[ aquarius records — Rock Pop ]

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DEAD MEADOWHowls From The Hills(Tolotta)cd$ 13.98

Anything recorded at a "mobile mystic gnome studio" has got to be good, right? Well, at least if you're in the mood from some suitably stoned, retro-rocking, Blue Cheer worship from this very heavy and psychedelic Virginia-based band. "Howls From The

DEAD MEADOWOld Growth(Matador)cd$ 13.98

Old Growth shows that Dead Meadow have grown oh so very comfortable with their now trademark sound, one that hazily recalls the Black Sabbath/Blue Cheer thud of their early albums, but downplays that sort of heaviness in favor of the mellowed-out, more melodic lighter touch we loved about the dreamy, Floydian-feelin' Feathers, their previous album from 2005. Maybe they've gotten just a little too comfortable with it, as this new one doesn't push forward too much further, their smoke cloud drifting on to settle over another set of loping, lazy stoner groovage, with whiney vocals mumbled in their usual style. There's a whole lotta psychedelic blues rock guitar, but not so much in the way of heavy riffing. Instead, a lot of this is sorta stripped down, the very first track "Ain't Got Nothing (To Go Wrong)" somehow reminding us of something the White Stripes might do. And it's definitely a "song-oriented" album. It's probably a 50-50 proposition that fans of Feathers (the album, not the band) will either be well pleased with this or feel sorta blah on it, really depends on how these songs strike you. Some of 'em we really dig. Dead Meadow heads from way back might have been hoping this time for more heaviness, however.

DEAD MEADOWThree Kings(Xemu)cd + dvd$ 21.00

Some people have issues with live albums. Fair enough, but anyone who has seen Dead Meadow in concert will undoubtedly know that this is where the band truly shines. However, Three Kings is more than just a live record, featuring a couple of studio takes as well, and an accompanying DVD that the band sees as the main attraction here, with the audio portions serving as the soundtrack. In the time that has passed since Dead Meadow's last live album, a good 8 years or so, they have risen from an obscure indie answer to Sabbath/Free/whatever stoner rock to pretty much one of the more legitimate legacies of those legendary heavies. Considering the generally lukewarm reception to their last studio full length, Old Growth (a shame to say, but...), it's nice to hear Dead Meadow holding things down expertly on stage, and we've been able to reassess some of the songs from OG as they are presented here and we're actually digging them quite a lot. The sound is nice and upfront, a fairly accurate representation of the concert experience, with warm fuzzy guitars, shitloads or wah wah, awesome sustained bass, drumming that's all over the place without sounding too busy for it's own good, and singer Jason Simon's love-it-or-leave it whine. The songs mostly come from the band's Matador catalog, with a few exceptions of earlier tracks. Just listening to all this stuff we were struck with the reality that this band has been around for a long-ass time now, building an awesome legacy for themselves and existing in a realm where most bands won't ever get to before throwing in the towel. Maybe the thing with Old Growth had something to do with them resting easy in their comfort zone after nailing a sound for so many years. But this makes us realize, or at least hope, that that album was just a slight misstep, and we're keeping our fingers crossed that they have plenty of great records still left in them. Honestly, to the Dead Meadow fans at aQ, so many of these songs sound, well, CLASSIC. Adventurous, highly melodic stoner rock that isn't afraid to wander, with some shoegazing grandeur and a heavy blues influence that would not fair well with a lesser band. Oh, but there's more, and that comes in the form of the DVD. Judging from the cover of Three Kings, you might be inclined to think that maybe the boys in Dead Meadow have stepped off the deep end... but then you realize that this is EXACTLY what should happen! They've been at it since 1998, so we're all in favor of some minds being lost, and the band has pulled a bit of a The Song Remains The Same with some crazy visual renderings. Ambitious? Sure. Ill advised? Perhaps. But it's really something else altogether, a bit ridiculous, but in a good way, and it integrates the music with good results. The film begins with the ramblings of a crackhead before fading to a shot of the band walking around in druid robes in the desert. Huh? It then cuts to Dead Meadow tearing it up on stage in their adopted hometown of Los Angeles. The professionally shot live footage is actually pretty amazing, showing the band in all their psychedelic glory with some close up shots revealing the nuances that might otherwise be lost within the sheer volume. There's some more desert wandering, which never overstays its welcome before going back to the concert. The vignettes are undoubtedly the results of being really, really high, and they are actually pretty funny at times (we hope that was the intention). I mean, can you really argue with the idea of drummer Stephen McCarty's amazing mustache and long blond locks as he stumbles through a mountain of sand in corduroys and a tank top with a seriously sun blistered face? Or what about Jason Simon chainsmoking and studying books on the paranormal? There's even some ultraviolence when bassist Steve Kille whips out a handgun and blasts the shit out of some dude in front of his chick. You really don't have to pay too close attention to dig what's going on, and whatever the replay value of the DVD might be, it's safe to say that after this many years, Dead Meadow has earned this. Three Kings is ambitious, weird, and a nice reminder of the power of a band that may have been taken for granted in recent years. Two thumbs up.

DEAD MEADOWWarble Womb(Xemu)cd$ 15.98

Another excellent outing from these stoners.

DEAD MEADOWs/t(Xemu)cd$ 14.98

This band's most recent album, Feathers, was one of our favorites of last year so it's nice to get this opportunity to revisit their first record which has been out of print for quite a while, the label (Joe Lally's Tolatta) that released it originally went out of business and the record was sort of lost in limbo. Their stoner-psych-rock prowess can be found here in its full glory connecting the dots between Black Sabbath and Blue Cheer, Bardo Pond and Kyuss. One of Dead Meadow's best attributes is their ability to make records that totally grow on you and seep into your skin listen after listen. This has been hitting the spot for us so much as of late that literally not a day has gone by that this hasn't been blasting out of our speakers here in the store! Such a welcome reissue, and for sure a must-have if you missed it the first time around in 2001, when we said the following about it: Dead Meadow are a retro stoner psych rock power trio playing fuzzed out space-jams in a heavy and rollicking yet still kinda mellow mode. For fans of Blue Cheer and their fellow Tolatta act Spirit Caravan. They're also reminiscent of a more jammed-out, psychedelic Sleep, but with some gentle touches -- there's even interludes of acoustic guitar indie-pop. This one grew on us! [See!] It's definitely more "out-of-time" than most other stoner rock efforts, harking back not to the arenas of the '70s but to the garages and hippie pads of the late '60s. As such it stands apart from the current legions of Kyuss / Fu Manchu clones. The one weak point, the slightly whiny vocals, hardly matter amid the instrumental majesty of the electric fuzz guitar and bass action that dominates this album! Xemu should soon be reissuing Dead Meadow's 2nd Tolotta album Howls From The Hills as well, also a must for those working backwards from the band's excellent Matador output.

DEAD MILKMENBig Lizard In My Backyard(Restless)cd$ 12.98

A little blast from our college radio punk rock past. I was 15 years old when this record came out, but I didn't truly appreciate it until I was in college and learned to like music other than heavy metal. Dean Clean, Joe Jack Talcum, Dave Blood, and Rodney

DEAD MOONCracks In The System(Mississippi)lp$ 14.98

DEAD MOONDead Ahead(Tombstone)cd$ 13.98

For the devout followers (particularly overseas) of this veteran Oregonian garage punk trio, their ninth album surely needs no introduction. For those less in the Dead Moon know, it's high time you got yerself acquainted. Punk rock grandparents (really!) Fred and Toody Cole along with drummer Andrew Loomis have been tooling out the hard livin' low-slung rawk tunes for well over fifteen years. They've not veered an inch from their straightforward rough-hewn path. Totally unadorned, honest and not always pretty, their sound is real down'n'dirty. These murky lo-lo-fi recordings truly adds to their unstable gritty glory. Dead Moon quite often prove to be an acquired taste, but those who do dig it are positively rabid. Are you?

DEAD MOONDead Moon Night / Thirteen Off My Hook(Music Maniac)cd$ 15.98

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

SORRY.

DEAD MOONDefiance(M'Lady's)cd$ 14.98

One of three reissues from garage rock legends Dead Moon, part of a comprehensive campaign reissuing ALL of their records on cd, most for the first time EVER. Defiance was originally released in 1990, hot on the heels of their debut In The Graveyard, and the follow up Unknown Passage (both also reviewed on this week's list), and like those two, Defiance is another collection of impossibly catchy, raw garage rocking classics, with Fred and Toody Cole delivering the sort of songs that sound totally timeless, and crafting the sort of sound most contemporary garage rockers are still emulating today. Opening with a public domain blues classic, the band deliver a serious blast of fuzzed out, swaggery, distorted garage blooze that kills. And from there on out, it's just more classic Dead Moon, the buzzy, hypnotic crunch of "Not The Only One", which just oozes pathos, super anguished emotional vocals over dark minor key jangle, some tracks are all twangy and croony, like the dark torch songy "Dagger Moon", and when Toody takes over on vocals, like on "Johnny's Got A Gun", the sound is total sixties girl group radness, but still plenty raw and stripped down, crusty and fuzzy, and the AC/DC comparisons that we never really got before, still apply here, on tracks like "Kicked Out / Kicked In", with Fred's Bon Scott like vox perfectly complimenting the stripped down heavy blues stomp. We've been playing these three reissues to death, and we're already chomping at the bit for the next three!!!

DEAD MOONEchoes Of The Past(Sub Pop)2cd$ 14.98

Dead Moon are one of those bands that seems to be revered and loved by everyone who's ever heard them, but considering how long the band has been around, it's a little hard to believe just how few people that is. SO we're pretty psyched that Sub Pop decided it was time to rectify that. With a massive double disc collection, gathering up all kinds of rare and essential DM tracks. Dead Moon seem like they've been around forever, and they sort of have. The band formed in 1987, so we're talking almost 20 years. And husband and wife band leaders Fred and Toody were BORN IN 1948!! AND GOT MARRIED IN 1967!! Twenty years before they even started the band that would continue rocking to this day. And they pretty much out-rock any garage rock outfit you can think of. Dead Moon are classic, lo-fi, fuzzed out, stripped down, blues drenched garage rock nirvana. The drums sound like garbage can lids recorded in a cave, the guitars go from scrabbly thick riffing to reverby surf rocky fuzz, to smokey blues moodiness. The songs tend to be super simple, sometimes skeletal, but the band have a serious knack for the hook and they just kick out the motherfucking jams. Fred's got a killer Bon Scott-like growl and Toody has a cool sixties girl group sort of shout, and along with drummer Andrew Loomis every track they whip up is a winner, going from sounding like kick ass classic rock, to fuzzy garage groove, to psychedelic lo-fi blues rock, to some rare lost AC/DC demo, all slathered in Stoogesy swagger and swinging Stones stomp.

DEAD MOONIn The Graveyard(M'Lady's)cd$ 14.98

Finally, for the first time EVER on cd, the debut from garage rock legends Dead Moon, part of a comprehensive reissue campaign that will find all the classic Dead Moon records reissued. But for now, the first three are ready for digital consumption, housed in fancy digipaks, that belie the grungy, fuzzy, wailing jangle genius within. Fronted by Fred and Toody Cole, the sound of Dead Moon is at once raw and ragged, hooky and catchy, that catchiness due maybe in part to Fred's previous stints in various psych/garage pop combos, including The Lollipop Shoppe, but Dead Moon, while poppy and catchy, are not anything like a proper pop band. Instead, they craft a sort classic garage rock sound, beholden to lots of early rock and roll, but definitely sonically more aligned with groups like AC/DC, the Wipers, Blue Cheer, 13th Floor Elevators - killer riffs, simple drum pound, stripped down and totally rocking, with Fred's super distinctive vocals, keening over the top (which is where much of the AC/DC comes from for sure), with occasional vox from Toody, making for killer harmonies, as well as some lead vocals, like on their cover of "Can't Help Falling In Love", and really, every song here pretty much as tone cold classic. It's not hard to understand why Dead Moon have such a massive cult following, hopefully with these long overdue reissues, that cult will grow and grow.

DEAD MOONStranded In The Mystery Zone(Mississippi)lp$ 14.98

DEAD MOONStrange Pray Tell(Mississippi)lp$ 14.98

DEAD MOONToo Many People(Mississippi)7"$ 7.98

"2 completely unreleased songs & 2 songs only available on the hard as hell to find 13 Off My Hook European compilation. Altogether 4 killer Dead Moon songs from 1989! Side A features 'Don't Hate Me' & 'Too Many People' -- both quality rock songs. The flip side has the utterly devastatingly beautiful ballad 'I'll Follow You' & the world weary tune 'Claim To Fame'. All not to be missed songs. Picture sleeve with unpublished photos of the band. It's hard to believe these songs did not make the cut for the early Dead Moon LPs."

DEAD MOONTrash & Burn(Empty)cd$ 12.98

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

SORRY.

DEAD MOONTrash And Burn(Mississippi)lp$ 14.98

Dig it, whatever else is wrong with the world, at least it seems like there's always a Dead Moon reissue popping up, that's some good news. This week we're listing the Pacific NW garage punk legends' 10th (or 12th? we're not good at keeping count) album, circa 2000, newly back in print on vinyl, via Mississippi - and we also just got ANOTHER three Dead Moons, their earliest classics (In The Graveyard, Unknown Passage, and Defiance) at last individually reissued on compact disc thanks to M'Lady's... Trash & Burn is full of energetic, atmospheric rockers in the Dead Moon tradition, frontman Fred Cole & Co. kicking out the lo-fi jams like they idiosyncratic vets they are - Cole has been at the underground rock n' roll game since the '60s! Lots o' fuzzed guitar, pleading/whining/weirdass vox, driving rhythms, murky swagger, you know the score, it's Dead Moon. You got this one?

DEAD MOONUnknown Passage(M'Lady's)cd$ 14.98

The Dead Moon compact disc reissue campaign is upon us, the first three records from these legendary garage rockers now available on cd for the first time EVER, and while most folks are probably well aware of Dead Moon's sonic legacy, there are no doubt legions of potential fans who will be discovering this stuff for the first time, and whose minds will most likely be thoroughly blown! To us, Dead Moon was always sort of THEE quintessential garage rock bands, Fred and Toody Cole delivering plenty of fuzzy jangle and raw, stumbling lo-fi bash and pound, but we'd always seen people comparing them to AC/DC which for some reason didn't make much sense, but holy shit, opener "Dead Moon Night" is a dead ringer for those Aussies, the opening riff, the stripped down swagger, the ridiculous lyrics, right down to Fred Cole's distinctive Bon Scott like yowl, not to mention a chorus that kills. And the rest of the tracks are just as good, with some of the tracks getting broodier, others channeling classic early rock and roll, like the heartfelt duet "A Miss Of You", with Fred and Toody, crooning together over simple drum pound, and twang flecked jangle. But then it's right back into it, with the classic "54/40 Or Fight", a ragged stumbling garage rock blowout. This album has another great cover, this time the Chambers Brothers' "Time Has Come Today", which finds Dead Moon almost sounding like a noiser, more ramshackle Creedence Clearwater Revival. So good. We had sorta forgotten how much we love Dead Moon, but these records are just so goddamn great, long time fans will find themselves RE-obsessed, and if you're hearing Dead Moon for the first time, man are you in for a treat!

DEAD RABBITSSin-Eater(Over It Media)cd$ 14.98

Supposedly a more metal Lynrd Skynrd, Dead Rabbits (what an awesome name!) sound a bit more like a slightly Southern fried Pantera or Superjoint Ritual with a bit more twang. Pretty cool, nonetheless.

DEAD RAVEN CHOIRA Tree Inside The Wolves(Jewelled Antler)cd-r$ 9.98

Weird-folk musician Smolken is from Poland, lives in Texas (to be closer to Jandek?), and records prolifically under the name Dead Raven Choir. Following up January's "Armoured Wolves", this is his second release on San Francisco's Jewelled Antler cd-r label, who must really love DRC since they usually only draw from their own Collective ranks for releases. According to Jewelled Antler's Glenn Donaldson, this was originally supposed to have been a collaborative project between DRC and Furisubi's Kris Lapke. But before Smolken got his tracks to Kris (or while he was waiting for Kris to complete them, perhaps?) he happened to send 'em to Glenn, who immediately persuaded Smolken to release them on Jewelled Antler just as they were, without any additions. The resultant spaciousness of the songs (a direction DRC was heading in anyway) really works well, and in the liner notes these silences are dedicated to Kris Lapke, so Glenn's story holds up. Harsh acoustic guitar strum, tangled melodic picking, droning strings, tape hiss, sudden voids of sound, and Smolken's dark, dramatic, accented vocals (lyrics this time all taken from Rainer Maria Rilke) -- it all makes for a stark and beautiful listen, the sparseness making every sound all the more portentious. It's (old-)country avant garde poetic stuff with a spooky black metal spirit, perfect for the campfires of your imagination. Smoken's voice is sometimes multitracked, spoken, whispering, and not quite as "difficult" as on some past releases, but every bit as eerie. Very nice. MPEG Download: "Comforting Of Elijah" [/audio/deadravencomforting.mp3] MPEG Stream: "Comforting Of Elijah" [/audio/deadravencomforting.m3u]

DEAD RAVEN CHOIRLesbian Corpse Wolves(Brazos Valley Meat Authority)cd-r$ 11.98

Yet another Dead Raven Choir cd-r! And again incredibly limited. We actually got the last 8 copies and after they're gone, they're gone for good. This time around, Smolken, who is Dead Raven Choir, tackles the writings of Rainer Maria Rilke, composing a suitably somber folkscape around his weighty words. Jandek-ian guitar clatter, Appalachian folk, tenuous piano, dramatic almost operatic vocals, and creepy dark ambience all coalesce into nightmarish outsider-folk grimness. Two guest vocalists, one male and one female, handle most of the singing, while Smolken takes care of the rest (the rest being string bass, tenor banjo, guitar, piano and some singing). Dark and pretty, sad and somber, and really nice. Each cover is unique, with the top layer carefully singed to reveal the layer beneath, and each cd comes with a different beer label under the tray, which the liner notes explain quite simply: All beer consumption by Smolken!

DEAD RAVEN CHOIRTheir Feet Are the Foraging Ground For Wolves(Jewelled Antler)3" cd-r$ 5.98

The missing number 5 in the Jewelled Antler Library series of 3" cds turns out to be by Dead Raven Choir, the Texas-by-way-of-Poland based folk/improv one man project that the Jewelled Antler powers-that-be seem to be totally in love with of late -- this is their 3rd DRC release this year! As with his previous Jewelled Antler cd-rs, DRC here conjures up some eccentric vocal theatrics and sparse, haunted acoustic guitar playing, like some sort of Eastern European Jandek. And his black metal obsession with wolves continues in the title here as well. Scarily beautiful, with atmospheric piano and unknown other sounds providing a hissing soundscape for his vocal, all three tracks here featuring macabre poetry by Paul Verlaine. MPEG Download: "Night Scene" [/audio/drcnightscene.mp3] MPEG Stream: "Night Scene" [/audio/drcnightscene.m3u]

DEAD RAVEN CHOIRWine, Women And Wolves(Last Visible Dog)cd$ 11.98

Another transmission from the Dead Raven Choir, the work of a Polish ex-patriate Texan who calls himself Smolken. Followers will understand when we say that this falls into the sparse, dramatic folk half of his ouvre, rather than on the black metal noise folk side of things. Whispered, accented vox deliver the poetry of Rainer Maria Rilke, Hilaire Beloc, Charles Baudelaire, A.A. Milne and others over doleful strings and abstractly strummed guitar. Smolken seems to be a creepy, well-read Eastern-European version of Jandek, and he's a master of atmosphere, going totally over the top with minimal means. Every note played, and every hiss between notes, turns the blood colder. If an album could sound cursed, this is it. Fans will of course pick this up, but if you haven't yet delved into Smolken's haunted sound-world, perhaps this is the one to try. For one thing, it's the man's first 'proper' cd after many cd-rs and tapes. And one of his best album titles too! The clincher, perhaps, is that aside from Smolken himself, the only other musician to appear on this recording is our friend, Jewelled Antler stalwart Glenn Donaldson (Thuja, Blithe Sons, Birdtree, Skygreen Leopards, etc.). Ever since, he's had a hollow look in his eyes and his beard seems paler and wispier... Or so we imagine.

DEAD RIVERs/t(self-released)cd-r$ 9.98

DEAD SCIENCEBird Bones In The Bughouse(Absolutely Kosher)cd ep$ 8.98

Dead Science follow up their fine debut album Submariner with this considerably less drugged-out five song ep. Still very somber and edgily dramatic with a bit of a gypsy carnivalesque feel. They end the cd with a haunting cover of Terence Trent D'Arby's "Sign Your Name".

DEAD SCIENCEFrost Giant(Absolutely Kosher)cd$ 12.98

Eeep! Someone get Dead Science's lead vocalist Sam Mickens a cold flannel to cool his fevered brow. Breathless torment and angst spill forth from his lips as his strange nightmares carry over into his waking state. The fourth song is even titled "Sam Mickens' Dream"! If you like an ample dose o' drama in your musical selections, this new album from Dead Science might be your perfect cup o' downers. Much less psychedelic and post-rock leaning than Submariner, the Seattle, WA trio's last full length. Fans of Frog Eyes and Xiu Xiu should definitely check out Dead Science!

DEAD SCIENCESubmariner(Absolutely Kosher)cd$ 13.98

Dead Science craft subdued, trippy rock with the incense plumage of Zeppelin, some jazzy post-rock, and an ample dose of Radiohead. Each song smolders slowly with the slinking guitar and stand-up bass weaving themselves languidly around the lilting, murmurred male vocals. Customers have likened the voices to a drowsy/druggy hybrid between Robert Plant, Joe Pernice and Thom Yorke, leaning heavier on the latter as the album progresses. It's not until the second to last song "Tension At Pitch" that the band's glowing embers totally catch ablaze. Would probably fit quite nicely alongside Pleasure Forever and Black Heart Procession for a late evening's entertainment - very heavy on mood and high on drama.

DEAD SCIENCEVillainaire(Constellation)cd$ 15.98

If you have a penchant for arty pop that's filled with theatrical flourishes and hand-wringing croon-swoon emoting a la Antony & The Johnsons, Scott Walker, Xiu Xiu and Frog Eyes, then you should definitely chance a visit from Dead Science's latest affair Villainaire. Mind you, it is considerably more aggressive than any of those artists' music. It's a stormy shroud of a listen not for the faint of heart. Unquestionably it's the band's most composed and fully realized album to date. Menacingly jagged post-punk and forebodingly atmospheric post-rock thunderheads run headlong into a delirious whirlwind of orchestral string arrangements and free-jazz-ish skronk. Yes, you might think it to be a seemingly incongruous meeting of styles, but Dead Science's pervading shadowy dramatics brings them all together. With special guests Craig Wredren of Shudder To Think and Katrina Ford of Celebration.

DEAD SEA APESHigh Evolutionary(Cardinal Fuzz)lp$ 21.00

Fans of all that's heavy and fuzzy and krauty and psychedelically wasted, today is a good day, rejoice, for not one but two new releases from the UK's superior quality Cardinal Fuzz label have landed! One is from Bay Area locals Lumerians, yay, and then also here is the second full-length from Manchester, England trio the Dead Sea Apes, featuring seven new instrumental tracks, artfully constructed for maximum might and moodiness, conjuring dark desert landscapes and psychedelically dosed Western soundtracks... The record opens with the stately stoner drone of "Threads", that sounds a bit like a tranquilized Earth playing the intro to Slayer's "Seasons In The Abyss" or something, slightly sinister and very much spaced out. The slo-mo majesty continues on track two, "Planetarium", which builds and builds over a base of echoing rhythm. Then there's the twangy but fuzzy, backwards effected beauty of "Turpentine", and the sheer, swirling, shoegazing, amp worshipping power of "Regolith"... and so it goes, this album a glorious collection of droned-out ragas and hypnotic heaviness, reminding us at various moments of such other aQ faves as Circle, Gnod, Carlton Melton and Barn Owl. It winds up with the eight and a half minute "Wolf II" (a reworking of the song "Wolf Of The Bees" from their previous record, Lupus), a slowly unfurling post-rock journey of quietly brooding reverie and, ultimately, cathartic crush. LIMITED TO 500 COPIES! And as with all Cardinal Fuzz titles, in high demand.

DEAD SEA APESLupus(Cardinal Fuzz)2lp$ 29.00

We loved the first Dead Sea Apes on UK space/psych label Cardinal Fuzz, a collaboration with another outfit called Black Tempest, which found those two groups conjuring up some seriously heady psych-drone drift, and while we loved what we were hearing, we were also sort of curious to hear what Dead Sea Apes were all about on their own, especially considering we had heard them described as 'post rock', but the sound here definitely still falls squarely within the realms of fuzzy, murky spacey psychedelia, with long stretches of rumbling drones, dense swirls of spaced out FX, minimal motorik drumming, super hypnotic and totally trance-y. The opening one-two punch is a doozy, "Pharmakon" is 7 minutes of dense dark swirl, laced with sitar like drones, and weird low end pulsations, the vibe modern minimalism meets murky ritualistic doom, a shimmering black ambience, that seems to slowly blossom into a roiling soft focus ur-drone, leading directly into "Knowledge And Conversation" which takes that sounds and harnesses it to something more akin to Date Palms take on Spacemen 3, woozy, warbly, drowsy and dreamy, laced with spidery guitars and Morricone like twang, swooping backwards FX and skittery shuffling rhythms, almost like a heavier, meaner, druggier Necks, the track a languorous slow build, that eventually reaches a sort of critical mass, but doesn't explode so much as get more dense and tense, rife with shards of keening high end and driven by pounding drums. The rest of the record drifts back and forth between short little sonic sort-of-interludes, to sprawling spaced out epics, some tracks atmospheric and dusky, sounding not unlike Earth or Barn Owl, others abstract and dubbed out, sounding almost like some sort of experimental noise rock/dub hybrid, and still others delicate and haunting, aching melodies wreathed in blackened swaths of thrum and whir, driven by slow motion loping basslines, and washed out guitar shimmer. Gorgeous stuff. Cardinal Fuzz fanatics, and we know there are a lot of you out there, should probably grab one of these before they disappear, and really, anyone into dark atmospheric psychedelia and brooding spaced out psych rock, this will definitely hit the spot.

DEAD SEA APES & BLACK TEMPESTThe Sun Behind The Sun(Cardinal Fuzz)lp$ 26.00

One of two new releases from UK psych/space rock label Cardinal Fuzz, who released the Cosmic Dead 2lp, reviewed elsewhere on this week's list, as well as killer lps from two Swedish psych combos, the Hills and the Janitors, reviewed a few weeks, back, and like all of those, the oddly monikered Dead Sea Apes & Black Tempest, which is in fact a collaboration between a UK post rock outfit (Dead Sea Apes), and a space kraut synth wrangler (Black Tempest), who together traffic in the same sort of druggy psychedelic drift as their labelmates, their sound spending much of its time on the spacier side of the sonic spectrum, but full capable of space rocking with the best of them, which they do here. But it's a gorgeous, hypnotic slow build to get there, the three lengthy tracks here unfurl epic Necks-like landscapes of mesmeric shimmer, of minimal hypno-rock minimalism, brooding chordal swells, softly pulsing synths, streaks of feedback, and abstract drumming, the first half of the 12 minute opener "Grey Alphabets" is spent unfurling a lush swath of hazy, druggy, shadowy dreaminess, very epic and cinematic, shades of Godspeed for sure, the drums gradually more driving, the sound blossoming and expanding, building to a noisy climax, but instead of exploding into full on rocking, it sort of hovers there, churning ominously, before dialing back the rumbling guitars and soaring chords, leaving just a wash of shimmering electronics, and keening chiming guitars, all beneath clouds of cymbal shimmer, and some gorgeously atmospheric ambience. The second track finds the Dead Sea Apes taking the lead, getting all Mugstar, unwinding a sprawling, hypno-rock space-prog epic, while Black Tempest adds all sorts of sonic colorations, the vibe is tense and intense, the sound lush and layered, the drums driving and propulsive, the whole thing tranced out and super psychedelic, building to some seriously howling heaviness, the drums super chaotic, the guitars in wild tangles, the synths swirling ominously, this track too has a sort of Circle / Necks vibe, mostly a single part in different variations, looped and circular and totally hypnotic. The final track is way more spaced out, a woozy bassline drifting beneath a sky full of smoldering rumbles and arcing shards of high end, feedback and FX, a heady kosmische swirl, anchored by that low slung minimal groove, the drums eventually come in, but super sparse, a crash here, a pound there, the vibe sort of slowcore, washed out and wasted. It does eventually gain momentum, the sound getting super dubbed out, the bass and drums locked into something seriously groovy, still wreathed by the constantly shifting cloud of sound, and culminating in a final blast of blown out psychedelia, before settling into one final stretch of drowsy drift. Essential listening for fans of druggy drifty abstract psychedelia, odds are if you dig the usual suspects: Carlton Melton, White Hills, Spacemen 3, Moon Duo, Bardo Pond, Assemble Head In Sunburst Sound, you're gonna dig this too, big time! Like the Cosmic Dead (and all the other Cardinal Fuzz releases), this is EXTREMELY LIMITED, and will be sold out and gone for good before you know it, so don't dawdle. Housed in a swank psychedelic black and silver jacket.

DEAD VOICES ON AIRFrankie Pett Presents The Happy Submarines, Playing The Music Of Dead Voices On Air(Invisible)cd$ 14.98

Mark Spybey (Zoviet France, Download, and innumerable collaborative projects) and friends -- among them some members of Legendary Pink Dots -- meld together their individual sonic imaginations, seemingly shatter the outcome, and piece it all back together again to bring you this long-titled, meticulously beautiful work. Constructed from recordings made in Canada, Cuba, and Germany (the latter by krautrocker Michael Rother of Neu!, Harmonia and Cluster). It was produced and engineered by Spybey along with the multi-talented Frank Vershuuren (LPD engineer) and Darryl Neudorf (who's worked with such divergent artists as Neko Case, Twilight Circus' Ryan Moore and the New Pornographers). At times, swirling and crystalline. At others, sputtering, heavy, and percussive.

DEAD WEATHERSea Of Cowards(Warner Bros.)cd$ 17.98

2nd album from this band featuring Jack White III of The White Stripes and Alison Mossheart from The Kills. Doubtless you've heard all about 'em already, right? We never actually reviewed their first record, dunno, seemed like fairly ordinary blues rock stuff to us, didn't really understand why Jack White would want to bother (though it must be nice to play in a full band, and not just be a two-piece, and presumably Mossheart might think so too). A lot of folks liked it though, and we did think it was pretty neat that they did a cover of Pentagram's "Forever My Queen" on a 7" single around the same time. Now this supergroup (the lineup also includes a guitar player from Queens Of The Stone Age who isn't Josh Homme) is already back with another album. Again it's heavy blues rock, nothin' wrong with that, but they've gone "funkier" this time 'round. Imagine maybe a dancier White Stripes, with some non-horrendous Chili Peppers goin' on as well... Ok, you're gonna think we're being snotty or something by saying that, but actually a) some of us here still really love the Chili Peppers, and b) this definitely has its moments. If you're in the mood for some cowbell knockin', house-rockin' alt rock action, with tons o' fat distorted guitar and organ vamping, Dead Weather have the jagged grooves for you. In fact, this makes us wanna go back and give their debut another spin. Also, speaking as White Stripes fans, it provides a bit of a fix. Probably don't need to say much more, you'll be hearing this on the radio after all (which is no bad thing). HUMOROUS SIDE NOTE: Alison Mossheart once sang for an emo pop punk band from Florida called Discount, and our very own Andee, when he was drumming for J-Church years ago, toured Japan with a then 15 or 16 year old Mossheart and Discount, who were opening for J-Church. Who would've thought then, that she would end up where she is now...

DEAD WEATHER, THEHorehound(Third Man / Warner)cd$ 16.98

Jack White's blues rockin' new band, with the girl from The Kills and some other folks.

DEADBOY & THE ELEPHANTMENWe Are Night Sky(Fat Possum)cd$ 14.98

There's quite a bit of tortured artist in the career of Deadboy's Dax Riggs. Even back in the nineties, fronting grind-glam-sludge lords Acid Bath, Riggs singlehandedly supplied the glam, a crooning superstar trudging through swamps of Eyehategod sludge and NOLA stoner doom groove. The combination was electric, ask anyone here how much we absolutely loved Acid Bath and their dark psychedelic tales of butterflies and codeine, death and broken hearts, told in haunting vignettes equal parts druggy acoustic dirge and crushing downtuned groove. It was only a matter of timee though before Riggs outgrew the confines of a metal band and thus was born the Agents Of Oblivion, a slow burning smoldering hard rock band, delivering intensely emotional ballads wrapped in thick guitars, incredible hooks, a sweetly psychedelic haze and Riggs' even more prominent velveety croon. Totally channelling the spirt of Bowie and Bolan, Riggs was a serpentine superstar, howling and cooing, above a thick rich web of warm groovy sound. But still, Dax Riggs Superstar remained an acquired taste, a completely underground phenomenon. The Agents splintered and Deadboy and The Elephantmen were born, the sound was nearly the same, some of the members too, as they self released another amazing record that sort of just disappeared. But now it's 2006 and Deadboy is reborn, as a two piece, the Elephantmen replaced by Riggs's girlfriend Tessie Brunet, and on Fat Possum of all labels, which makes absolutely no sense until you hear We Are Night Sky. The record starts off with a wild rock stomp, equal parts the White Stripes and labelmates the Black Keys, with Riggs' voice swooping all over the place over an impossibly hooky riff, and lots of strange start stop dynamics. At first we were a little bit bummed, this was NOT at all what we wanted from Riggs at all, but the more we listened, the more we got sucked in and now that track is an everyday play. The record definitely veers back into classic Riggs / Agents territory after that with delicate acoustic guitars, hushed vocals, Brunet's sweet harmonies in the background, each track a psychedelic swirl, all drifty and druggy and folky and oh so lovely. But before you know if, a fuzzed out riff kicks in and we're back to serious blown out bloooz rock territory, huge swaths of swaggering Stripes / Keys / Crows rock and rhythm and bluees, always with that distinct NOLA stoner groove, no matter how subtle, we can tell it's there, muted murky riffs explode above Tessie Brunet's simple solid drumming as her sweet understated background vocals balance Riggs all out histrionics. The whole record continues to sway back and forth dizzily, between Riggs' two distinct musical personalities, his big, foot stomping guitar flailing rock Hyde, and his druggy gentle folky strum Jeckyl, both equally appealing. Still dark and druggy and warped for sure, but just accessible enough to give all those hippy rockers into the Black Crowes and the Black Keys and all day festivals something a little bit weirder and a little bit harder to stick in their ears!

DEADGUYScreaming With The Deadguy Quintet(Victory)cd$ 14.98

Truly heavy hardcore/metal. Andee, for one, believes that this band rules and/or kicks ass.

DEADLY SNAKES, THEPorcella(In The Red)cd$ 13.98

The Deadly Snakes' Porcella rides the line between authenticity and irony like a mechanical bull. It's like the cover art...you've got some Van Gogh-like paint dabs in a lovely shade of sunrise pink, but flip to the back cover and hello, what's this? A severed pigs head! Scary! The pig/meat theme continues (hence, "Porcella") on the inside artwork as well. Our first impression of this album was that these guys sound like they are playing their first gig in the coolest college bar in a 5-people-short-of-an-official-city town and ROCKIN' the place. We were all set to paint this band as as a slightly tipsy southern bar rock outfit (though they're from Toronto originally), but then on tracks four and five this late '60s jangle and pipes and a triumphant horn sneak in and things go sort-of Elephant 6-ish. The variety comes from the switch back and forth between a couple of different songwriters and vocalists, primarily Andre Ethier and Age of Danger (that's his name). The mix of rambunctious, bluesy, modern cowboy boot rock and best-on-a-record-player pop is a little weird to get adjusted to, but these guys do bring something nice (meat, apparently) to the indie rock table.

DEADSYCommencement(DreamWorks)cd$ 10.98

I think this one is going to have to be filed under 'guilty pleasure'. And if you're like me, that file just keeps getting bigger and bigger and bigger. First off, there's a few things were going to have to try and overlook. First the atrocious cover painting. Just lame. Bad paint by numbers or something. Ok, two, Deadsy is fronted by Elijah Blue, who you may know as CHER'S SON. Eeeek. And of course there's the blatantly top 40 gothy-retro-electro rock sound that can't help but remind us of Marilyn Manson and Orgy. That said, this record is still a retro rocking good time. Huge thick slabs of synths and moogs, with soaring keyboard melodies and rumbling distorted synthbass, vocoders and overly dramatic vocals and some pretty wicked songs. Their cover of Rush's 'Tom Sawyer' is funny for a minute but their cover of Sebadoh's 'Brand New Love' (the best song Sebadoh ever wrote) is practically perfect. I so want it to be a huge MTV hit, for Deadsy yeah, but especially for Sebadoh! They also do a pretty cool Gary Numan cover. I imagine you'll probably be seeing these gothy glam retro electro-rockers all over MTV soon so now's your last chance to enjoy this guilty pleasure before it's a REALLY, REALLY GUILTY pleasure!

DEADWOOD8 19(Cold Spring)cd$ 15.98

Deadwood the group, existed long before the HBO series of the same name, but it some ways, they have a lot in common, mostly in the bleak, hopeless, windblown vibe that permeates them both. Featuring a member of Swedish black metal horde and long time AQ faves Blodulv, Deadwood offer up extended tracks of ultra creepy low end explorations, that run the gamut from abrasive power electronics, to slithering drone drenched black ambience. Fans of stuff like MZ412 and other purveyors of bleak abstract sounds will definitely dig this. From thick squalls of white noise hiss, like rain on a metal barn roof, to super blown out Merzbowian hiss, almost black metal in its buzz and intensity, to crumbling landscapes of tape hiss and low end rumble, slowed down vocals, and mumbled scrape and shimmer, to strange murky tribalism, to skipping soundscapes of demonic vocals and ultra distorted slowed down beats, to decayed orchestral snippets chopped and looped into impossibly mesmerizing rhythms, a dark and damaged world of sound, though while at its heaviest could be the harshest, hissiest BM you've ever heard, spends most of its time crawling and lurching through slow motion fields of rumbling sound. Awesome.

DEAF WISHPain(Sub Pop)cd$ 14.98

Sub Pop's release of a 7" by these awesome Aussie noise rockers last year was indeed the herald of a full-length on Sub Pop, it's here now and ready to rumble. With an excellent band name like that, and the to-the-point album title, they have a big responsibility to be loud and noisy and aggressive, and they sure follow through, with pounding drums, gnarly scrambling guitars, upset vocals... but amidst all the din and distortion there's often a catchy, heartfelt pop center. Albeit one that's bruised and bleeding, perhaps, swathed in howling nauseous guitar as much as jangly melodicism. On the mic, whether crudely shouting, crooning, or swooning, you get both ragged rough male vocals, and only slightly sweeter female ones, as these love songs / pain songs range and rage from full-on punk to more shoegazey noisemaking. The raw and tender. Recommended to all punk rock romantics, and the hard of hearing, for fans of Sonic Youth, feedtime, Pissed Jeans, even MBV...

DEAF WISHSt. Vincent's +3(Sub Pop)7"$ 6.98

We highlighted the Homeless label's vinyl reissue of this excellent Melbourne based noiserock band's debut cd-r last list, and now here's a brand new 7" from 'em, on Sub Pop! It features four songs, all churning with heavy distortion and downer vibes. The combo of noise and melody, along with the multilayered, half-mumbled, sometimes venomous female vocals, definitely incite some Sonic Youth comparisons, if SY were jamming out with ugly Aussie punks like the Cuntz or old faves Lubricated Goat. Looking forward to the presumably upcoming new full-length that we're guessing Sub Pop will be doing too.

DEAF WISHs/t(Homeless)lp$ 21.00

More excellent noiserockin' punk pigfuck gutter-wallow from the Homeless camp Down Under (Cuntz, The Stickmen, Gentlemen, et.al.). Lotsa distortion and feedback, attack attack! Strumming guitars like shaking the bars of a cage. Ragged rough-gruff vocals, both male and female, with anguished, negative vibes lyrics galore; "Mum Gets Punched In The Face" is a song title here. Naturally, a sense of humor too. Of course, bonus points for grabbing the name Deaf Wish! (Somehow they're the only one, according to the internet.) Melody gets punched in the face a few times as well, and sometimes punches back. F'd up in all kinds of good ways. Limited to 500 copies on green vinyl; comes with download, but you're already loaded.

DEAFHEAVENDFHVN (aka Demo)(Sargent House)lp$ 16.98

After originally surfacing on a very limited hand xeroxed cassette back in 2010 (kvlt!), Deafheaven's first and only demo is now finally widely accessible on beautiful vinyl for rabid blackgaze enthusiasts the world over! Beautifully and minimally packaged (looking a bit like some long lost Smiths single), the recordings found herein - though a bit rougher around the edges perhaps than their most recent 'Sunbather' LP - showcase one of those rare groups that entirely skipped that awkward gestation period that even the best bands typically go through. There's no finding their footing going on here, no beginner's mistakes - Deafheaven's signature sound was already as fully formed and realized as most bands could hope for after years together. If you've heard any of Deafheaven's more recent recordings then you know what to expect: Epic post rock and shoegaze tinged black metal. Equal parts forlorn and life-affirming, aching and jubilant. Endlessly beautiful cascading melodies to get lost in, perfectly juxtaposed with anguished venomous vocals. Wonderfully bittersweet but without ever sacrificing an ounce of fury. Being a demo, this finds the band a bit looser and (comparatively) more stripped down. The drumming is more raucous and off kilter than on Sunbather - the blastbeats imbued with a manic, almost uncontrollable energy - while likewise the guitars are less awash in layers and effects, a bit more traditionally black metal if you will! But it only adds to urgency and raw emotion on display. Deathwish snatched up Deafheaven in the blink of an eye after this demo started making the rounds originally, and it's not hard to see why. The origin point for a totally unique vision in heavy music - one that hopefully lasts a good long while. And did we mention they're from right around the corner from us too? ...Not that we're bragging or anything!

DEAFHEAVENNew Bermuda(Anti-)cd$ 15.98

Fire up the message boards and prepare to choose your side, because the long awaited return of heavy music's most divisive band is finally upon us! Two years have passed since 2013's genre-melting crossover smash Sunbather and these hometown heroes (originating from the very same part of San Francisco as our humble shoppe) have returned with another titanic wall of overwhelmingly emotional post-black metal. Now personally, we've been firmly planted in Camp Deafheaven since day one, but it's no secret that their blend of shrieking blasting black metal and life-affirming skyward-gazing post-rock/shoegaze has rubbed some of the more conservative members of the metal community the wrong way. Well, New Bermuda seems to be a direct attack upon any mortal foolish enough to question the band's metal chops. This record is immediately darker, heavier, more frenetic, more suffocating, to put it simply more METAL - a flurry of palm-muted Slayer style riffery, adrenalized blast beats and anguished rasps contrasted with extended passages of absolutely stunning melody - invigorating, gut-wrenching, uplifting, and longing all at once. New Bermuda sounds like Sunbather in overdrive, twisted and tweaked just enough to evoke an entirely different mood - a tireless assault of raw desperate emotion. It's album closer "Gifts From The Earth" that offers the most in the way of surprises though, spending much of its running time operating in downcast uptempo indie rock (albeit with some black metal growls mixed in for good measure), all tambourine, minor chords and Johnny Marr jangle. That is until the track opens up into a headbanging slab of arena-ready heaviness. But that's to say nothing of the dreamy acoustic-led outro, awash in dreamy psychedelia, and we suspect a deliberate homage to Oasis' classic "Champagne Supernova"! Deafheaven could have easily rested on their laurels here, content to make Sunbather Pt. 2, but instead took a much thornier path, and this record is all the better for it. FYI vinyl version(s) delayed, but upcoming, soon...

DEAFHEAVENNew Bermuda (Deluxe)(Anti-)2lp$ 34.00

Deluxe double vinyl pressing gatefold w/ foil stamp and embossing. Includes download. Here's some of what we said when we reviewed the cd version a few weeks back: Deafheaven have returned with another titanic wall of overwhelmingly emotional post-black metal. Now personally, we've been firmly planted in Camp Deafheaven since day one, but it's no secret that their blend of shrieking blasting black metal and life-affirming skyward-gazing post-rock/shoegaze has rubbed some of the more conservative members of the metal community the wrong way. Well, New Bermuda seems to be a direct attack upon any mortal foolish enough to question the band's metal chops. Compared to 2013's genre-melting crossover smash Sunbather, this new record is immediately darker, heavier, more frenetic, more suffocating, to put it simply more METAL - a flurry of palm-muted Slayer style riffery, adrenalized blast beats and anguished rasps contrasted with extended passages of absolutely stunning melody - invigorating, gut-wrenching, uplifting, and longing all at once. New Bermuda sounds like Sunbather in overdrive, twisted and tweaked just enough to evoke an entirely different mood - a tireless assault of raw desperate emotion. Deafheaven could have easily rested on their laurels here, content to make Sunbather Pt. 2, but instead took a much thornier path, and this record is all the better for it.

DEAFHEAVENRoads To Judah(Deathwish)cd$ 10.98

Deafheaven are a new band from right here in the Bay Area, who have been causing quite a stir lately in the metal underground, their soaring epic, super melodic black metal dividing the grim hordes right down the middle. Obviously, purists don't consider this to be black metal at all, which in some ways is fair, just listen to the opening 4 minutes of record opener "Violet", there's not a trace of blackness to be found, instead, you'll here Explosions In The Sky, Godspeed, Mogwai, majestic, bombastic, melodic, gorgeously lush and expansive. But then wait a few more seconds... and BAM, the band EXPLODE in a frenzy of buzzing and pounding blackend crush, rife with howled vokills, gnarled riffage, and there's no doubt that this is black metal, but not Immortal / Mayhem / Darkthrone black metal, no, it's more in line with the more melodic end of the BM spectrum, think Alcest, Fell Voices, Fauna, Wolves In The Throne Room, Deafheaven definitely have that Cascadian BM vibe going on too, but all of their blackness and buzz is most definitely tempered with heaping helpings of melody. Even at its most frenzied, Deafheaven essentially sound like Mogwai or EITS supercharged and metallized, it's still soaring and epic and majestic, just wrapped in thick swirling sheets of black metal buzz, and hell, it sounds pretty goddamn amazing. The production is lush, the sound MASSIVE, the guitars thick and distorted, except when they're ringing out all clear and chiming, the arrangements are pretty expansive and epic too, blasting buzz giving way to droned out drift, which in turn gives way to another blast of furious melodic blackness. Just four tracks, but they're all long, lots of parts, all moody and melodic, a dizzying hybrid of black metal, screamo and post rock, reminds us a little of a WAY more metal version of recent Record Of The Week-ers Pianos Become The Teeth, but where that band melded old school screamo to epic post rock, Deafheaven do the same with buzzing melodic black metal, the result, while perhaps not grim enough for some, is pretty tough to resist. And while we love how the songs shift from slow build brood to black blast, and back again, the real magic of Deafheaven is how they combine the two, taking churning buzzing blackness and laying some soaring coruscating shoegazey guitar chords over the top, or winding majestic, chiming, impossibly melancholic clean guitar melodies and lush textures into howling vokills and grinding black riffage, and while in battles between good and evil, we usually bet black, in this case, melody always seems to prevail, transforming what could have been just another chunk of blasting buzz into something gorgeous and transcendental.

DEAFHEAVENSunbather(Deathwish)lp$ 24.00

Album number two from these local lads and the term "sophomore slump" has clearly never entered into their lexicon. Sunbather is an enormous slab of post-rock tinged black metal (or black metal tinged post-rock??) that expands and improves upon everything that made Roads to Judah such a buzzed about debut. Imagine Godspeed! You Black Emperor in a blender with Filosofem-era Burzum and you might get an idea. Or try and picture Ihsahn circa In the Nightside Eclipse howling over classic Smiths or U2 at a hyperspeed 666rpm and you might come even closer. The end result is like a far more furious Alcest (Neige even pops up to provide a bit of spoken word on one of the album's several ethereal interlude tracks). But what really makes Sunbather such a success is how it takes these myriad influences and melds them together so seamlessly. Not a moment of it sounds forced or contrived. The production is perfect. The guitars are an immense wall of grinding shimmering beauty. The drums a precise and deadly frenzy. The vocals an anguished wail, wonderfully at odds with the album's minimal luscious pink cover art. Sunbather is like hearing an emerging genre finally coming into its own. Deafheaven aren't the only band to combine post-rock and black metal, but they might be the first band to make it sound like something entirely new, but entirely natural at the same time. Vinyl version, with a nice die-cut cover, includes bonus track not on cd (which we don't have yet anyway).

DEALERSHIPAction/Adventure(Turn)cd$ 11.98

Finally a breezy new album from these Bay Area noisepoppers! This is the follow-up to their TV Highway To The Stars album from a couple of years back, and happily they pick right up where they left off. That means more super catchy indie pop tunes. Hurrah! The album does have a couple of oddly uncharacteristic spots though... In the third song "World" it sounds like whomever is playing the piano is really drunk or somehow otherwise wonky. He/she seems to be rushing things and keeps hitting a sour note. Very strange. Oh, but that's just a minor blemish in the Action/Adventure flurry of Dealership goodness. On the third to last song in their string of fourteen pop treats, Dealership magically transform themselves into something resembling Magnetic Fields, complete with deep droll male vocals (sorta Stephin Merritt meets Phil Oakey of Human League) and suitably dour song title. Then they instantly revert back to what they do best, fuzzy power pop songs that never go outta style. Ah yes, those great male/female vocal harmonies and crunchy guitars that we know and love. Includes a soft'n'snuggly version of Sex Pistols' "Anarchy In The U.K." complete with sing song ba-ba-da's!