Although the fine editors of this AQlist have been slowly releasing my rants on the Merzbox even though all of the writing and all of the listening has been long completed (fuck yeah! 'punching air' as The Wire would put it), Merzbow had to put out another Goddamn record. So after 50 discs of NoiseJunkEjaculationFuckCollage, you think I'd have nothing more to say... well you're right. Read all those reviews of the Merzbox if you care what I think about the Japanese noise god.
This is late period Merzbow. It's 'limited' to 500. It's on a Swedish label. It's 39.32 times cheaper than the Merzbox. What more do you want?
Ms. Morgenstern is a German (and German-language) singer/songwriter in the indie-pop-electronica genre. While she lacks the extraordinary vocal abilities (or unique quirks) of, say, a Bjork, she has a nice, intimate voice and her music is warm and lovely: mellow electronic beats, sad guitar melodies, cinematic/romantic moods.
Many of the tracks on this, her second album, were produced by Stefan Betke (aka Pole), and several make use of his signature crackling "surface noise" technique (also a hallmark of Tarwater, whose Robert Lippok also appears on this disc, drumming on one track, which he co-wrote with Morgenstern)... For fans of, among other folks: Andrea Parker, Laub, Lali Puna, To Rococo Rot, and the other artists already namechecked above. Pleasant, nice.
Previewing German indie-electronica superstars Mouse On Mars' upcoming "Idiology" full-length (coming out April 17th) is this 3 track ep, which presents three versions of the song "Actionist Respoke": album version, MoM remix, and MoM with Herbert (Dr. Rockit) remix. Limited release, and only on cd.
For a band that has supposedly called it quits, Bedhead sure are keeping pretty active. As a matter of fact, the biggest difference between Bedhead and The New Year is the moniker. The Kadane brothers are still the principal songwriters, the artwork is still steeped in Joy Division-esque minimalism and the album was even recorded by Steve Albini, who recorded Bedhead's 1998 swansong. Chris Brokaw of Codeine and Pullman takes over drumming duties, and the result is a little more pep in their step. So if you're in the mood for Bedhead a little earlier in the day, when thing're sunny and bright, give this a shot. Otherwise, just keep listening to your old Bedhead records late at night.
In fact, if you've never heard the chilling ebb and flow of Bedhead, now is the best time as Touch and Go have reissued all of their previous albums, including the wonderful "Beheaded" and the hard-to-find "whatfunlifewas."
These SF super-pop boys bring us a new full length full of, yes, very Beach Boys-influenced shining tunes, but they've polished this album up into something all their own. With nods to the rest of their Elephant 6 comrades. Glorious vocal harmonies soar. Buoyant melodies bounce along seemingly without a care in the world. Well-written, well-crafted and well-performed. For fans of Olivia Tremor Control, the Posies, Sloan.
Fuckin' A! All the the Vanguard recordings of Perrey & Kingsley finally available in one reasonably priced 2 disc set. Yes, I said "2 disc set". "The In Sound From Way Out", "Spotlight On Moog", plus Jean Jaques Perrey's solo albums "The Amazing New Pop Electronic Sound Of..." and "Moog Indigo" are all included here. Perrey & Kingsley, for those unfamiliar with their work, were probably the first electronic composers to work in the popular realm, releasing "The In Sound From Way Out" in 1966. Taking the ground breaking developments in tape and electronic music pioneered by Otto Leuning and Vladimir Ussachevsky and creating outrageoous arrangements of popular standards of the day a la Martin Denny and Esquivel, Perrey and Kingsley made some "easy listening" music that was anything but easy to listen to. Incredibly frenetic rhythms composed of multi-tracked tape loops of sound effects and recorded noise were the back drop to high paced electronic renditions of all the popular hits of the day using the most advanced synthesizers available. Everyone from Stereolab to Negativland claims a huge debt to the inspiration of these mad scientists of electronic pop. Also included are some nice biographical liner notes -- 7 pages worth -- by The Wire contributor Richard Henderson. Oh yeah, and there's also a third disc of Fat Boy Slim and Eurotrash remixes which you can promptly throw away when you get your copy. In its place you could fit a copy of Jean Jacques Perrey's "Good Moog" which was just re-issued as well and retails for 17.98.
So very glad they're back! And while it's pretty obvious these boys like to rock out live (often at the expense of their glorious vocal harmonies), it is a welcome toning and paring down of the Posies sound that greets us on this EP. Showing the magic pop chemistry Jon and Ken conjure up when they just sit down with their guitars and play. Four new Posie gems and one David Crosby cover. Recorded in Barcelona and Seattle.
Colin Potter is the proprietor of IC Studios -- a recording facility often frequented by Nurse With Wound and Andrew Chalk, both of whom Potter has collaborated with. While he has been moving in the more esoteric circles of UK music for quite some time now, And Then may in fact be his first solo recording. Certainly informed by the aforementioned collaborators, Potter generates oblique shadowy dronescapes through eerie post-concréte techniques and the manipulation of field recordings, which keep this from being a purely studio driven exercise. Potter breaks up the dark shimmering refractions of this album with a lengthy and comparatively aggressive rhythmic workout of flanging electronic pings that he charms with arabic flares. I may be in the critical minority by not unquestioningly gobbling up all of the recent Coil albums; but if any of Coil's recordings sounded as good as this one by Colin Potter, then I might have to start listening to them again.
Certainly the best band on Fat Wreck Chords (unless of course you're in a fraternity, or you're a snowboarder, or a skater, or a high school student). It may be pop punk, but it manages to transcend what has become a frightfully dull and amazingly asinine genre. Propagandhi craft super complex songs that stop and start and are heavy and are arranged so bizarrely it's amazing that they can sing along at all. And then there's the lyrics (queer positive, animal rights, anti-moron), funny and insightful, scathing and clever and so right on. Really cool.
A new record from Quintron is always a good thing. And this is no exception. More wild and woolly organ madness from the undisputed master.
New project from Killjoy (of Necrophagist), Dan Lilker (Brutal Truth, S.O.D., etc.) and Chris Reifert (Autopsy). Heavy and weird, sloppy and noisy and according to the onesheet, 'horrifying' thrash metal.
A reissue of Red Stars Theory's long out of print first 10" and 7" (originally released in 1995 on Deluxe and RxRemedy respectively). Featuring the youthfully emotive talents of James Bertram (of Built to Spill, Lync and Beck) and Jeremiah Green (of Modest Mouse). As documented by no-slouch-himself Calvin Johnson at Dub Narcotic Studios. And at $6.98, it's a super steal!
We know that Magma mainman/genius Christian Vander is back on the scene with a new, updated version of that classic monster prog rock band of the seventies. And he's been doing quite well (as the lucky few who saw Magma perform at '99 SF Progfest know) at maintaining Magma's formidable reputation as France's amazing prog-rock answer to both John Coltrane and Richard Wagner. But what of his '70s Magma bandmates, who aren't involved with the current line-up? Here's a disc that shows what bassist extraordinaire Jannick Top (best known for his proto-Ruins composition "De Futura" on Magma's 1976 album "Udu Wudu") has been up to lately. STS is his trio with sax player Eric Seva and drummer Claude Salmieri, and "System Solaire" is a live concert recording from '97, for which they were joined by guest guitarist Thibault Abrial. The nine planetarily-aligned tracks are both moody and energetic, dark jazz fusion with heavy Magma touches (Top and the drummer lock into some unmistakably Magmoid grooves), and the guitar adds a definite psych-rock element. The booklet features a photo of bald-headed Top looking very metal indeed in shades and leather.
Side project of ALL the members of Cave In recorded during the off time of the sessions for their last record. No, it's not a return to their abandoned-in-favor-of-Radiohead-emulation metalcore roots, or even an extension of the "OK Computer" style art-rock found on their last brilliant album "Jupiter". Instead, Sacrifice Poles are all about post rock jamming. Repetitive, dreamy and directionless.
Scratch Pet Land is a Belgian electronica outfit specializing in plink plonk electronica whimsy that aims to be cartoon music for the future, with lots of cute mechanical knocks, pings, whirs, and springs, as well as simple (often 8-bit sounding) silly melodies. It makes perfect sense that this is on Sonig, and sounds like Microstoria remixing Matmos.
Shifts is the work of Frans de Waard (Goem, Beequeen, and the proprietor of Staalplaat). "8 Lines" features two lengthy buzzing ambient soundscapes constructed mostly through the bouncing / doubling of tracks on an 8 track. One piece is a glistening drone of soft guitar wash, and the other is an eerie manipulation of the perenially avoided 60 cycle hum.
Crushing and crusty Sabbath-y doom from the label that brought you Electric Wizard and Roachpowder. Maybe not as earth shattering as those, but definitely worth checking out if you dig that sort of thing.
Nasty, smutty hip hop, that's surprisingly pretty good. Great production, great beats, and two whiny white MCs that don't sound all that white. Starts off really strong but wears a little thin after a while. Guests include Kool Keith, Kool G. Rap, R.A. The Rugged Man, and Howard Stern Show regular Beetlejuice.
Soundtrack to a crazy 1974 Australian biker flick, a precursor to Mad Max apparently. Reissued on the occasion of this cult film's 25th anniversary, and we're sure glad of it ('cause we never would have heard it, or of it, otherwise, although the movie was quite popular in Australia), the "Stone" soundtrack ventures from spaced-out electronics n' didgeridoo jams to ridiculous sub-Steppenwolf psych rock to eerie synth themes, with plenty of snippets of campy dialogue and sound effects from the film as well. Add to that banjo pickin', mournful horns, lounge jazz, acid-rock backed saxophone freakouts, and more. It's not musical genius, but it's certainly a weird and fun mishmash of trippy stuff. Some evocative track titles: "Cosmic Flash", "Undertaker", "The Death of Doctor Death", "Toad", "Rage". The booklet features stills, movie posters, press clippings, credits (it was composed, arranged and recorded by guitarist Billy Green), a fan essay, etc. Cool! By the way, this was released last year, but we just got hip to it recently.
Four song ep from this popular electronica act, one track taken from their "Mirror Conspiracy" album.
Tool is easily the best of all the so called "nu-metal" bands and like the Deftones seem to have been unfairly lumped in with the Korns and the Limp Bizkits. Tool have always had a pretty well developed aesthetic, in their music, their (lack of) image, and especially their videos. This DVD (or vhs tape if you're so inclined) collects all of their videos, and they are amazing. Futuristic surreal vignettes played out by tiny depressed sexless figures, traversing a dangerous and lonely world of living flesh and rotting appendages. Owing much to Svankmeyer and the Quay brothers, these videos are absolutely mesmerising, and Tool's weird syncopated depressia-rock underpins the dour goings on perfectly. There's also a whole disc of rarities, which is really great as well, but it's all about the videos.
Here's the thing. Nobody here at AQ likes this record much. No, we're not trying to be all contrary-like -- we just honestly can't seem to figure out why everyone's wetting their pants over it. Proclaiming it to be the last word on modern music/jazz/post rock/the avant garde/whatever. Now, the record does SOUND fantastic, production-wise. Everyone here loves Tortoise's first two records plus that cool remix one, and there's no doubt they're great musicians. But when you're a post-rock band (and face it, that's what Tortoise is, they'll tell you themselves they're not trying to be jazz), and you decide to add ever more moody layers of complexity and percussive polyrhythms to your sound, and you wanna venture even further into "out" (-jazz!) realms of experimentation -- all that only works if you leave your audience something to sink their teeth into. It doesn't work here. The "funky" elements of this record are pretty cringe-inducing. That said, Tortoise fans that liked TNT may also like Standards, and fans of their first couple of brilliant records will still find a track or two that fulfills the promise of sublime understated melody mixed with subtle groove and lots of texture.
But if we can be allowed to wonder out loud for a moment... This is a band that has everything (and has earned it) that any band could hope for but will probably never get: all the time in the world, access to a state of the art recording studio, talent, a world class producer, a hip successful label, a public clamoring for new music -- with all those wonderful things also comes a responsibility to deliver. There's no rule that every record by every band has to make some huge leap in quality, but c'mon, it'd be nice if the "standards" Tortoise previously set were at least met here. Maybe if you make everything safe and easy and remove the need for sacrifice and exhaustion, the music itself becomes safe and easy. Maybe that's what happened here. But then again, maybe not. Standards doesn't *completely* suck. So... Buyer Beware. The emperor has no clothes. Trust your own ears. Don't believe everything the rock critics tell you.
Four long awaited new songs from everyone's favorite trip hop icon. Dark drama not unlike Barry Adamson's recent work, with urgent beats made to enjoy with martinis and a sense of foreboding. One wishes the music was more challenging, instead of so obvious, cos Tricky's got the talent to do better. Anyway, each to his own -- many of you are certainly fans, so here's a sound sample for you to decide for yourself.
Crunching clicks, beats and blips form the varied (noisy to noir-ish) setting over (or, under) which French female vocals sometimes reach our ears. Formed by formerly metal- now ambient/experimental- guitarist James Plotkin (OLD, Flux, Joy of Disease, Romance, many many collaborations) and some French friends, including the guy from Celluloid Mata. Dark electronic "surf" music? Six tracks, twenty two and a half minutes of mysterious electronica that Plotkin fans (like us) will enjoy.
Weird Japanese indie pop/electronica/jazz group, described as some impossible combination of salsa, beats, and Zappa, or something like that. Their brand of willful eclecticism is of the very brave (foolish?) variety, where they don't so much fuse genres as skip among them from track to track, making this sound almost more like a compilation than a band. For instance, track four is an interpretation of Ornette Coleman's "Skies of America", with saxophones a-plenty, but by track six we're experiencing a hip hop song featuring guest MC Mike Ladd. Other guests and musical approaches are introduced over the course of the album, but at least one unifying factor is the recurrence of saxophones, and another is the recurring vocals of Kyoko Brown, who manages to come as close as a Japanese (-American?) woman can to sounding like Mike Patton, appropriate since I'd imagine that Mr. Bungle fans looking for something in the electronica vein would go for this... Interesting!
Another label recognizes the brilliance of the wildly prolific Indian film industry's musical scores, puts its money where its mouth is, and releases a compilation. Good on you, Outcaste. This comp is heavily influenced by soul, funk, jazz, and latin music -- and since the record was made specifically for djs, it's purposefully heavy on the groove and not so much into quick changes and challenging juxtapositions, like the more pop-oriented Bollywood Funk records (which we highly recommend). That's not to say the non-DJ can't get into this -- it'd be excellent for your next party. Fans of Bombay the Hard Way will like this.
Gathering together new and old recordings of the beauty of true country. Classics by legends such as Loretta Lynn, George Jones, Merle Haggard alongside exclusive songs from Neko Case (easily two of her best!) and The Souvenirs.
You'd never accuse Mad Deadly Worldwide Communist Gangster Computer God of having much artistic integrity, after the hilarious if tabloidish collections of "Celebrities at Their Worst." "Industry Wannabes and Radio Anomalies" is a far more cruel piece of humor than its predecesor... one that you feel really bad for laughing at. Yet, laugh you will. The best parts of this collection are culled from tapes sent with the greatest of sincerity to record labels by chemically imbalanced individuals whose desire to be a part of the music industry far surpasses anything they may be able to offer to the industry. One such individual is Mr. Paul Super Apple - a huge Keith Richards fan who sent a tape to Atlantic Records desperately pleading with Keith to produce his songs, which have much more in common with the ironic pathos of East River Pipe than the Rolling Stones. The most bizarre tape is from J & H Productions - a fictional holding company whose spokesman rambles through an excessive amount of legalese in hopes of booking "all of the stars" for the biggest venues in Cinncinati. Follow all of this with some incredulous prank phone calls from "The Cambodian Refugee Center" to some conservative asshole in Garden Grove who is as dimwitted as he is confrontational. The prank begins as the telemarketer from the Cambodian Refugee Center insists that the person on the other end of the phone has signed a contract to adopt a Cambodian baby. Of course he hasn't and the exchange rivals some of the Great Phone Calls by Gregg Turkington. Quite amazing.
It never ends... Volumes 3 & 4 of Trikont's hefty "La Paloma" project are now available. As the title implies, and as you may recall from the first two we had in previously, these are compilations of artists from various genres and points in time doing renditions of the song "La Paloma." It's an honorable effort, if not a bit obsessive (the total number of tracks in the series now clocking in at 103). Listening to any one of these anthologies the whole way through and you can start to lose your mind. A new song begins, with new instrumention, a different arrangement and key... And yet, it's the same melody all over again. Definitely not for the faint of heart.
Volume 3 has such greats as Dean Martin, Perez Prado, Eddie Peabody, Unbekannte Harfinistin Pariser Metro, Bing Crosby and much more.
It never ends... Volumes 3 & 4 of Trikont's hefty "La Paloma" project are now available. As the title implies, and as you may recall from the first two we had in previously, these are compilations of artists from various genres and points in time doing renditions of the song "La Paloma." It's an honorable effort, if not a bit obsessive (the total number of tracks in the series now clocking in at 103). Listening to any one of these anthologies the whole way through and you can start to lose your mind. A new song begins, with new instrumention, a different arrangement and key... And yet, it's the same melody all over again. Definitely not for the faint of heart.
Volume 4 features such super stars as Andre Popp, The Harmonica Playboys, Mabibi Na Mabwana, Ich Schwitze Nie and much more.
The Music Unlimited festival is a 3-day Austrian event focusing on all aspects of modern experimental music, from jazz to rock to classical. Since 1991, the festival's performers have been selected by different artists. In the past, Fred Frith, Zeena Parkins and Jon Rose have organised the festival. In 1999, Otomo Yoshihde (of Ground Zero) was the events programmer and he selected a remarkable selection of modern experimental music: Radian, the Incapacitants, Kaffe Matthews, Martin Tetreault, Novo Tono, Keith Rowe, Sugimoto Taku, Poire-Z, Hoahio and of course Otomo himself.
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From Soul Jazz, the label that brought us the 100% through 400% Dynamite comps and the Jackie Mittoo "Keyboard King At Studio One" comes this collection of tracks culled from the Studio One archives. Started by Coxsone Dodd in the mid 1950's, Studio One is the single most important record label in Jamaica. From the Skatalites to Bob Marley to Burning Spear -- just about anyone who's anyone in the Jamaican music biz in the day worked with Coxsone Dodd and Studio One. The tracks on this compilation, like Soul Jazz's successful "Dynamite" series, are an excellent mix of classic and obscure cuts from the archives -- ska, rocksteady, reggae and dancehall are all represented here. Most notably exceptional is Dawn Penn's haunting and devestatingly sad "No, No, No".
Hard to believe it's been five years since Mark Herlihy and Mark Wasserman started the now-legendary Future Primitive Soundsession series, the good time turntablist and DJ parties that basically catapulted the West Coast DJ breakbeat scene to international stature. The parties are, of course, still happening, and this cd, the fifth in the Future Primitive Recordings series, winningly replicates the feel-good bright 'n upbeat nature of the parties themselves. Good job! Features everyone from the amazing Z-Trip to Rob Swift, DJ Disk, Romanowski, Faust and Shortee, plus a short segment from the infamous 7-11 Slurpee set of all 45s performed by DJ Shadow and Cut Chemist. If you've never heard the fabulous Z-Trip/Radar and Cut Chemist/Shortkut Future Primitive discs, get those too.
Opinion is split here over this one, but a look at the folks on this record should be enough for you to know whether it's your cup of tea or not. A bunch of electronic artists plunder the Rather Interesting (Atom Heart/Senior Coconut's label) tape vaults and do their worst. Pram, Plaid, Dropshadow Disease, Pole, Lisa Carbon, Fonosandwich, Fibia and more, take themselves, each other and then some (including Atom himself) on.
Ilpo Vaisanen hasn't had nearly as prolific a solo career as Mika Vainio - his companion in Pan Sonic who has a plethora of solo projects under his own name and as Ø, Philus, Tekonivel, and Kentolevi. "Asuma" is actually his first full album, finding a good home on Mego. After his electro-rhythm crunch which he contributed to Raster / Noton's "20 to 2000" series and a hard to find 12" of similar post-techno damage, we were surprised that his debut solo project had more more in common with Vainio's dreamy electro-acoustic collages.
"Asuma" acoustically feels as if it is intentionally paralleling the optical phenomenon of a mirage -- with wavering textures that never provide much definition to objects near the horizon in an environment of oppressive heat. Vaisanen keeps the subtle rhythmic elements (perhaps generated by voltage fluctuations rather than drum machines) submissive to the hot-wired buzzing drones from ill-tempered cable groundings. Really sublime and quite unassuming.
The Vance Orchestra had piqued our interest from a very curious addition to the Drone Records series of singles, much like Nurse With Wound taking a bunch of arrhythmic loops and constructing a whirring oblique drone. "No More Boleros" certainly follows suit with these cyclical repititions of manipulated field recordings and dadaist posturing.
This started out sounding like any post rock record, good enough, but just not all that remarkable. Until a few minutes in, when the whole thing explodes into a crushing frenzy of howled vocals, rumbling low end, and very un-post rock metal! Then for the rest of the record it's a battle to the death between metal bombast and subtle textures, between thundererous pummel and delicate, complex rhythms. Fucking great.
This is a really bizarre record of cyclical howls, bizarre vocalisations, and droning cut ups, recorded 20 years ago and finally reissued. Very much in the style of Reich or Palestine, with the 45 minute 'Redbird', Wishart takes the sounds of birds, animals and spoken word, chops and reassembles, and gradually transforms these disparate sounds into each other, making for a beautiful, and kind of creepy, listen. The other track 'Anticredos' uses howls and grunts and moans and the sounds of birds to create what sounds like either a soundtrack to some demented cartoon or the loop for a truly disturbing porno movie. Or both.
This double cd set celebrates the work of UK music legend Robert Wyatt (who started his career in Soft Machine and went on to have quite a cult following with his solo career). He hasn't performed for over twenty years, but with his consent and guidance a group of musicians who have collaborated with him in the past (including musical director/trombonist Annie Whitehead, vocalist Julie Tippetts and guitarist Phil Mazanera) got together to perform his songs live in London and Nottingham in 1999. Features music from his solo albums, up to and including his most recent, "Shleep". Interesting and kinda weird to hear these songs without Wyatt's unique vocals, definitely something for fans to check out.
In the early '80s, Z'ev had developed the Uns persona to stand outside of the percussive heavy physicality of Z'ev. Uns built a portable unit of 4 Lenco turntables (which have the unique ability to pitch speeds from 0 - 78 rpm), a few tape decks, echo-plex, and a fire-damaged organ to generate a scraping mid-range rumble over which he barked out a cyclical stream of fragmented vocal elements. While the noise elements definitely predate / parallel some of the early noise constructions from Merzbow, the vocals are what keep this record interesting -- as Z'ev would rant and mumble as if caught in a manic fit of Tourette's Syndrome, before catching one interesting phrase in a lock groove for a four or five repetitions ("and you don't know my problem - and it's like crash grass - it's like crash glass - it's like crash glass - and it's uh a clean cut") before continuing on the strange vocalizations. While the noise elements from all of the tracks retain a very similar timbre, the vocals offer the major differentiation for Uns. Fortunately, this piece has ample room between the numerous (99?) tracks for the audience to catch its breath before Z'ev picks up with another semi-comprehensivle ramble. This holds up quite well under the test of time, inspite of / because of the fact that Uns sounds like any of the totally flyin' speed freaks that buzz around the 16th & Mission Bart station.
More tradition-challenging avant-garde Jewish music on the Tzadik label, this project being by Parisian Yves Weyh and band (accordian, electric guitar, bass and percussion). ----* ----* Printed Matter : ----* COMETBUS #47 zine 2.00 The latest installment in the zine that started the revolution of personal diary zines. This issue, subtitled "Lanky", takes place in Albany, CA, and is a whopping ninety pages, "perfect" bound with a glossy cover! THE BROKEN FACE #10 magazine 3.98 This issue features interviews with Chris Knox, Cul de Sac, The Tower Recordings, and The Green Pajamas and a roundup of Terrastock Four, which took place in Seattle last year. A very striking similarity to Phil McMullen's Ptolemaic Terrascope, as far as content and artwork. Based in Sweden and edited by Mats Gustafsson, we're curious if it's the same Mats Gustafsson that performs regularly with Brotzmann and various Chicago improv circles, hmm... PREWITT, ARCHER "Sof' Boy Econo Combo Comic" (Fantagraphics) comic 5.95 I really cannot express the extreme jubilation-then-plummeting-bummerness I felt when I saw that we'd received a "new" issue of Archer Prewitt's brutally hilarious comic. But alas, it wasn't new at all! No, it's a special reprint of the first (and only) two issues together. Well at least for everyone who missed them the first time around, here's your second chance. Of course you may be thinking "isn't she over-reacting just a wee bit?" And well, all I can say is "see for yourself." Oh my, hee hee... Okay! COPPER PRESS #5 magazine 4.00 Interviews with and features on Lungfish, Pedro the Lion, Paul Newman, ...And You Will Know Us By the Trail of Dead, HiM, Damien Jurado, Jessica Bailiff, skateboarders Brad Staba and Jeff Budro, snowboarder Thayne Mahler, and much, much more. Tons of reviews and skate/snowboard ads. Nicely layed out, too. ----* ----* In Stock, No Chance to Review Yet : ----* ANOMOANON "s/t" (Palace Records) cd 14.98 CALL AND RESPONSE "s/t" (Kindercore Records) cd 13.98 CD_SLOPPER "SaskieWaxi" (Or) cd 15.98 CLOUDDEAD "s/t" (clouddead) 10" 9.98 COLDPLAY "Parachutes" (Capitol) cd 16.98 FETISH 69 "Dysfunctions and Drones" (Trost) 2cd 26.00 FRISELL, BILL "Blues Dream" (Nonesuch) cd 16.98 FUCK ON THE BEACH "Endless Summer" (Slap A Ham) cd 13.98 HIGH PRIEST "Ghost in the Drummachine / Stimulus Simulator" (Antipop Recordings) 12" 6.98 HIM "5/6 In Dub" (After Hours / Bubblecore) cd 10.98 IN GOWAN RING "s/t" (World Serpent) cd 14.98 IVAR "Debut" (Saas Fee) cd 15.98 KLEENEX GIRL WONDER "Smith Album" (MOC) 2cd 14.98 NOISEGATE "As We Were Talking" (Manufacture) cd 9.98 PARKER, EVAN "Strings With Evan Parker" (Emanem) 3cd 35.00 PHELPS, JOEL R.L. & THE DOWNER TRIO "Inland Empires" cd (Moneyshot) QUAYE, FINLEY "Vanguard" (Epic) cd 16.98 RIVERS, SAM TRIO "Firestorm" (RivBea Sound) cd 14.98 SCORN "Greetings From Birmingham" (Hymen) cd 16.98 SHIMADA, AIKO "Blue Marble" (Tzadik) cd 16.98 SILVER SCOOTER "Blue Law" (Peek-a-Boo) cd 13.98 SPRINGFIELD, DUSTY "Love Songs" (Rhino) cd 11.98 TORAL, RAFAEL "Cyclorama Lift 3" (Tomlab) cd 11.98 TRI-PINNACLE "Diagnol Ryme Garganchula 2.0" (Antipop Recordings) 12" 6.98 ULTRA RED "Plan de Austeridad - BBC Remixes" (Beta Bodega) 12" 8.98 V/A "I'm A Good Woman 2" (Harmless) cd 19.98 V/A "Substancia 3" (Quartermass) cd 7.98 V/A "Turntables by the Bay Vol. 1" (Hip Hop Slam) lp 9.98 _______________________________________________________________________ INSTORE ANNOUNCEMENT Britt Daniel from ---> S P O O N will play a free instore next Saturday March 3 at 6pm. (We'll send out a reminder email next week.) _______________________________________________________________________ LOCAL SHOWS CALENDAR ONLINE Local customer Squid has put up a cute website dedicated to shows happening locally. It's a nice resource. See http://www.playinginfog.com _______________________________________________________________________ THE FIRST EVER GUITAR GOD-A-THON AND WET SWEATPANTS COMPETITION!!
