[ aquarius records new arrivals

IMPORTANT (Please read to avoid confusion): Some items below may be tagged with a bold, red, all-caps OUT OF PRINT/UNAVAILABLE notice. This does NOT mean that all other items not so tagged are, in fact, in stock — or for that matter, in print and available, though there's a good chance they are. Some folks get confused on this point, and we can see why, so please read this for further clarification and other important before-you-order information. Unlike some mailorder websites, we don't have an electronic inventory system linked to our site, so you can't be sure of what we actually have or don't have in stock at any given moment without asking us — please email our mailorder department for availability status — or better yet, just go ahead and place your order using our shopping cart function and we'll get back to you with the status of each item. If you have general non-mailorder questions, email the store.

Showing results 51 through 100 of 118.

Local indie rock with a fondness for the extra stripped down, super lo-fi pop hooks that early Elephant 6 bands displayed (like Apples in Stereo and the Olivias).

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Though this is not new, we have not listed any of her work before and I, Sadie, thought it important to bring her to your attention, starting with this, her first lovely release. Holly Golightly joined the Billy Childish auxiliary group Thee

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Loping pop with plaintive vocals that alternately brought to mind Robert Smith (The Cure), Jarvis Cocker (Pulp) and Stephin Merritt (Magnetic Fields). Sort of like a low-key indie Coldplay. And please know that to me this is by no means a bad thing! A

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Well they certainly didn't make it easy to figure the whys and wherefore of this companion to the proper Gorillaz album. It looks like a bunch of remixes, alternate version, and songs that didn't make it onto the other album. It's decent and listenable, even

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New dub / jazz project brewed here in the Bay Area. Reggae backbone with jazz soloing on guitar, organ, trombone, trumpet, saxophone, flute and vibes. Features many local jazz heads including Gino Robair, Jeff Chan and even local turntablist DJ Zeph. Only available on LP at this time.

As Gunter's last couple of releases have been dedicated to Xenakis, Feldman, Bill Viola, Rothko, and Luigi Nono, his work could be qualified as a sort of ultra-minimalist portraiture, with each album as a quiet impression of how Gunter remembers and / or has The second piece "Abscheid" is a wholly different composition of softened orchestral elements, what could be french horn, cello, church organ, and even a few pluckings of a harp, that have been drawn out into lovely darkened drones and sustained tonalities. Very nice.

Along with the sudden miraculous appearance of their nigh-impossible to find 1998 album "Amplifier Worship" in our racks (see elsewhere on this list) we've also managed to acquire a few copies of some other hard-to-find Boris titles, including this RealAudio clip: "The Decision of a Dream Which Will Never Be Completely Red" [/audio/hainoborisdecision.rm]

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Super tweaked out electronic lunacy from Twig, the male half of Chicago knob twiddlers Nautical Almanac. Recorded using a Commodore 64 and modified electronic equipment, which were then sent to friends for additional productions, the ten tracks

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The Last Heaven Shall Burn record was one of my favorites of last year. A metalcore band that wasn't just a bunch of punk kids trying to play metal, they kicked out the metal jams better than most 'actual' metal bands. And we wouldn't have known about them Totally essential.

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Given the bands the two Howard Hello guys have been or are currently in, you wouldn't think that they'd come up with a record like this. The duo is comprised of Kenseth Thibideau (multi-instrumentalist who has wielded the bass for local mathrockers Rumah Sakit First you hear Kenseth's very warm and pretty John-Fahey-ish fingerpicked guitar. Then, almost imperceptibly, the folksiness gradually, in Marty's fine hands, starts looping onto itself, or running glissandos between notes, or sounding like it's skipping. The glitches are very carefully handled, so they call less attention to themselves and more to the texture of the music they're effecting. On later tracks the studio (laptop?) treatments are more pronounced, batting the notes around like ping pong balls while a layer of organs and bass anchor the tracks in ever-present lushness. As occasional embellishments there is the lilting, heavenly voice of Wendy Allen (also heard on Tarentel albums), Marty's keening falsetto, and the welcome sounds of traffic and the outside world, reminding you there's a world out there outside the velvet ethereal one this record conjures in your head. You might consider this a perfect meeting of Fahey and Fennesz, if that had ever been accomplished (which it hasn't, but this comes close.) Bonus: The cover art by the truly amazing local artist Jeremiah Maddock, who presented his work here in 2001, the most popular art show AQ has ever hosted.

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How can so much amazing rock come from such a small country?! It never ceases to amaze us! I of course am talking about Finland. Home of Circle, Keukhot, Aavikko, Ajattara, Haikara, Finntroll, Mieskuoro Huutajaat, Pan Sonic, Shape Of Despair, etc. This time

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About a couple years too late to be fresh, this is an album of downtempo electronica that is strikingly like Boards of Canada -- in that the lush bass beats impart melody while above it the melancholy synths and effects cavort in minor key introspectiveness.

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Man, do we at ever AQ love that Japanese '70s group the Taj Mahal Travellers! Masters of organic drone, utilising bowed cymbals, violins, loudspeakers, tape loops and all sorts of unique source material. And we've been blessed of late with the reissue of lots

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Recorded live in Buenos Aires in 1966, 'The Forest And The Zoo' is one of the first records Steve Lacy made after permanently relocating to Italy. Lacy who was considered the first 'modern' musician to specialise in the soprano sax, played with Cecil

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Alan Licht, current avant guitarist and solo artist as well as member of Blue Humans and the now defunct indie rock combo Love Child, here writes a slim volume of thoughts on music in the '80s up to now. He also writes a lot about New York (snooze), but

There was a rumor about this group a couple of years ago that went something like this: a small town parade is terrorized by a gang of punks dressed in bunny outfits, they hijack a float and frighten away confused and innocent little children. Word of this gets around and a show is booked at Berkeley's Gilman Street. Our jackass heroes show up with a bunch of stinkbombs, a riot breaks

From the lead-off track, I might have expected The Long Winters' debut full length to be somewhat of a dour downer of an album, but by the second song things definitely pick up. Barsuk has likened mainman John Roderick's songwriting style and vocal delivery

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Like almost all of the Francisco Lopez recordings, silence introduces the album, with the intention of forcing the listener into a state of mind for attentive listening. Of course, with a couple of his records being so barely audible as to render them In 2000, [the user] undertook an daunting installation of transforming an abandoned grain silo in Montreal into a gigantic instrument that could be accessed by anyone around the world via the internet. Since anybody could play the Silophone (by sending real audio files to a computer which broadcast those sounds into the huge resonatings space of the silo, which in turn were bounced back in the form streaming digital audio), it's a little unclear if the sounds that Lopez used were his own or if they included random elements from other people using the Silophone. But it does appear that Lopez was actually recording these sounds while in the space itself, and not just pulling off the net. Anyway, I mentioned that Lopez began this album with silence, but this is disturbed by a distant grey sound which gradually increases in volume. It is not a stationary sound, but one that whips and fluctuates as if caused by moving air, but these do not sound like wind recordings. Lopez then unexpectedly jolts his composition with a series of rhythmic static bursts that are quite unusual for the normal Lopez recording and sound somewhat like the Hafler Trio's early '90s dyptic of sexually explicit recordings, "Fuck" and "Masturbatorium." These tones abruptly stop and the process begins again with another set of grey sounds emerging from the distance; these slightly more nervous with several tightly modulating vibrations extending outward from the silence. This in turn gets louder and louder, with lots of overdubbing sounds of hurricane force blasts of white noise that has all of the transcendent energy of Keiji Haino, but with none of the chords being audible. Again, this comes to an abrupt stop and the album concludes where it started with an extended period of silence.

The classic 1966 debut from Arthur Lee and co. remastered in both stereo and mono! Includes their intense take on Bacharach / David's "My Little Red Book", the fast paced, fuzzed out cover of "Hey Joe" and the heart-wrenching tearjerker "Signed D.C.". As

Joining the international ranks of the new wave / electro revivalism are Germany's Miss Kittin & The Hacker, alongside Fisherspooner, Adult., and I Am Spoonbender. The foul-mouthed Miss Kittin fronts this duo as the Teutonic ice diva complete with

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The second solo album from label founder Rune Kristoffersen is centered around a series of improvisations using a very basic electronic setup often resulting in strange, freefloating and rhythmic abstractions that occasionally take off in unexpected

Whole record we heard haven't. But song MTV on lately kind of we like. Pleasure guilty of sort a guess I.

Collection of pioneering electronic composer Gordon Mumma's works composed between 1963 and 1985. Having collaborated extensively throughout the 60's with contemporaries Robert Ashley, David Tudor, Pauline Oliveros, Alvin Lucier and David Behrman often helping

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During the two years between their first recordings in 1985 and the series of singles for Lazy records, My Bloody Valentine had blossomed from a second rate swamp-rock group into a charming Brit-Pop ensemble, poised to unleash their crushingly beautiful Unlike the disappointing debut recordings of "This Is Your Bloody Valentine" which exists only for completists, "Ecstacy and Wine" is an excellent album that should definitely have a home next to your other My Bloody Valentine records!

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We just realised that this record, one of AQ unanimous all time favorites, never got listed on the website OR the AQ list. And while most of you may already have this, a few of you are in for a big surprise and a musical awakening. "Loveless" stands at the That track along with the equally groovy-yet-dreamy "Glider" ep had been the basis for Simon Reynolds curious thesis that My Bloody Valentine had produced some of the earliest jungle tracks. More plausible was that MBV were one of the first rock bands to actively incorporate sampling into their production techniques. My Bloody Valentine had resampled their guitar feedback digitally to created strangely warbling layers of sound and allow for additional tools to build their bittersweet, melancholic melodies. "Loveless" may remain the final testament to the musical prowess of My Bloody Valentine, as Kevin Shields continues to state the claim that another album is in the works... well it's been in the works for over a decade and has no signs of ever being realized. Nevertheless, this album *still* sounds totally fresh and wholly superior to all of the bands that have attempted to revive the My Bloody Valentine sound (Lilys, Swirlies, Flying Saucer Attack, Third Eye Foundation, Fennesz, Chessie, etc, etc, etc). Perhaps our opinion best stated by former Aquarian Marc Kate: "If you don't own it, I won't be mad, but you will certainly earn my pity." An earthshattering record. Period.

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One of the cool things about having MTV (or MTV2/VH1 since MTV doesn't actually play videos anymore) is getting to see videos for all the crazy new hip hop I used to hear on the radio when I spent more time driving around (and when I actually had a car). Nappy

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Does the name Hellhammer mean anything to you? The raw, Venom-worshipping, Melvins-inspiring cult metal band that later morphed into Celtic Frost? Well it meant A LOT to the guys in Necro Schizma, a Dutch doom band whose 1989 demo tape has just now been In addition to the six tracks from Necro Schizma's demo tape that appear here, there's another seven tracks recorded at a live gig in 1990. They do a cover version of Hellhammer's classic "Triumph of Death" both live and on the demo, and it easily could be one of their tunes (except maybe it's a little *faster* than their own stuff!). Aside from Hellhammer, they also list as inspirations Venom, Bathory, Celtic Frost, Manowar, Angel Witch, Messiah, Judas Priest, and Slaughter (we're pretty sure that'd be the Canadian thrash act, not the the American hair metallers). They don't mention Saint Vitus, but boy does the guitar sound like vintage Dave Chandler! Doom. Pure doom. Made by fans back in the day, luckily unearthed for fans today. We only have a few copies, and may or may not be able to get more, so if you think you want one, be quick. Thanks to Greg Anderson (Southern Lord/Goatsnake/SUNNO)))) for turning us on to this!

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"Getxo" is the second full album from New Zealand transplant Rosy Parlane, who had previously worked in the avant-noise-rock ensemble Thela with Dean Roberts and Dion Workman. Like the solo work of Roberts and Workman, Parlane has been exploring the

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Maryland-based doom metallers Pentagram are on some kinda roll, following up their recently released and quite awesome album "Sub-Basement" (see the review on AQ-list 128) with this collection of stuff they recorded almost 30 years ago! Yep, they've been "Starlady" ('76) -- why they didn't get signed on the strength of this potential single (a hit if I've ever heard one) I don't know. Or why KISS didn't buy the tune for their own use, that's perhaps even more of a mystery! (KISS's management was checking Pentagram out at the time, but no record deal resulted...) "Forever My Queen" ('73) -- powerful doom metal that shows them at their Sabbath-like best (although, hearing this collection, you'll realize that Pentagram were equally into, and the equals of, other heavy contemporaries like Captain Beyond, Dust, and Blue Cheer). "Last Days Here" ('74) -- it's like some Stones or "Raw Power"-era Stooges ballad, with Bobby doing his best Iggy impression. "Be Forwarned" ('72) -- Pentagram re-recorded this epic, the A-side of first ever 7", on their 1994 "Be Forwarned" album, and when I first heard that version I knew it had to be an old song, 'cause it had such an authentic heavy psych vibe to it. So it's great to finally hear the original (more or less, see below). "20 Buck Spin" ('73) -- again, the original version of a classic rockin' Pentagram track, covered recently by Pennsylvania doomsters Pale Divine. All the tracks sound pretty great production-wise (except for the relatively lo-fi live rehearsal recording of "Last Days Here"), putting the previous Pentagram '70s rarities collection "Human Hurricane" to shame. Of course, Bobby did re-master and clean up these tracks in 2001. He also took the opportunity to add some vocals and guitar to "Be Forwarned", for reasons probably known only to him. There's also a few other questionable edits or fades only a Pentagram collector would notice. But such modern-day meddling doesn't detract in any way from the might of the music on offer. It's great stuff, and simply amazing to hear it sounding so good. Pentagram fans have a high tolerance for poor sound (witness the pretty much unlistenable live bootleg LPs that have been released) but this time, you get to *hear* the music as well as own the disc! Recommended to Pentagram fans (obviously) and ANYONE who likes good heavy '70s rock and roll!

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A book of poetry and prose from Joe Pernice who you know as the leader of Scud Mountain Boys, Chappaquidick Skyline, and the Pernice Brothers. Joe's a writer and a poet and we were able to get hold of a precious few copies of his debut book, a slim "Christ sweating bloody bullets in the trellised garden. A sesame seed wedged in his teeth the least of his problems, and already the apostles sleep beneath a dream-coat of stars. "As if the whole world depends on it, the scent of camel stirs on the back of a breeze. Christ lights up a Camel, his face ghostly in match light. The horizon flickers with the distant bonfires of campers, thrill seekers, and execution buffs. The desert is one gigantic party, the biggest of the season, complete with commemorative mugs, crucifigurines, the works. All around, dueling sitars bang out popular tunes under the ivory moon. Buckets of drunken laughter and throes of multitudes copulating in the dunes. "Christ rubs his aching temples, wonders if he's just pissing against a fierce tide. He'll be glad when all the hoopla's died down. It's been a frustrating couple of years, to say the least. He could use some real R and R: A secluded tropical island where they wait on you hand and foot... shelled quahogs drenched in lemon butter... mile high cocktails with names impossible to spell."

Former Pentagram guitarist Victor Griffin is back, and he's 'born again' -- but he's still into the heavy stuff. The stoner rock/doom metal underground has been all a-buzz about Victor's new power trio Place of Skulls, and now Southern Lord has released Pentagram fans will find that Place of Skulls sounds rather more like The Obsessed or Spirit Caravan than Victor's old band, but of course if you like Pentagram, you're probably a fan of those bands too! Victor's vocals sound a bit like those of Wino, not as strong though, and the music is of course heavy, plodding and depressive-sounding (but with a positive, Christian message). Chicago's Trouble already established that Christian faith and doom metal can coexist (indeed, where would metal in general be without Christianity, whether bands are pro or con??) but Trouble had better songs. So, while Place of Skulls delivers some solid doom metal, we're not exactly blown away. Stoner/doom fans (esp. those really into Wino's bands) who aren't put off by the Christian aspect should check this out and decide for themselves. Furthering the parallel with Wino's bands, this includes an Animals cover ("Don't Let Me Be Misunderstood", which for the record isn't as good as The Obsessed's version of "Inside Looking Out").

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You might already be familiar with the PVCs from their own albums or their recordings with fellow Bloodshot-er Kelly Hogan. They are, by the way, an alt-country supergroup whose membership includes the Waco Bros' Jon Langford and Steve Goulding, Tom Ray of

Sometimes it's funny when everything in the whole world is so nasty and extreme that people have to go to unbelievable lengths to gross us out. And then end up being more silly than gross or scary. Such is the case with Prosthetic Cunt (whom we'll call,

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Carly Ptak, one half of Chicago's Nautical Almanac, presents her solo effort through her own Here See label. Hot rodded primitive electronic machines and overdriven contact mics are manipulated and sonically mutilated by this young experimental music killer.

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We're all very sad that Joey Ramone died. But we're also sort of sad that this is the record that was left for us to remember him by. This whole package pulls shamelessly on the ol' heartstrings, the title "Don't Worry About Me", and the timing -- released

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Music for smoking weed and making graffiti to. REQ is a Brighton-based graffiti artist and music / beatmaker signed to Warp after his debut for Skint (Fatboy Slim label). The downtempo breakbeat stuff here is very stripped down, no lush layers to obstruct, the sound mainly defined by slightly interesting percussive loops made out of various acoustic elements (shakers, thumb piano,

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Warning. Listening to this crap may cause you to grow up to wear huge garish hawaiian shirts, beat your wife, get stupid tattoos and listen to the Brian Setzer Orchestra. Not recommended.

Rocket From The Tombs was borne of the same urban decay that coughed up the Electric Eels, the Consumers and Pere Ubu. While not as well known as the any of those bands or the other bands like the Stooges or the MC5 that shared their sound/ideals (although fairly well known as the band that Rocket From The Crypt stole their name from) RFTT kicked serious ass, spitting out trashy, classic seventies anthemic punk. I LOVE this shit! 'Day The Earth Met' is a collection of rare and live tracks (great recording quality considering). Perhaps "The best record never recorded". Two Stooges covers and some songs that would later became Pere Ubu songs (RFTT's Peter Laughner's next band) The lyrics are desolate and depressing, hopeless and punk and stupidly brilliant (or brilliantly stupid). To quote their song "Ain't it Fun": "Ain't it fun when you're always on the run / Ain't it fun when your friends despise what you've become / Ain't it fun when you get so high you can't cum / Ain't it fun when you know your gonna die young / Such fun / Such fun / Ain't it fun when you feel you just gotta buy a gun / Ain't it fun cuz your takin care of #1 / Ain't it fun when you just can't find yer tongue / Cuz you stuck it way to deep in something that really stung / Ain't it fun / Somebody came to me and they spit right in my face and I didn't even feel that / It was such a disgrace I broke the window / smashed my fist right through the glass / But I couldn't even feel it, it just happened to fast. / It was fun / Such fun / Such fun" Definitely for fans of the aformentioned bands as well as anyone into dirty, scuzzy, nasty, snotty catchy garage/punk/rock!

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This disc pairs up two jazzy-but-weird underground Japanese bands: Rovo (featuring Yamamoto Seiichi of Boredoms/Omoide Hatoba) who you probably know from their popular "Imago" disc released last year on San Francisco's Incidental Music label, and the Rovo's half-hour track "Sino" starts off all droney and spacious, with pretty keyboard frills and sparse, funky drumming. Thirteen minutes into the piece, a propulsive, trance-inducing percussion-driven jam ensues. A soothing, muted violin passage is shortly interrupted by a funk bass line, which some of us here found kinda annoying, before settling back into some sort of zoned-out space-jazz. This is followed by DCPRG's 32 minute piece (entitled "Pan-American Beef Steak Art Federations") which is a schizoid, cut-up composition that incorporates bad jazz, rap, psych guitar, funk, sampling, etc., etc., and makes about as much sense as its title. It has an undeniable sense of fun, however. So, Rovo is calmer, DCPRG more chaotic, and neither do we fully understand, except that somehow it seems appropriate that they're together on this cd.

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The first book from world wanderin' gal Sara Sandberg! Prior to this 95-page fictional work, she's penned a number of zines including The American Girl and Double Ears. An SF punk-pop girl at heart, Sara writes of "the history of one car". That's right, the life and times of one Ford Fairlane! Four decades riddled with encounters involving punks, car thieves, farmers, and much much

At one time, Sky Saxon had contributed to some of the more interesting garage and psychedelic bands on the West Coast in working with the Seeds and with Father Yod in Yahowah 13. While his excess of hallucinogens had helped in both of those ventures to

When we asked our reggae distributor for recent AQ-staff fave Ward 21, his response was a baffled "uh, yeah, sure we've got those" but when we asked about the Scare Dem records he just laughed and asked whether we were going to start selling crack. I guess

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It's funny, until just now -- and we've had this album floating around the reggae section for a few weeks already -- I didn't know that the picture of the Crew on the cover is supposed to be taken in a graveyard. You'd think with an album title like "Scared

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These recordings date from the 50's and are unlike a lot of Scelsi's other compositions, which tend to be dark and bombastic (we at AQ are huge fans). These are all solos or duets composed for woodwinds and come from a period during which Scelsi abandoned all

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Following up on the hilarious and successful "Rock, Rot, Rule" (see AQL #73) comedy cd comes a new collection of radio tomfoolery. On New Jersey's unique and prestigious radio station WFMU, Tom Scharpling hosts an unlikely talk radio show which features We tried to play this for our favorite "music scholar" (we'll call him "JW") but his response was, "Oh yeah, I've already got that". Of course. Worth it for this piece alone, although the rest of this double disc set contains lots of laughs too.

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Reissue of a 1985 recording by Brazilian new age / jazz guitarist Bola Sete. Pleasant soft fingerpicking. Plays well at those little tourist shops in sleepy beach communities. Produced by George Winston.

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I've listened to this a few times, and each time all I've been left with is... zzzzzzzzzzz! Sounds like so-so, mellow post rock to me a la Tortoise, Tristeza, etc. It's well-performed and all, but it just fails to break any new ground in an already over-crowded

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Two of the founding members of the seminal British punk-pop band the Buzzcocks have reconvened over twenty five years after their first band's inception. It's Pete Shelley (also known as the stoic figure behind the icy synth-pop alienation classic

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Collection of rare alternate and otherwise unreleased tracks of Bim Sherman recorded for Adrian Sherwood's ON-U Sound label between 1981 and 1995. Only available on LP.

From our favorite hip hopper from Japan comes this new 12". Six tracks of one piece, My Nation, all flavored with reggae, due to the collaboration between Shingo and the Japanese dub duo Dry & Heavy. While the modern dub is light and bouncy on Dry & Heavy's

[ aquarius records new arrivals — issue 132 ]