[ aquarius records — Rock Pop ]

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Showing results 12251 through 12300 of 19388.

4 tracks of sci-fi chill-funk weirdness in the same vein as his latest full length, Seven Seals.

It's apparent from Seven Seals that James Pants is one artist that does not want be pigeonholed. We already got a glimpse into his all-but-the-kitchen-sink approach towards cosmic funk on his Stones Throw debut, Welcome. But on Seven Seals, he takes us to a whole other universe, one where Vangelis gets high with Bauhaus and George Clinton while listening to Hawkwind. Seriously! And the weird thing is that it shouldn't work but it does! Pants is definitely exploring the gothier sides of new wave here with deep dour vocals but with an eye towards a dark retro-futurism and cosmic pop turbulence in the synth and rhythm treatments. Imagine Dam-Funk, Cold Cave and Neon Indian mashed together and broadcast out to a desolate planet where the atmosphere is really heavy and everything is silver, streamlined and egg-shaped and on the verge of being blown apart by cosmic forces. This is their soundtrack.

MPEG stream: A Chip In The Hand
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Here at AQ have always been big supporters of most anything Stones Throw puts out. We get off on the dense, sample driven rhythms and beats from the likes of the late great J Dilla, Madlib, his brother in crime Oh No, MF Doom and the rest of the gang. They're untouchable. There's always bound to be pristine production and everything always fits in its right place, reviving forgotten gems and bringing them back to life with new meaning, new avenues of sound experimentation. They are truly in a league of their own! But one thing's for certain, they have been known to go a bit leftfield at times, straying from the vein of deep, hard hitting breaks and indie hip hop tunes, as they're mainly known for, with releases from artists like the more vintage punk driven Baron Zen, spacey funk pioneer Gary Wilson, Madlib's brokenbeat soul alias DJ Rels, and now... their latest attempt, Mr. James Pants. Straight out of Spokane Washington, James' Stones Throw stint began as a position as a trusty intern at the office headquarters in Los Angeles, until he was finally taken in by his dream DJ, none other than label founder Peanut Butter Wolf as "the next big thing", with a long awaited offer to release an album. He's a goofy lookin' dude that seems fun to hang out with, which could easily relate to the music he produces. Actually, a friend of AQ grew up with him and he supposedly has a shitload of analog equipment in one room, and the majority of the time takes a non directional approach, simply "jamming out" improv style and once the arrangements are all melded together they blossom into an addictive psychedelic haze. That's pretty much the gist of Welcome, it's a James Pants one man band, jam session. Full of layers upon layers of percussion, at one point it can be mistaken for various remakes of funky Fraggle Rock theme songs, the next it's drumless atmospheres of milky synthesis, and warm tones backed with random drops of spastic and muffled vocal samples, like unexpected crowd roars and yelps. He even sings/wails a bit throughout numerous songs which at times sounds like drunken howling, surprisingly fused into blissful, whispered singing and creepy vocoded melodies. Cosmic indeed, each tune is saturated with unexpected change ups and transitions. The instrumentation is a melting pot of space-y and druggy vibes, wah synths, harps, dubbed out wood blocks, and the occasional off beat guitar riffs. Picture an enhanced drum circle on Mars with guest appearances from Bootsy Collins and Tangerine Dream, far fetched, yes but listen and see for yourself. Stones Throw described it best, comparing it to '80s Soul, Electro Boogie, Early Rap, New Wave, and Post-Punk Disco, definitely one to check out!

MPEG stream: We're Through
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James Pants last record, Seven Seals was a favorite for some of us here and while we thought he was going to venture into some far-off new territory with this follow-up full length, we were pleasantly surprised, though a bit perplexed, that he didn't. The songs still ride the gloomy new wave funk of Seven Seals, but it comes across as something you'd hear from the Captured Tracks label more than a Stones Throw release. The feel is less cosmically thematic and instead concentrates on truly well-crafted songs and catchy pop hooks among the murky lo-fi synth filtration. He has mentioned in interviews that he was inspired by Twin Peaks and '50s diner sounds, and there is definitely a creepy retro edge to even the most poppy songs, with elements of dubby ambiance and occasionally ethereal vocals provided by Lucrecia Dalt. But the more we listen to this, the more we're liking it even more than the last record. Its haunting pop-funk transmissions take time to weave their spell, but once transfixed, it's hard to pull away!

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SORRY. Limited edition re-issue of super limited tour 7". Contains one exclusive, un-released track and an alternate take from David Pajo's "Live From A Shark Cage" album. Very pretty. Recommended.

The fourth cd single installment in Papa M's audio tour diary series means three more fine songs from Mr. David Pajo. As he notes on the back cover, the songs in this series were "written at different times in various cities and recorded wherever". Carrying on the Pajo tradition of earthy excellence, these songs ramp up from spartan and quietly introspective to all-out guitar jam. One second shy of fourteen minutes long.

MPEG stream: Red Curtains
MPEG stream: Local Boy Makes Good

Ahoy, fans of M, Aerial M, Papa M and David Pajo! A compilation has just arrived amassing a dozen of his assorted vinyl and cd singles (including his forlorn cover of the Misfits' "Last Caress") as well as a pair of previously unreleased songs! The liner notes are a song-by-song commentary penned by the man himself. Note: If you've been collecting his most recent numerically titled cd single series, fret not, those songs are not included here. Hole of Burning Alms is limited to Pajo's musical journeys from 1995 to 2000. Consistently wistful and lovely!

MPEG stream: Last Caress
MPEG stream: Xmas 1997

You know those super pretty, melodic parts of the Gastr del Sol records, but they only last for a coupla minutes? This record sounds like a whole album of that stuff -- so wonderful! Papa M is the newest moniker (following Aerial M, plain ole M, and oh yeah he was also in Slint and is in Tortoise) of Dave Pajo. This is very pretty music: plaintive, pastoral, neo folksy guitarwork along with modern touches of programmed percussive elements. Extremely pleasant; highly recommended; one of Windy's favorite records.

First in a series of cd singles from Dave Pajo, who you know not only as Papa M but as founding member of Slint, collaborator with Will Oldham, and member of Billy Corgan's new group Zwan. All three songs were recorded on the fly on the road, and are lovely and pretty and not at all throwaway. The first features wistful harmonica and hushed vocals that remind me of Nick Drake. The second track has this aching violin that approaches Dirty-Three-style proportions in terms of poignancy and tension. And the third is a Reverend Gary Davis cover, I mean really what more could you want?

RealAudio clip: Beloved Woman

A twangy banjo and a melancholy slide guitar dominate these six songs from Dave Pajo's Papa M. He also sings on every one of the tracks, a not-so-pleasant departure from his oft-instrumental work as Papa M, Aerial M, and just plain M. As lulling and pretty as Papa M's recent, stellar "Live from a Shark Cage" album, but not nearly as compellingly melodic. In the absence of liner notes to refer to, I am guessing that at least two of the songs are covers (both by Jerry Jeff Walker and/or David Allen Coe, whose songs Will Oldham has also covered). Indeed, fans of Oldham will best understand the quiet intensity of this EP. However, if you've never heard Papa M before, our advice is to start with "Live from a Shark Cage."

RealAudio clip: Jaded Lover
RealAudio clip: True Love

The tireless Dave Pajo is sure on a roll with his audio tour diary series! Seems like it was only yesterday that we were digging into the fifth volume (his delightful collaboration with Christina Rosenvinge). Now we have Six, and it continues along in a similar fashion -- male/female sung (on two of the three songs) glistening guitar pop. This time the female vocals come courtesy of Ms Dianne Williams. Sure to please Papa M fans everywhere!

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Two new songs on this li'l single from Louisvillian Dave Pajo. It's called Songs of Mac, but who is Mac? It's totally not clear, although one of the songs is by a Mac Finley, about whom I find no info whatsoever, even on Google... Dave, clue us in already!

RealAudio clip: So Warped

Third in the series of singles Papa M (aka Dave Pajo) has been releasing this year. There's one original, a cover of Little Feat's "Truckstop Girl", and a version of "Wild Mountain Thyme", which The Byrds also popularized. Methinks this is the most 'traditional' sounding of the series thus far, and also the best. Recommended if'n you're in the mood for a nice slice of pastoral indie folkrock.

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Second in a series of cd singles from Dave Pajo, who you know not only as Papa M but as founding member of Slint, collaborator with Will Oldham, and member of Billy Corgan's new group Zwan. As with most of Papa M's work, there's an evocative pastoral folk tone that runs throughout, very nice! Reminds me of Simon & Garfunkel. Fans should pick this up -- it's not throwaway material. Songs: the traditional "Black is the Color" and two Pajo originals, "Mary Was the Kind" and "World's Greatest Sin." MPEG Download: "Black is the Color" [/audio/papamblackisthecolor.mp3]

MPEG stream: Black is the Color

Dave Pajo (ex-Slint, ex-Tortoise, permanent Lousiville resident) here returns with a somber Papa M recording. While this record is not as incandescently melodic and pretty as his Live From a Shark Cage album (which is definitely where you should start if you've Drawing away from the sweetness found in the repetitive loopy pop sounds of Shark Cage, here Pajo turns serious with a twang now and then. It's very nice, sad and atmospheric, with more vocals than previous Papa M Releases. A few songs sound like Leonard Cohen or the better laid-back moments of Lou Barlow. Altogether quite pleasant. The all star cast includes Tara Jane O'Neil from Rodan & Retsin, Will Oldham (Palace etc.), and Brit Walford from Slint.

RealAudio clip: Over Jordan
RealAudio clip: Roses In The Snow

The fifth installment of Papa M's audio tour diary series finds him in New York City on April 11, 2003. Quite possibly the lovliest of the bunch thus far, it's comprised of two collaborations with vocalist/multi-instrumentalist Christina Rosenvinge (Two Dollar Guitar) whose willowy voice adds more misty-eyed, introspective dreaminess to David Pajo's already world-weary, poignant music.

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Crisp sweet trio whose lush sound and three-part harmonies should appeal to lovers of pure pop. Head and shoulders above the rest of the pack, recommended.

Now available on vinyl! Musing about the name of this dandy SF one man band, we can't help but feel that he must be referring to the pretty delicate scissor craft and not the annoyingly painful stationery-inflicted wound. The Papercuts' retro-tinged pop is a honey sweet, wistful confection. Released on Devendra Banhart's Gnomonsong label, this new album moves upwards and onwards from 2004's Mockingbird. It's decidedly more mid-fi and more psych folk leaning than those previous lower-fi chamber pop styled recordings. Perhaps a little earthiness has rubbed off on him from the folks with whom he's recently collaborated such as Skygreen Leopards and Vetiver? Or perhaps he's been spending more time out in the wondrous wilderness? Whatever it may be, the results are splendid. Can't Go Back caught us daydreaming about paddling a lil' rowboat down a gentle stream, and peering dreamily over the edge into the sundappled depths. As we gaze at a fallen leaf drifting by, the sparkly glint from an orange-gold carp catches our eye. Aaaah. This album will surely appeal equally to fans of Yo La Tengo, Low, Olivia Tremor Control and the abovementioned Skygreen Leopards. Recommended!

MPEG stream: Dear Employee
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It's been so nice to see Papercuts really mature over the years. There was no doubt at their beginning that they had the ability to craft melt worthy indie rock, but as the years have passed their sound has only gotten more warm, layered and potent. As Papercuts now join their buddy and former label head, Andy Cabic (Vetiver) as the newest recruits for Sub Pop, it feels like just the perfect time for this shift to a higher profile. No doubt these two swoon worthy songs will get compared to Grizzly Bear and Beach House, but what makes us excited about Papercuts these days is that it really is starting to feel like they are discovering how to put their own unique stamp on such a satisfying sound. Can't wait for the Sub Pop full-length about to drop!

Available on vinyl for the very first time, the debut full length from these aQ beloved psych poppers, pressed on blue vinyl AND with a bonus 7" featuring two previously unreleased tracks! We've raved on and on about the various Papercuts records released since, but this was our very first taste of the Papercuts' sweet, dreamy lo-fi indie chamber pop. Singer/songwriter/engineer/band member, Jason Quever conjures up some lovely songs here. Anyone who enjoys The Shins' Beach Boys style retro-pop and other similarly heartfelt jangle and drift, will definitely dig the Papercuts' Mockingbird, big time! Recommended.

MPEG stream: Mockingbird
MPEG stream: Poor And Free

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

SORRY. A new release on lo-fi stylemakers cassingleUSA label, but don't be mistaken -- this is much more than a cassingle. Papercuts give us 13 songs, soft, sweet and bittersweet, this would not be out of place next to Music Tapes or Casiotone For The Painfully Alone. As a matter of fact, our dear pal Owen of Casiotone plays on track #4.

So lovely, and soft as pussywillows! Jason Quever's back with his fourth Papercuts full length! His indie psych-tinged pop calls to mind a more cryptic and loosely woven Camera Obscura or Magnetic Fields (when Claudia is singing, mind you!). Everything about You Can Have What You Want is warm and fuzzy and inviting. Generous applications of reverb melt and blur the pop song structures into ear-hugging blankets that glisten and glow. Quever's wheezy '60s vibe vintage organs cozy up to the ultra pretty string arrangements of Beach House's Alex Scally who contributed a good deal to this album. Wistful and slightly melancholic, this really is a terrific end of summer album. So maybe nab it now, and tuck it away for when you really need it come late August? Some might find it to be a gradual grow-on-you kind of album (as we admittedly sort of did!), so the timing might actually work out perfectly that it'll have completely sunken its dreary lil' hooks into your heart by Labor Day! Recommended if you like the abovementioned bands as well as Caribou, Loney, Dear, and/or fellow Bay Area popsters Grand Lake who also have a terrific new album out now.

MPEG stream: Future Primitive
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We've always appreciated the music of the Papercuts, but we still felt like they were capable of more. Not all the elements had come together, something seemed to be missing, something kept it their sounds from achieving greatness. Always lovely and lilting and dreamily folky, but with Fading Parade, they have finally made the record they always seemed capable of creating. Perhaps it was getting signed to Sub Pop, but the Papercuts have elevated their song writing and delivery into an entirely different league. The recording of the album is so perfect in capturing a warmth and seduction in their songs that we had never felt before. Jason Quever's vocals are some of the most smooth and dreamy male vocals we've heard in such a long time. Not to keep pressing the Sub Pop connection but we can hear sonic and song comparisons to two of the labels best releases of the last decade, Chutes Too Narrow by the Shins and Teen Dream by Beach House. From their touring with Beach House this past year, we can tell that the Papercuts were able to really learn how to incorporate such rich and hypnotizing atmospheres into their songs. We also hear a touch of the elegance of The Clientele. This is an album that's both hazy and woozy, while also being catchy and emotional and immediate. We always love when a band we've been on the fence about, makes that huge leap and delivers a record that makes us all hardcore believers!

MPEG stream: Do You Really Wanna Know
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Our only exposure to the man known as Richard Papiercuts so far, was as the frontman for NY lo-fi art punks the Chinese Restaurants, whose single from a while back on S.S. was a huge favorite around here, a sort of angular swampy punk rock, with dramatic vox (and some bizarre Obama samples), crusty and gothic, slithery and swaggery, crusty and pounding, the sort of thing we predicted might appeal to fans of Sacred Bones and Captured Tracks releases, but which definitely tended toward the darker and dirgier, so we were pretty psyched on this, and expected more of the same, or at least something similar. And while the vibe is definitely similar, the sound itself ditches most of the punk and crunch for a collection of dark ballads, still dirgey and sinister, the opener is a pretty abject slab of bluesdirge stumble, all bleated sax, atonal guitars, chaotic drums, and howled anguished vocals, the sound dizzying and depressive, a sort of druggy late night dirgejazz sludge. But then the follow up track changes gears again completely, with a sort of classic rock guitar part, with a strange electronic pulse, and a much more dramatically crooned vocal, a little over the top, but RP definitely pulls it off, a little camp, a little drama, but sonically, it's pretty mesmerizing. The follow up is similarly broody and dark, but returns to the noisier sound of the opener, the guitars crunchy and distorted, the feel much more swaggery and woozy. The A side of the aforementioned Chinese Restaurants single gets a reworking too, here "River Of Shit" retains much of its punky crunch, sans the Obama samples, with a pounded piano, a fuzzy squelchy synth, and WAY more over the top vox, which makes it sound even more demented. And here the awesome absurdity of the lyrics finally becomes apparent, and how the phrasing is just totally twisted, the whole thing like a warped take on classic singer/songwriter tropes, all drugged out and deconstructed, and utterly transformed into something way WAY cooler.

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Wow, we really do never know what to expect from the Ormolycka label, except the unexpected. This latest batch of limited edition tapes is maybe even more diverse, and downright WTF!? than usual. We wouldn't have been surprised by electro rap weirdness, or exotic booty bass, or synthesizer soundscapery, but instead, in this particular case, we get vintage South American rock n' roll! Pappo's Blues were a heavy, bluesy (no duh) psych rock band from Argentina helmed by guitarist/vocalist Norberto "Pappo" Napolitano. They put out their debut, Pappo's Blues Vol.1, in 1971, and six more albums/volumes followed, through 'til 1978. (There are another two also, from when the band reunited in the '90s.) So, we suppose this Ormolycka cassette is some sort of selected 'best of' mix from various Volumes, probably the very earliest ones, though we don't know for sure as no info or track titles are given. Whatever the case, these are assuredly some badass, wailing proto-metal blues jams all right, riffy and distorted, with some fairly rough and ragged vocals in Spanish. Some tracks are in the more traditional, 12-bar, bar-room blues vein, but mostly this is way heavier sounding than that - the very first track on side A ("Sucio Y Desprolijo" from Vol. 3, we managed to figure out), is obviously majorly influenced by early Black Sabbath, as is a lot of the rest. Good times! A tape for anyone into the raw bluesy proto-metal action like Blue Cheer, Juan De La Cruz, Speed Glue & Shinki, Red Dirt, et. al.

MPEG stream: Sucio Y Desprolijo

Parade Ground are a Belgian duo, born in the new wave / post-punk explosion in the early '80s finding a sympathetic ear and an ongoing relationship with Patrick Coydens and Daniel B of Front 242. Despite the members of 242 encouraging, producing, and collaborating with Parade Ground, these Belgian lads didn't really fit within the EBM crowd that began to flourish in the mid-to-late '80s in their country. Their synth-pop melodicism drew more from the Brits, especially Wire and OMD. This collection, curated and released by Dark Entries, maps out Parade Ground's development from spiky post-punk into darkly tinged synth pop. Their 1987 anthem "Gold Rush" is featured here, as are the two collaborative tracks Parade Ground did with Colin Newman of Wire.

A track from local club kids Paradise Boys' The Young & The Guest List album gets the remix treatment from Daum Bentley and Modeselektor (bpitchcontrol). If you dug the full length, you'll surely shake a rump to this too. The A-side features the album version of "2 O'Clock" as well as Bentley's "2 O'Coke Remix". The B-side is the stronger of the two with Bentley's brooding "Running Lovers Dub Mix" and Modeselektor's "6pm Remix" grooving darkly and creating a more mysterious and shadowy atmosphere.

From the looks of the band name, cover photo,�and album/song titles, SF's Paradise Boys would have�you�think that every night of the week they're making the scene, indulging in a rainbow of flesh and chemicals, sexin' everyone up - cocktail in one hand, rolled twenty in the other. Indeed on their debut full length, it's nothing but�party music for party people.�Total�(plastic) passion, thrusting hips, sweaty hands. Flying high on plenty of substances,�and plenty lacking in substance.This album really should've come out a few years ago, as�the Paradise Boys seem excessively fashionably late for the electro-clash / disco-punk caravan...�maybe they've decided to follow�the lead of head 'Boy' Jeff Fare's former�bandmates' current band The Rapture -- expanding their line-up�from an electronic dance music duo to a full-fledged band and bringing together the�icy�stare of�electro, the primal urge of disco and the angular churn of postpunk. New Orderish keyboard lines, ching-a-ling funk guitar accents, thumpin' 4/4 programmed beats. The lead male vocals�can be�thin and forced, but they've added a female vocalist who brings a glimmer of passion to the proceedings.�As a result, they're showing more heft than their previous ep's�mirrorball melodrama (the album actually kicks off with an improved�reworking and retitling of one of the tracks from their first cdep/12"), but it's still the aural equivalent of a string of one night stands. If you're looking for an anonymous, no-strings-attached lifestyle accoutrement, you'd�best be makin'�your way across the dancefloor to�the Paradise Boys.

MPEG stream: Even If It Takes All Night
MPEG stream: I Burn For You

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

SORRY. Newest installment in the always great and way too limited Latitudes series comes from none other then Jenny Hoyston of Erase Errata fame, with her side-project Paradise Island. The second we put this on we knew we had a new favorite Summer song! "Motions" has this amazing urgency, simplicity, power and passion that has seeped right down into our souls. In fact we're pretty happy to finally put the "repeat" function to use on our cd player's remote control as Irwin and Scott had to get their fix over and over and over! Luckily the rest of this short ep is just as good, definitely some of the best songs that Jenny has ever churned out. We can't even begin to tell you how obsessed we've been with this ep playing it again and again in the store and still more at home. While DJing? On our iPod? Yes yes yes! Four songs of direct action cutting out all fat and leaving us only with the sounds that matter. This is the kind of D.I.Y. punk spirit that still makes our heart go all a flutter. So good! Remember this is part of a limited series so make sure to get one before they are history...!

MPEG stream: Motions
MPEG stream: Pedal Revotion

The overall picture of Rykarda Parasol's music is one of somber, tarnished beauty with a smoky cabaret atmosphere. Ms Rykarda possesses a powerful voice resembling a melding of Siouxsie and P.J. Harvey -- slightly ashen and achingly empassioned. It's presented prominently amid the reeling piano, organ, violin and guitar. Hearts and wounds are laid bare in deeply wrought fashion. Includes a cover of The Gun Club's "She's Like Heroin".

MPEG stream: En Route
MPEG stream: Lullaby For Blacktail

On her second release Our Hearts First Meet, SF chanteuse Rykarda Parasol sounds as though she's weathered a storm or two since her well-received debut cdep a couple of years ago. Her deep, slightly tattered, world-weary vocals bring to mind those of Carla Bozulich and Siouxsie Sioux, but mellowed out in a way that's more along the lines of Cat Power's Chan Marshall. Much rain and tear soaked enchantment is infused in each of her fifteen songs. The shadowy mood is supported by the beautiful cover art and striking, hazy black and white insert photo of Ms Parasol, but it's also unfortunately somewhat undone by the assorted casual band photos that reside on the inner traycard. Alas, but 'tis a minor distraction. Nevertheless, a fine follow-up to 2004's Here She Comes.... Released on the evergrowing SF indie label Three Ring Records.

MPEG stream: Hannah Leah
MPEG stream: Lullaby For Blacktail

The guys (and gal) in San Francisco's Parchman Farm are doing their dangest to rekindle the spirit of the city's sixties ballroom era, when righteous psychedelic rock ruled the scene. This five song, 23 minute ep is their recorded debut, and right away you'll realize that there's some serious Blue Cheer worship going on here (which you might guess from the band name and cover graphics). It's like they brought Dickie Peterson into the studio to play the bass line on their song "Say Yeah" -- and that stuff rocks. But Blue Cheer aren't their only influence and they get all melodic as well, not always trying to turn the air into cottage cheese with sheer amped-up umph. Over the course of these five tracks, they go from all heavy to trippy and hippy and always come through with full-on rawk vox and even (of course) cowbell... Ironic and retro it might be, but I think that they're legitmately into this sort of '60s/'70s thing and trying real hard. They definitely have the sound. But do they have the songs? Almost. I mean, nothing here would/should really fool you into thinking it was a lost out-take from Vincebus Eruptum or Tyranny And Mutation or Closer To Home. But they're getting there. A decent debut for sure. By the way, we think that someone at Parchman Farm's label Jackpine Social Club might need to check into rehab, for writing in the band's press one-sheet such god-awful lines as "their jean-clad legs wrapped around a fleshy column of stoner rock sludge and humpin' it all night long...like a shark riding on top of an elephant, just stomping and chomping everything in sight". What? Ugh. I mean, we've written some clunkers too, but...

MPEG stream: Mirror Spirit
MPEG stream: Say Yeah

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

SORRY. "This past August, I was in Nashville on vacation listening to WRVU, the 'alternative' radio station affiliated with Vanderbilt University. For thirty minutes or so, they were playing this amazing avant-garage-drone track by 'The Legendary Dave Cloud'... needless to say, it was a friend of the DJ who had recorded this track on his 4-track earlier that day. Until I find any of his recordings (hopefully he has sent some demos to Drunken Fish or Majora, who should appreciate this hidden talent), there's this kick-ass album from Paris 1942, which includes Rick & Alan Bishop (of the Sun City Girls) and Moe Tucker! They only played together 4 times but had enough sense to record at least an album's worth of lo-fi improv garage-punk tracks. Highly Recommended!" - Jim, AQ staff guy who would love any info / demos on the aforementioned Dave Cloud.

Multi-instrumentalist John Parish weaves together a mostly instrumental record with the help of some highly qualified friends such as Howe Gelb, Eric Drew Feldman, PJ Harvey and more. A good deal of the tracks laid down here sound as if they would make the perfect soundtrack to a Hal Hartley film. Some of the other instrumentals just sound like they're unfinished rock songs from the sketch book. For the most part this album is just "okay". Maybe, aside from the lack of any songs that stand out, there's just an absense of coherency that would hold the album together. Not that rock albums need to be concept albums, but one that consists primarily of very "filmic" instrumental material sort of begs for, if not leit motifs, then something to bind it together. But what really makes us cringe is the absolutely un-called for "Airplane Blues" at the end of the album, in which PJ Harvey sings some of the worst blues vocals on the whitest blues jam since Jon Spencer. Sure it's a joke, but the type of joke that's best left for the band and the engineer to enjoy in private.

RealAudio clip: How Animals Move
RealAudio clip: Airplane Blues

Once Upon A Little Time is the second solo release from Mr. John Parish... and have to say, we're not quite sure what to make of it! It's a bit of a puzzling work. In contrast to 2002's mostly instrumental How Animals Move, there's much more of a vocal presence on Once Upon A Little Time. On some songs he bears a surprisingly striking slouchy resemblance to Beck ("Sea Defences") while on others he intones deeply like a cross between Lou Reed and Howe Gelb ("Somebody Else"). Actually with it's balance of light-hearted numbers and more somber creepers, you could easily mistake this for a Gelb album. Not a bad thing! No, qute the contrary, but it's just sorta strange. His vocals are nicely complemented by those of Ms Marta Collica, and once again he's joined by members of PJ Harvey's band, Portishead and Nick Cave's Bad Seeds.

MPEG stream: Sea Defences
MPEG stream: Somebody Else

Parker Street Cinema are a slightly unconventional post-rock three piece. How so? Well, while their sound for the most part keeps within the confines of Chicago style post-rock, they do give the conventions a refreshing nudge. On this their first five-song cdep, they've got bass guitar, they've got drums, but 'instead' of guitar they've got piano! Lots of moody dramatics and dynamics. An impressive debut!

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MPEG stream: Midnight Shakes The Memory

Bloodshot Records -- normally the haven for new upstart Americana folk/country/roots rock artists -- has been giving a respectful nod to its (both world reknown and lesser known) forefathers. Here's the newest album from noneother that Mr. Graham Parker, and actually it's much less 'country' than most of his newfound label brethren. Younger indie/college radio kids might liken his weathered, sharp tongued voice to Vic Chesnutt, but Parker's been Mr. Grumpy Embitterment much longer than Chesnutt. Now nearing three decades of recorded work, Your Country proves that he's back with plenty of spit and spark to show the kids a thing or two. For one thing, there's plenty of great wry storytellin' lyrics, the true distinguishing mark of Parker-penned songs. A highlight of the album is certainly the 'duet' with likeminded, world-weary singer/songwriter Lucinda Williams, although it would've been nice to hear Williams in a more prominent role than what it actually is, that of backing vocalist. No frills here, none needed This is solidly a straightforward quality Parker album.

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

SORRY.

Perhaps best known as the arranger of a forty-five year old masterpiece that's famous for having never been released (the Beach Boys' Smile), Van Dyke Parks may be finally getting his due. Of course we've been huge fans of the eccentric wonderland of his 1968 solo debut Song Cycle, which got a beautiful sampling nod from Madlib on his Beat Konducta series (check out the "Left On Silverlake" sound clip from our review of the Beat Konducta Vol 1 & 2 to see what we mean). And his orchestral arrangements on Joanna Newsom's 2006 release Ys were some of his most inspired work we had heard in a long while. Yet he has remained an elusive cult figure, a master of subtlety and nuance in his craft that has championed the sounds of American folk ingenuity from earlier eras in dizzyingly bright kaleidoscopic arrangements that can be a bit of an acquired taste for those unfamiliar with them. Channeling industrious American composers, such as Charles Ives, and Scott Joplin, the bygone popular song structures of Tin Pan Alley, Honky Tonk and Ragtime and eccentric instrumentation of zithers, mandolins and singing saws, Parks arrangements don't just capture an old-fashioned sound but the feel of a forgotten age that adds a patinaed sheen of passing time to his work. His music and arrangements could easily be a score for any number of Richard Brautigan novels. Parks himself curated and released this first volume of his arrangements on his own Bananastan imprint, and in typical Parks fashion, it's a varied and eccentric affair. Featuring songs by Bonnie Raitt, Arlo Guthrie, Little Feat, Lowell George, Ry Cooder, Sal Valentino, Dino Martin, The Mojo Men, and a few songs by Parks as well, including the first track, an adaptation of Donovan's "Colours" called "Donovan's Colours" credited to George Washington Brown (a pseudonym of Parks) from the Song Cycle album. While most of the tracks enjoyably engage us, there are a few rabbitholes such as the calypso-inflected Bonnie Raitt track that may have you reaching for the skip ahead button. But wiggly twists and turns have always been a feature and ultimately a joy of the Van Dyke Parks experience persuading us to unexpected places we might not venture on our own.

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Decades before Sufjan Stevens was singing about the landscape of the the states, or Jim O'rourke was deconstructing pop, Van Dyke Parks was giving us all a crash course on orchestral avant-pop. Best known as Brian Wilson's collaborator on Smile, and decades later the producer and arranger of Rufus Wainwright's debut, Parks has made several challenging pop records of his own. Along with Discover America, this is for sure his landmark recording. A warped and thrilling affair exploring the southern California landscape. One moment he takes us to palm desert then laurel canyon blvd. and one moment you feel like you're in a musical on acid and then a psychedelic pop opus and then a folk song spiked with flowery colors and warped sensibilities. When Brian Wilson began hanging out with Van Dyke Parks, it's rumored they spent their nights doing amphetamines and Parks would read Wilson literature that he felt would touch his heart. Of course the more square side of the Beach Boys camp considered Parks an enemy, Mike Love in particular was totally intimidated by the intellectual and avant-minded nature of Parks. And well, any enemy of Mike Love is probably a friend of ours! But back to this record, it's for sure one of the most adventurous, ambitious, deranged, delightful albums of pop created in the last quarter century. And wow, how dapper a young Van Dyke Parks looks on the cover of this record. Eat your heart out Sufjan! Just thought we should get this on our site, at last...

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Much like the cloud of plastic googly eyes that festoon the cover of this cd, Parlour's music has the tendency to drift off in all directions. From track to track and moment to moment, they're ever-morphing stylistically and tempo-wise. That's not to say that this album is scattered or haphazard. Not at all, there is a unifying slow, meandering flow to the proceedings, and it's all definitely rooted in the postrock camp. Perhaps the diversity is due to the fact that these tracks were done over a five year period in a number of different locales? Or perhaps it's still the lingering traces of the members past projects (The For Carnation, Aerial M, Crain)? Yes, the latter is particularly apparent. Nevertheless, Googler is an intriguing journey through melodic guitar and bass cycles, driving rhythms, warm drones and prickly textures. At times propulsive and sharp-edged while at others smooth and delicate. Six lengthy songs in all.

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New 20 minute four song ep from Louisville post rockers Parlour. While there's no escaping their deep connection to Tortoise -- we're talking circa Millions Now Living... -- they also have a broad arsenal of musical weapons at their disposal which make them stand out. Most significantly is the inclusion of both bass clarinet and tenor saxophone as prominant leaders in their sonic pallette, but also richly endowed with the sounds of tasteful analogy synths, jangling guitars and the requisite bass and drums. To be fair to Parlour, and maybe give a little more credit where credit is due, their sound is probably even closer to that of Pell Mell (who were squeezing out their own surfy brand of instrumental post rock long before Tortoise ever played a single note).

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Led by Tim Furnish (Crain, Aerial M, For Carnation), this Louisville group is quite beautiful. It's a post rock instrumental record... and yeah, there's a lot of those out right now! However, this is totally at the higher end of the quality spectrum. The

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We've long been fans of this Louisville post rock supergroup, featuring members of Crain, Ariel M, The For Carnation, and Rodan. Simulacrenfield might just be their best yet. Mesmerizing and hypnotic, equal parts melodic meander and rhythmic churn, they often sound like a heavier Tortoise, locking into hypnotic, almost jazzy grooves, but without being afraid to infuse those jams with thick distorted guitar crunch, tangled complex woodwind interplay or buzzing sci-fi synth shimmer. With an arsenal that includes clarinet, bass clarinet, tenor saxophone and synthesizer, augmenting the classic rock guitar / bass / drums (not to mention some banjo here and there), these guys craft gorgeous, timeless instrumental post rock, the sort few bands play anymore, and even fewer can pull off. The opener, "Destruction Paper" perfectly displays everything that's so good about these guys, a dizzying blend of post/math/kraut rock, the horns and synths adding so much breadth to the group's sound, standing in for vocals in a way that keeps the sound from getting boring, while simultaneously elevating the sound, adding a sort of prog/art rock element. "Camus" is more of the same, the band locked tight, the core instruments laying out an irresistible groove, while the horns wind and whirl and intertwine. The banjo on "Jalepenooptics" totally transforms the song into some sort of strange twang flecked post/kraut workout, the horns giving it a sort of chamber ensemble vibe, and definitely reminding us of Tortoise again. Over the next few songs, the sound swings from dark Slinty brood, to almost Decemberists sounding Victorian jangle, to Godspeed like slow build and finally to the nearly 11 minute closer "Sea Of Bubbly Goo", which also has some serious Slint going on, the guitar parts creepy and skeletal, drifting amongst clouds of cymbal shimmer, gradually growing more and more propulsive, the sound fantastically tense and hypnotic, the tempo building, effects whirling, the horns adding plenty of melody, finally exploding in a skronky, crunchy, epic denouement, before fading out into a cloud of rumbling slow fading distorted low end. AWESOME. Definitely for fans of Tortoise, Chevreuil, Trans Am, Circle, Fridge, Maserati, Explosions In The Sky, Resonator, Salvatore, Woodsman and various other practitioners of the lost art of post/math rock...

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