and sinister psych singer-songwriter too! This nice digipack reissue, including two tracks from the group's lone single as a bonus, comes very much recommended.
For the past couple of years, we've really been digging the recent unearthing of little known private press new age music whether it be Collie Ryan, William Eaton or Iasos. Lately we've been especially excited about this reissue from Universal Sound, of Edward Larry Gordon's 1978 debut. Gordon, or Laraaji, as he is otherwise known, creates long-form trance-inducing compositions using electronically enhanced zithers, auto-harps, kalimbas and other acoustic instruments that shimmer and radiate in beautifully meditative pulses. This record comprised of two thirty minute tracks, "All Pervading" and "Bethelehem" gained little notice upon its initial release, but thankfully it caught the attention of Brian Eno who subsequently produced his follow-up Days of Radiance for the EG Editions Ambient series in 1980 to wider acclaim. You can tell that Gordon was much inspired by earlier progenitors of cosmic music from Sun Ra to John and Alice Coltrane. You can especially hear the harp-like shimmer of Alice Coltrane in his treatments of the open tuned zither that he plays while in a complete meditative state. Really gorgeous stuff!
The fifth title in Sonic Youth's self-released series of experimental work isn't Sonic Youth proper: instead it's bassist Kim Gordon, lauded avant-percussionist Ikue Mori, and DJ Olive of the illbient drum'n'bass group We. And guest Yuka Honda of Cibo Matto. Certainly all these folks have made excellent music with their regular groups, but in the name of that emperor who had no clothes, we must tell you that this record sucks. It's terrible. It's trying to be avant improv, I think (it certainly wasn't composed), but just comes across as utterly self-indulgent noodling without a center, a focus, or a point. The sound of a toilet flushing just might be the most apt moment on the record. Wanting to be supportive of Kim's side projects, and being a big fan of We and Mori, it pains me to have to write this. They're smart people, they must have realized this is BAD! How could they NOT know? For heaven's sake! A total disappointment.
Holy shit. GORE! Easily one of our favorite heavy bands EVER. We raved about the separate 2lp reissues last list, but we figured we'd wait for the cds to show up before bestowing Record Of The Week status upon them. Now combined as one massive double disc document collecting the first two albums and then some from this Dutch instru-metal group, who forged an incredible minimal metallic legacy that would go on to influence loads of our favorite bands. In fact, aQ would quite possibly be a whole different kind of store if it wasn't for Gore...
This is the sort of review that is so intimidating. Records we have loved for years and years, listened to hundreds, maybe even thousands of times, and then to finally have to put into words what it is that makes these so good, so special, whatever it is that makes these two of our favorite records EVER!!!! How much do we love these records? Well, whenever we would find one used, we would buy it just to give it to someone who needed to hear it, so much so that Andee at one point was even talking to the band about a comprehensive career spanning box set. But why you ask? Difficult to explain, hearing them is enough, even decades after they were originally released, folks who have never heard Gore, are usually sold after ONE song. Sometimes it doesn't even take that long. Just listen to "Mean Man's Dream" below, we'll wait....
See what we mean? So heavy, repetitive, mesmerizing, hypnotic, angular and abrasive, but impossibly catchy, groovy even. Listen to the other tracks, you won't be able to stop, you'll need to hear them all.
Gore fanatics will need these no matter what, and most heavy music fans have probably at least heard OF Gore, if not heard them once or twice, so they too might also want to pick these up. But we might as well start with who the heck this Gore band is anyway, and why should we care...
Gore were a Dutch instrumental power trio trafficking in ultra minimal heaviness, like an even more minimal Melvins, but sans vocals, their songs made up of one, maybe two riffs, pounded out over and over, a bit like a more metal, proto-Circle.
Hart Gore and Mean Man's Dream are the first two Gore records, but play like part one and part two of a single song cycle. Crushing, pummeling, heavy as hell, repetitive, motorik, but weirdly melodic and impossibly catchy, we can't stress enough how massive and seminal these records were and are. Gore created and mastered a sound that would go on to influence countless heavy bands, and yet, somehow, these two records decades after their initial release, still sound YEARS ahead of their time, masterpieces of heavy rock, of minimal metal, of proto-math metal, of hypno rock, this, as they say is THE SHIT.
For now, all we can say, is if you are at all into heavy music, these records are about as essential as it gets, your life will be changed, the way you look at music, what you consider heavy, how you hear other heavy bands, all of that will change, for the better. Trust us.
For Gore fanatics, like us, these are ESSENTIAL, the new designs are gorgeous, incorporating the timeless original album covers with new drawings and a beautiful super stylized layout. The cd includes a big booklet, packed with liner notes, the story of Gore, tons of rare photos, and most importantly, both discs come with a whole mess of live tracks from the same era! Unreleased and unheard until now!
BUY THIS NOW! YOU WILL NOT BE SORRY. THIS COULD BE YOUR NEW FAVORITE BAND! AND C'MON SOUTHERN LORD! KEEP THE GORE REISSUES COMING. WREDE! LIFELONG DEADLINE! MEST! SLOW DEATH! WE WANT, NAY -NEED- THEM ALL!!!!!!
Garage rock label Get Hip brings us this hot, hot, HOTT all-girl three-piece rock and roll band. The Gore Gore Girls, named after the Herschell Gordon Lewis movie of the same name, kick ass and sing tough girl songs like "I'm Going to Hunt You Down and Get You
