Try some Werewolves And Lollipops on your funny bone! If you share our sense of blackened humor, we're sure you'll find Patton Oswalt's second album to be a perfect fit... especially because this cd of his live stand-up in Austin, TX in December 2006 comes with a dvd of his live stand up in Athens, GA two months earlier (and doin' some other stuff too)! In our opinion his Athens show is not as 'on' as the one in Austin, but nevertheless his Jonathan-Winters-in-miniature, stubbled, disgruntled grimace is just as entertaining to see as it is to hear. While he certainly shares with his buddy David Cross the deep influence of the Bill Hicks and George Carlin school of scathing yet insightful social political humor, he also shares with another fellow stand-up Dave Attell a penchant for liquor'd up, absurdist, saucy bon mots. He deftly juggles all of that while infusing the proceedings with his own ever present pottymouth, comic book geekiness and self deprecation.
This show took place at the Cap City Comedy Club in December 2006, and the only segments here that we recognize from a previous recording are the reworked versions of his Racist Cell Phones and Best Baby In The Universe bits (not that we're complaining... the latter is one of his best). You might recall that the original appeared on his unedited 222 Live & Uncut double cd that was released a few years back by the Chunklet Magazine folks (it didn't appear on the edited version of that show which was titled Feelin' Kinda Patton though). That means for those of you who haven't seen him perform live in the last couple years, you get 21 tracks of previously unheard hilarity. Awesome! Keep your ears peeled for his mention of Brian Dennehy and his explanation of the birds and the bees. Holy shit, it'll have you in wicked stitches. Need we say? Recommended!
Did you know electronic music pioneer and guitarist for the mighty '70s prog rock band Heldon, Richard Pinhas was recently in the Bay Area to play two criminally underpromoted shows? Yes, fortunately the word of mouth reached our ears at the very last minute, and some of us were able to attend this rare event. It was his first time performing in SF and only his second visit to the city in twenty five years. Less than ideal sound and somewhat awkward stage set up aside, Pinhas on guitar, his laptop collaborator Jerome Schmidt and drummer Antoine Paganotti made the most of the situation, holding the small audience rapt for the duration of their performance. Quite possibly the most intimate and casual setting in which he's performed in years. Pinhas' musical path has travelled from early loose rock jams into absolutely tight prog precision and outwards through richly textured atmospheric soundscapes.
Iceland is his third solo album which was released back in 1979. It focuses on the latter two directions, flowing seamlessly from one into the other and back again. The sixth track "The Last Kings Of Thule (Part 2)" highlights the deep influence Robert Fripp's snaking sinewy guitar work has had on Pinhas who slinks his way into far more dystopic territory. While the eighth track titled "Greenland" flows out into an epic expanse of overlapping cyclical synthesizer sequences. The album closes with the twenty four minute long Eno-friendly frosty shimmering dronescape of "Wintermusic". Meditative and beautiful. The album as a whole could be the perfect soundtrack to a winter night's Aurora Borealis. A majestic, hypnotic wonder.
Era Vulgaris is Josh Homme and co's fifth album. At this point he's got quite the well oiled stoner rock cruise mobile. Willfully poppy amid his more testosteroned hard rock brethren, Homme ably brews up some big beef and grit from the guitars and drums while his unmistakable multilayered vocals satiate any sugar fix with those candy-coated choruses. He definitely doesn't shy away from the tasty hooks. It's a full course stick-to-yer-ribs meal. Always great late night driving music. Distinctly west coast-y, and almost sun baked as his old outfit Kyuss. Features a guest appearance by The Strokes' Julian Casablanca.
Such pastoral bliss is on display within the cozy confines of this ep by the UK's Rameses III. One of the prettier discs we've heard all year, these mostly instrumental tracks (there is some hushed vocals on a couple songs) glisten with glimmering guitar ambiance that had us thinking of a slightly twangier Robin Guthrie or Durruti Column or even the wonderful instrumental guitar albums of Tom Verlaine. Timeless and mellow like a late summer sunrise. Makes so much sense that this was music recorded for a film, as it's so easy to close your eyes and visualize wide open landscapes of long winding roads, huge blue skies and fields of shimmering wet green grass. So so nice...
We had to remember one of the most important rules we learned as kids when it came to this record. Don't judge a book by its cover. Man, was it hard not to. When we first heard that Lou Reed made a record for meditation that was mostly being sold and marketed at new age stores it got lots of eyes rolling and lots of jokes flying around here. But then we tried to listen without prejudice, per the above mentioned rule, and guess what? Truth be told, this is really pretty damn good! Once you get past the packaging and non-musical baggage that comes with this disc of "New Age" music, you remember that if anyone has the right to make a record of drones it's someone who was in the goddamn Velvet Underground, as they were one of the first bands to really introduce the drone into (semi)mainstream rock and pop. Originally recorded by Reed for his own meditation and Tai Chi practice, many of his friends heard it and asked him to make copies for them. Much like David Bowie's instrumental work in the '70s mostly given to friends, it's easy to hear that these are sounds coming from a place that has nothing to do with wanting to make a hit record, but instead come from a deeper place. And that's a very good thing considering he hasn't made much music in recent years that we've been too excited about. If this record came to us as a mysterious cd-r with stark packaging and a cultish name (like many AQ favorites do!) we probably would have been lauding its meditative drones and intense ambience. This could be something you could almost imagine coming out on Yarn Lazer or Root Strata or Faraway Press. Even when the music seems peaceful there is still sonic tension underneath, which really does set this apart from most meditation music. In the end it's just a really good record filled with deep drones that allow the listener to close their eyes and ignore the outside world and go to a different state. So nice.
Holy shit. The title kinda says it all. This is a reissue of an older Alchemy classic, originally released on cd in 1992 (recorded live a few years before that, circa 1988-89), that pits Japan's Kings Of Noise, Hijokaidan, featuring guitarist Jojo Hiroshige, against seminal Japanese grindcore act SxOxB, who started back in 1983 and whose discography includes several full albums released internationally in the '90s, as well as a split 7" with Napalm Death amongst others...
Or rather, it pits 'em both together vs. YOUR eardrums and sanity. Makes sense these two Osaka-based bands would collaborate, being leading proponents in Japan of two strains of quote unquote extreme quote unquote music as it existed at the time!
With "song" titles like "Fuck Or Die", "Rising Hell", "Look Like Devil", this is about as punk as you can get, really. There's short blasts, and extended workouts. Gruff shouting (throat abuse from original S.O.B. vocalist Tottusan, who tragically ended his life in 1995 by jumping in front of a train) rains hell over psychedelic sheets of guitar skree from the 3 guitarists on hand, each pretty much doing their own thing all at the same time -- grinding riff frenzy, spaced out soloing -- as loud as possible to compete with the constant drum pummel. It's an abstract cacophony of noise, violence & destroy, yes it is. And guess what? 10 of the 12 tracks feature special guest (on, what else,"noise") Eye Yamatsuka of Boredoms. Good grief, did they think they really needed the help?
Wow! Holy Mountain hits the bullseye once again. This time out it's with the rock incarnation of Monosov Swirnoff, who first showed us the Shining Path on the second volume of their vinyl only series of lps on Eclipse. This is some seriously blown out and ecstatic raw and relentless rock that is equally influenced by the amazing early punk scene in Australia (think Primitive Calculators) as it is the menacing hypnotic qualities of Suicide, the blasting moments of Can and the psych guitar overload of Japan's High Rise. We love how the Shining Path offer us a taste of what can happen when punks get psychedelic. This isn't just '70s psychrock rehash/worship, instead there is a really cool urgency and momentum that's often lacking in modern day psych excursions. The Shining Path is kind of like the sweat and guts of early punk rock under the influence of Les Rallizes Denudes. While Monosov and Swirnoff reside on opposite sides of the country and thus are rarely able to perform live they did manage a short tour last summer with outsider genius Little Howlin Wolf, those lucky enough to catch them in the East got a total treat. Here's hoping that The Shining Path are able to play some shows around here as we would love to hear and feel these radiating scorchers in the flesh, but until that happens this record is gonna be blasting through our speakers nonstop!
The LP comes with a cd as well, so you get the best of both worlds for the same price...
San Francisco heavy metallists Slough Feg (aka The Lord Weird Slough Feg), led by vocalist/guitarist Mike Scalzi, have built up a deserved cult following over the years, whom we guarantee will NOT be disappointed with the contents of their latest epic, eccentric metal opus Hardworlder, their sixth full-length album. Indeed, Slough Feg's fans should be quite thrilled. And with luck Hardworlder will recruit some new devotees to the cult of 'Feg as well, they deserve it 'cause nobody but nobody makes albums with this sort of peculiar panache anymore these days. Not since the '80s, or even the '70s, from whence the guitars of Hardworlder seem to hail, and there's a heckuva lot of guitar here... memorable riffs and virtuoso solos and Maiden-ized twin axe harmonies... guitars guitars guitars! It's evident that Slough Feg's latest revised lineup (which features a change of drummer, and "Don" Angelo Tringali of cult doomsters Cold Mourning replacing Hammers Of Misfortune's John Cobbett on second lead guitar) has if anything only enhanced the "guitariness" of this band, as if that was imaginable. The Scalzi/Tringali dual guitar teamwork is phenomenal, and both guys peel off leads left and right, not just to impress with the notes they can play but because they simply can't contain their love for the raw beauty that can flow from fully cranked Gibson Les Pauls. They've got the power, and the responsibility, to play like they've taken up the torch of every great heavy metal band from the '70s and the '80s that's fallen by the wayside...
This album's title is a word they coined themselves, referring to the idea of a space-travelling adventurer bumming around on a rough planet in a bad part of the galaxy, a loner toughened by life on a "hard world" -- typified by Gully Foyle, the protagonist of sci-fi author Alfred Bester's 1956 classic The Stars My Destination (read it sez Allan and Andee!!). A book and character which provides the inspiration for the track "Tiger! Tiger!" as well as for the Kirby-esque comic-book illustration that graces this album's cover.
Interestingly, if you Google "Hardworlder", you'll find that Slough Feg managed to come up with a term that ONLY exists in connection with this album. You'll find their website, their MySpace page, their Wikipedia page, the review of Hardworlder in last week's Village Voice (yes, strangely enough, right next to the new Pharoahe Monch and Smashing Pumpkins -- how'd that happen??? The Village Voice says, "Badass sci-fi metal that it's finally cool to listen to"...we've been telling folks that for years...). You might also run across someone else's MySpace page, who goes by the handle Hardworlder -- but it turns out it belongs to an Australian university student who's a huge Slough Feg fanatic. He's gonna be happy when he hears this!
The album's opening one-two punch is hard to beat: the relentless build-up of adrenaline instrumental "The Return Of Dr. Universe" which leads us breathless into the impactful majesty of "Tiger! Tiger!", destined to be considered an instant classic in the Slough Feg canon we're sure!
But the rest of the album is up to that mighty task -- the majesty continues with midtempo maritime lament "The Sea Wolf", and thence through to the doomy riffs of the album's title track, and onward... Hardworlder seems to possess an anthemic, sweeping, saddened grandeur, a more uniform overall feel than its shorter and more schizo predecessor Atavism, although you'll find that Slough Feg sashay down all the (un)usual skyways and byways you might expect from them. The manly, melodic doom-paced epics coexist here with rollicking '70s styled hard rockers (such as "Frankfurt-Hahn Airport Blues", obviously a nod to Atavism's equally boogie-riffed "Starport Blues"). "Insomnia" starts off Thin Lizzyish to the max, but halfway through the band rides into the Halls Of Manowar, and a wordless Viking chorus rings out... The galloping requiem of the psychological tragedy "Poisoned Treasures" (reprised from their split 7" with Bible Of The Devil) will get stuck in your head, as will much more on this impossibly catchy album... And one of our favorite tracks here is the lengthy show-stopping instrumental "Galactic Nomad", with an almost-Allmans level of gorgeous guitar interplay, that could illicit a "we're not worthy" from The Fucking Champs themselves.
And while Hardworlder's obviously working the science fiction angle that proved popular for 'em on their concept album Traveller, it also serves up ye olde Celtic folk in the Slough Feg tradition -- in fact, one of the two (2) cover songs here is a version of "Dearg Doom" by '70s Irish folk-rockers Horslips. The other cover is "Street Jammer", originally by '80s American epic metal weirdists Manilla Road. Both are tributes to Slough Feg's influences in a general, not specific sense, since we happen to know that they'd never heard either band until years and years after Slough Feg's inception. Speaking of influences, if you listen close to "Street Jammer" you'll hear some Chuck Berry licks thrown in not found on the original... and we'll also note that Slough Feg deliberately selected an early Manilla Road song, that's a lot more hot rockin' than what people usually think of in connection with that band. Further, while we're usually more into covers that DON'T sound so much like the originals, in the case of these two songs it's OK that they do since a) they're pretty obscure and b) both still totally sound like Slough Feg could have written them.
Ok, we're rambling, and you get the idea... Hardworlder is another ripping masterwork from a band that will either dominate your metal-addled mind, or you just won't get. We hope you do. 'Nuff said.
Originally released back in 1998 on the fabled Misanthropy label, this terminal masterpiece from England's truest champions of epic DOOM, Solstice (R.I.P.?), has now at long last been reissued, with two bonus tracks to boot. Old fans can take pleasure in purchasing this again (because it's an album so good, you'll WANT to buy it twice, so maybe you can fool yourself into that feeling of hearing it for the first time) and those that missed it the first go-round now have a chance to prove themselves as discerning metalheads.
When we first reviewed this, we said it was a grower. A record we came to consider one of the best of that year, of any year. In the near-decade since, this has only gained greater stature. In the realm of true metal, of epic metal, of doom metal, of pagan metal, of just plain pure heavy metal -- we proclaim New Dark Age to be an all-time classic. And believe us, few other albums from the late nineties qualify in that regard.
Such riffs. Such sheer heaviness -- heaviness that actually seems to be signifying something. Such FEELING. This is possibly the apex of epic doom. The guitar leads and harmonies are to die for, the sad Celtic-folk motifs and Lovecraftian lyrics of weird fantasy argue for an ancient intellect at work. The clean, somewhat delicate vocals of Morris Ingram and his abstruse vocabulary ("vermivorous", "tervous", "perpetuum", "axiom abhorrent, protean triumvirate"?) are at first a bit odd, but ultimately utterly fitting with the sombre and arcane, monolithic and melodically grand mood of this album. Certainly his performance on the acoustic "Blackthorne" would make any fan of '70s Brit-folk weep, while the other, fully amped tracks will make headbangers ready to both shed tears and storm the proverbial castle.
FYI, the bonus cuts consist of two NWOBMH covers ("The Prophecy" by Iron Maiden and "Stormchild" by Trespass). Cylcone Empire has also reissued Solstice's two prior discs, Lamentations and Halcyon, just like this one remastered, with bonuses, new liner notes and layout. We've got those as well and will get 'em listed when we can -- they're good too but THIS is definitely Solstice's finest.
Have we really heard the last of Solstice? Rumor has it that guitarist Rich Walker is assembling a new line-up, possibly featuring the singer from Primordial, to do a new album. If it actually happens we'll be eager to hear it, though it's hard to imagine they could ever top this!
No.1 In Heaven was a match made in pop genius heaven! The matching of the super smart snappy pop chops of Sparks with the golden electronic touch of Giorgio Moroder at the prime of his magical production prowess, FANTASTICO!!! The year was 1979 and disco was at its zenith and lots of very non-disco folks were jumping on the bandwagon with pretty bland and lame results. But the collaboration of Moroder's spaced out and fantastical production with Sparks sharp wit and knack for ultracatchy melodies was such a perfect match! With Sparks still punching out fast paced pop and Moroder adding an element of electronic spacey wonder to the mix, this is simply one of the best records in the extensive Sparks catalog. 25 years after its release and folks like Hot Chip and Of Montreal are getting the kids all worked up with their brand of super fun and smart dancey pop that can find it's roots right here on No.1 In Heaven. While this is not a new reissue we never realized it had been issued on cd so we had to jump at the chance of sharing this long time favorite with as many new ears as possible!
First things first, we've gotta tell y'all that "The Underdog" otherwise known as the first single off of this new Spoon album sounds SOOOOOOO much like Billy Joel! Go on guys, give us a few bars of "I don't care what you say anymore, this is myyyy life!" Not a bad thing in our books really. We bet they'd do an awesome cover of it. Billy Joel has made some fine fine music over the years, hasn't he? Anyways, this is Spoon at their most buoyantly upbeat and poppy. Their usual whip smart core arrangement of drums (and hand claps!) well defined guitars, undercurrents of piano and Britt Daniel's softly husky voice is polished off with some deliciously effervescent horns. Great!
Really the only problem we have with Ga Ga Ga Ga Ga is its abrupt end... and it comes much too soon. Thirty six minutes of Spoon? Simply not enough in our books, but...
Note: the limited edition cd which we currently have in stock includes a bonus disc of 22 more minutes of Spoon -- basically a mishmash of odds'n'ends like rough renditions of album tracks such as "You Got Yr Cherry Bomb", effected guitar abstractions and the like. Don't know how long they'll last, so if you want one of 'em you'd better act fast!
3rd album of super bleak, slo-mo deep drone psych from these Tokyo Flashback vets, the follow up to their 2006 Holy Mountain release Where The Spirits Are. There's three loooong tracks here in the gently morose mode you'd expect, with distorted whale-call guitars and hollow, lonely vocals... what you might not expect is the distressed psychedelic harmonica soloing that now features prominently (on track two)! Who knew the wheeze of the harmonica could be so fitting with such mysterious and murky surroundings? The gasping, dying breaths of monomaniacal melody it brings to the proceedings are usually appropriate however.
And we've gotta say, that's a great title ain't it? Writhing Underground Flowers. Like you've wandered into some gloomy cave full of bleached-white fungal growth, trembling in a subterranean breeze, a living mockery of true sunlit floral splendor... beautiful yet terrible too.
The ominous revving of a juggernaut engine. Shifting tectonic plates. Glacial drone-riffs as death-knell backing for the sinister intonations of ritualistic incantations in a foreign tongue... That's SUNNO))) we're talking about, all right!
Imagine a sealed white room, an otherwise-empty space with the cowled-in-black SUNNO))) set up on black risers, their massive backline of amplification and instruments also duplicated as full-scale frozen white sculptures manufactured of cast resin and salt by NYC artist Banks Violette. Entombed within, the band plays alone to no audience, the massive resonation of their sub-sonic prayers self-referentially worshipful, a cosmos unto itself. This LP contains music written as the soundtrack to such a performance, which took place at a gallery in London, England in June of 2005. These actual recordings, though, were studio-recorded in 2006 and feature the core SUNNO))) duo of Greg Anderson and Stephen O'Malley joined by guests Atsuo (of Boris), Joe Preston (of Thrones), and Hungarian black metal icon Attila Csihar (of Mayhem). There's two side-long tracks: "Belulrol Pusztit" is a creepily quiet, hushed ceremony, Attila's whispering reptilian rasp met with rattlings and rumblings, hinting at the waves of distortion and feedback to be unleashed on the louder, heavier Skullflowering of "Orakulum"... DOOM!!
This limited (black) vinyl version of Oracle is probably the only format we're gonna get, though there IS (or was...) a compact disc edition, a double cd in fact, containing everything on this LP plus an extra disc's worth of live material called "Helio)))sophist", but it was only available for sale at SUNNO)))'s recent shows. If, and it's a big IF, they have any copies left over after their tour then we're told we may get a few, but considering that copies of that 2cd are already selling for hefty sums on eBay (fie on limited editions!!) we won't necessarily count on getting any... So probably best to grab one of these while you can...
Last list we highlighted two somewhat unusual "surf music" reissues, by Farm and Peter Martin & Finch, both brought to us by our favorite Japanese reissue label, EM Records, as part of their Summer 2007 "EM Under Water Series"! Those were quite cool, and now we've got the remaining three discs in the series, all of 'em (like those first two) soundtracks to several now-legendary surfing movies from back in the sixties/seventies. With the exception of Farm (from the USA) all the bands in EM's series are Australian, and in all cases the movies they were doing soundtracks for were Australian productions and/or featured Australian surfers. And as before, this isn't your typical SoCal Jan & Dean, Beach Boys style surf music... it's *psychedelic* surf music. Well 2 out of 3 of these anyway (the Tim Gaze Band album being more of a yacht rock outing).
Now this one is a bonafide Australian garage psych rock classic! It's also the only disc in the "EM Under Water" series that we'd ever actually heard before, as there'd been at least one (possibly non-legit) cd reissue in the past, and so we already know it was a good 'un, which boded well for the series as a whole. Tamam Shud, who took their name from the Rubaiyat of Omar Khayyam (it's Persian for "The End"), were a heavy (for the era), fuzz-drenched psych pop combo who recorded two albums in their brief career. This was their first, from 1969, and it served as the soundtrack to a motion picture on the subject of surfing (natch) called Evolution. Which was appropriate 'cause these guys were indeed surfers, even if their music sounded a lot more like The Amboy Dukes, The Litter, and The Count Five than, say, The Ventures (though apparently earlier in the sixties they did, when they were called The Sunsets). It's total Nuggesty stuff (why "Mr. Strange" or one of the other 11 tracks on Evolution didn't appear on the Nuggets II box set is puzzling), with a "progressive", Sgt. Peppers bent, full of ripping wild FUZZ guitar soloing, stomping riffs, and catchy hooks. The Shud could do wigged out blues rock jamming, or they could do totally poppy vocal cuts...as long as there was plenty of freaky freeform fuzz action to go 'round, which, there was. Like we said, a classic, one any '60s psych lover will be happy to spin. This reish is of course presented with the usual deluxe-level of care and attention characteristic of EM Records, complete with lyrics, photos, graphics, movie stills, and extensive liner notes by both Aussie "surf music historian" Peter J. McParland and Evolution's director, Peter Witzig. And EM has also dug up three bonus tracks, from a 1972 ep called Bali Waters, material which appeared on the soundtrack to another surf move, Morning Of The Earth. Who knows, maybe there will be another "Under Water" series next year wherein EM will reissue The Shud's second album, 1970's Goolutionites And The Real People, which was a concept album against pollution... we can hope.
Last list we highlighted two somewhat unusual "surf music" reissues, by Farm and Peter Martin & Finch, both brought to us by our favorite Japanese reissue label, EM Records, as part of their Summer 2007 "EM Under Water Series"! Those were quite cool, and now we've got the remaining three discs in the series, all of 'em (like those first two) soundtracks to several now-legendary surfing movies from back in the sixties/seventies. With the exception of Farm (from the USA) all the bands in EM's series are Australian, and in all cases the movies they were doing soundtracks for were Australian productions and/or featured Australian surfers. And as before, this isn't your typical SoCal Jan & Dean, Beach Boys style surf music... it's *psychedelic* surf music. Well 2 out of 3 of these anyway (the Tim Gaze Band album being more of a yacht rock outing).
Whoa. Or, "whoa-whoa". 'Cause that's what they're singing. Sunshiney '70s soft rock mellowness abounds here, disco-era goodtimes on a sandy beach Down Under. Surfer-musician Tim Gaze (the guitarist on Tamam Shud's second album, who also played with proggers Kahvas Jute) and his Band recorded this music in 1979 as the soundtrack to a surfing film entitled Band On The Run (nothing to do with Wings by the way). The original soundtrack LP was only released in a limited promotional run in 1982, and also featured several songs by J.J. Cale as well as the eight cuts by the Tim Gaze Band found here on this cd reissue. Such vocal tracks as "Lazy Day Fever", "Brothers And Sisters" and "Beautiful Lady" are full of melodic lushness, some rockin' with a smile, others more laidback and gentle. There's also some more jazzy, "soundtracky" instrumentals, our favorite being the spacey, organ-jammy "Bermuda". All of it conjures up images of sunsets and bikinis -- even if you weren't looking at the movie-poster album cover painting. Kitschy, yes, quite, but hey "yacht rock" is the new big thing isn't it?? This pretty yacht-y.
Includes liner notes both from Aussie "surf music historian" Stephen J. McParland and also Tim Gaze himself, along with lyrics and lots of vintage photos and graphics. Ok, this is probably the weakest entry in the EM Under Water Series as far as our tastes are concerned, but if you get into the spirit of the thing you'll want it, also to complete the collection -- and did we mention "yacht rock"?
This disc has occasioned major debate here at AQ as to its merits... or demerits. Released on Sweden's usually pretty reliable I Hate Records label, home to such doomy acts as Gates Of Slumber, Fall Of The Idols and big AQ faves Burning Saviours, this debut ep from Wisconsin's Totem is a three-song doom trip of '70s inspired hippie heaviness in the retro-proto-metal vein of both Witch and Witchcraft, those three tracks being "Kagemni", "Luna Moth Speaks", and the 11-minute "Tauti" (featuring a major freeform freakout). Their backwoods pagan image and DIY production are probably a big part of what attracted I Hate to this band, as Totem really do capture a special, "authentic" vintage stoned doom vibe. The riffs are worthy. And the truly blown-out low end bass heaviness, psychedelic wah wah guitar and Hammond organ jammage are fully to this band's credit. Sounds pretty good so far, eh? So what's the problem? Well, simply put, most of us here at AQ simply couldn't stand the singing. The vocal stylings of Jex Thoth, or whatever her name is, are presented as Totem's main draw when we think this would be so much better without her. Granted, liking someone's voice or not is a fairly subjective thing, and we know people who don't mind hers at all, but since the entire AQ staff gives it the thumbs down, you might want to check out the sound clips before buying, that's all we're saying. Part of what's hard to take about her singing isn't just the timbre of her voice, it's that she just *enunciates* everything way too clearly, like she's doing musical theater. It's not very rock and roll. That said, Allan DID end up digging this, after spinning it a bunch and performing the mental exercise of pretending the singer was a guy, which made it seem that much weirder, like he was some sort of insane androgynous metal weirdo, making up for the cringe inducing elements of her vocals that everyone else here just couldn't get past. And it's truly her singing that bugs us, not the idea of another set of indie psych folksters jumping on the doom bandwagon (as this is actually a Wooden Wand side project!), really. Heck, half of Witch are members of Feathers and we LOVE Witch.
FYI, this band has a full-length coming out on I Hate, as well as a split 7" with cult British doomsters Pagan Altar! And Allan at least is curious to hear those upcoming efforts. Also, apparently they've changed their name from Totem to Jex Thoth... so it seems unlikely they're gonna take our advice to ditch the singer, eh? Ah well...
Last list we highlighted two somewhat unusual "surf music" reissues, by Farm and Peter Martin & Finch, both brought to us by our favorite Japanese reissue label, EM Records, as part of their Summer 2007 "EM Under Water Series"! Those were quite cool, and now we've got the remaining three discs in the series, all of 'em (like those first two) soundtracks to several now-legendary surfing movies from back in the sixties/seventies. With the exception of Farm (from the USA) all the bands in EM's series are Australian, and in all cases the movies they were doing soundtracks for were Australian productions and/or featured Australian surfers. And as before, this isn't your typical SoCal Jan & Dean, Beach Boys style surf music... it's *psychedelic* surf music. Well 2 out of 3 of these anyway (the Tim Gaze Band album being more of a yacht rock outing).
Tully were apparently a pretty successful sixties rock act in their native Australia, despite playing total "head" music, not anything you could boogie to. They were popular enough to do a TV show, and even played with the Sydney Orchestra! They came from the same "alternative surf" scene as Tamam Shud, and were just as musically progressive, having the freedom to develop their material while touring as the backing band for an Australian production of "Hair", getting into poncho-garbed spirituality and electronic experiments (being the first band Down Under to possess a Moog). Somewhere along the way they merged membership with acid folk outfit Extradition, before recording their very freeform second album, this one, the 1971 soundtrack to Sea Of Joy, a surf movie directed by Paul Witzig (same guy who shot Evolution, for which Tamam Shud did the soundtrack).
Angelic female vocals, gentle organ grooves, hippie folk blissfulness, mellow instrumental textures -- it's truly glorious, lovely stuff. Quite exploratory too, with a freeform, organic feel. Tully's Sea Of Joy can be sunshiney (quite literally, on songs like "I Feel The Sun" and "Brother Sun") one moment, almost spooky the next (on such sinisterly electronics-laden tracks as "Follow Me" and "Down To The Sea"). And their interest in Eastern Indian mysticism comes through on the raga-like "Syndrone", for instance. EM says this moody, mesmeric album is the one in the series that's been selling best for them, and we're not surprised.
This is another one of those compilations that barely requires a description for several reasons. The first is the list of bands. Like an aQ customer's sonic wet dream: Tomutonttu (Jan Anderzen of Kemialliset Ystavat and Avarus), the Skaters, Ashtray Navigations, Zodiac Mountain, Wooden Wand And The Vanishing Voice, Brothers Of The Occult Sisterhood, Armpit, Fursaxa & Zaimph, Axolotl, Astral Social Club, Excepter, Uton, Anla Courtis, Wolfskull, United Bible Studies and Kyrgyz (featuring our very own mailorder maven Christine, along with Loren Chasse, Tom Carter and Robert Horton). Phew. And that's just the bands we know, include these new-to-us sonic treasures: Navy Black, Clixcx, Watersports, Pan To Scratch, Taikuri Tali, PW Best, White Dog and Maths Balance Volumes, and we're talking nearly 5 hours of strange sonic explorations. The other reason this might not need a typically expansive AQ description is the fact that this compilation is crazy limited, to only 500 copies. So odds are we're gonna run out mighty quick, and it's unclear whether we'll be able to get more...
So what's it all about? Skulls Of Heaven sent out a call for artists to contribute their most challenging and bizarre recordings, the only stipulation that the track be between 6 and 13 minutes long. These 25 are the best of the contributions, and they are indeed challenging and bizarre, from a group of artists who traffic in the bizarre and challenging anyway.�
The sounds are all over the map as you might imagine, processed vocals all tangled up in stumbling atonal guitar plink and reverbed swirls, mechanical barnyard symphonies, murky psych-drone crawls, muffled muted ragas, thick buzzy drones and drifting clouds of piano tinkle and creaking machine-like ambience, serpentine Eastern melodies draped over slow shifting sonic shimmers, ultra minimal glitchscapes peppered with haunting growls and alien transmissions, epic washes of roaring growling guitar and quavering theremins, thick sepia toned expanses of soft focus flutter and dark moody drift, mysterious vocal experiments, chanting howling, whispering, crooning, buzzing static drenched electronic fuckery, hiccuping childlike rhythms, primitive percussion, creepy landscapes of Goblin-esque organ and outer space FX and it goes on and on and on. A totally tripped out, mind melting sonic travelogue, from the forests of Finland, to dusty basements in abandoned buildings, to strange undersea caves dripping with reverb, to mysterious cities floating in the clouds to the farthest reaches of outer and inner space...
These are REAL cd's. not cd-r's. Each disc in its own slipcase, both the discs and the sleeves featuring original artwork from Shayde Sartin (Flying Canyon, Giant Skyflower Band, Skygreen Leopards, Kelly Stoltz, Wooden Wand), held together by a thick textured paper cardstock obi, all tied up with a leather cord. Super striking. And again, limited to 500 copies...
Oh how we've adored the Germans' take on various musical styles over the years, and we're not just talking about their obvious kosmiche krautrock brilliance. No, it's German musicmakers' handling of the more unexpected genres that have deepened our love affair tenfold. The hip '60s kitten heeled go-go pop of the In-Kraut compilations? The spaghetti (er, sauerkraut?) westerns of the Wig Wam Weste(r)n Weisse Wolfe collections? Yes and yes! Those two genres are unquestionably more commonly associated with French chanteuses and American cowboys, so the unmistakable German inflections that surface always make for a delightful twist on the familiar.
Now Marina Records, who brought us those In-Kraut comps, takes it (or is it retakes it?) to the dancefloor with this compilation of German disco and funk music circa 1975 thru 1980. They're not messin' around. This is straight-up boogie wonderland business. Awesome.
Some highlights include the 8+ minute Supermax track, a lowdown I'm so sexy unstoppable groover... the Giorgio Moroder studio band Munich Machine's classic "Get On The Funk Train"... and a disco-era hit from In-Kraut alumnus Peter Thomas and his Sound Orchestra... among 15 other mainly killer, glitterball dazzlers. Now, if the weird thing is, this isn't really that weird. Heck disco's even back "in" now. Don't go expecting krautrocky craziness, instead just get yer dancing shoes on and yer ass in gear. Seriously, this has been getting spun in the store by AQ staffers just as much or more than anything else lately, and when it's on we've been getting our work done with just a little more groove.
Includes a 14-page booklet of informative liner notes, with such interestin' tidbits as that Berry Lipman's track "Sex World" was used as the theme song for an American porno film, but originated as an instrumental from the German sci-fi TV series Star Maidens...
When you think the impossibly prolific Robert Pollard couldn't possibly eke out another tune, another whole cd lands in your lap. How does he do it!? Well, you better brace yourself dear fans! Because although this is not a new Robert Pollard album, it is a fifty six track double cd collection which compiles a broad array of tracks from the various Robert Pollard fronted bands on Robert Pollard's Fading Captain label. Some of the groups include Go Back Snowball, The Moping Swans, Circus Devils, Airport 5, Lifeguards, Alien Mofo, Radiation Feeder... the list goes on and on... and yes, it includes Guided By Voices.
And what do you know, you also get six previously unreleased tracks and a 50-page full-color book to boot! This release marks the forty fourth and final release of the Fading Captain Series. Ahoy matey!
The latest Euro-dance burners from beardo Swedes Prins Thomas and his often collaborator Lindstrom have been pretty popular around here, and riding fast on the tail of their Reinterpretations album, we get this two disc mix from Prins Thomas that shows he's as good a compiler as he is producer. Featuring all kinds of unusual choices and sequences from bands we know and don't know in just about equal measure including Joe Meek, Holger Czukay. Hawkwind, Zombi, Boards Of Canada, Lindstrom, The Electric South (featuring Bob Lind), Glissandro 70, Bob James, Metalchicks, and Parliament among many many others. Keeping a proggy cosmic disco vibe that varies in pace but not in momentum, this is great for those long lit hot summer nights. Awesome!
Pessimistic as it sounds, there's not much in life you can really depend on. Luckily Soul Jazz and its series of Studio One releases have never let us down and we think it's pretty safe to say that they never will. How could they as they get to dip in the richest of vaults mining the sounds of Studio One in Jamaica. This time out it's the second in the series of dub's best offerings from the '60s and '70s. With Studio One's house band Sound Dimension, Marcia Griffiths, Soul Vendors, The Gladiators and more you know you can't go wrong. Thank you Soul Jazz and your always such right-on selections from the stellar vaults of Studio One. We could say more, but why bother, this music speaks for itself, just listen to the sound samples...
Awwwwww, snuggle up kiddies! Here's a compilation of Scottish indie pop and rock from Scottish indie labels (Electric Honey, Pema, Postcard Circa 1980, Fence, Chemikal Underground, Codex / Pop Aural, Domino / Geographic, Shoeshine, and Creeping Bent. Mostly jingle jangle sweetness comin' from the old faves like The Pastels, Belle And Sebastian, The Delgados, Teenage Fanclub and Future Pilot A.K.A., but Josef K, How To Swim and The Nectarine No. 9 add a teeny bit of edginess and variety to this soft argyle and cardigan wearin' set. A delightful trip down a tartan pop memory lane.
Yasijiro Ozu was a Japanese filmmaker (1903-1963) who had emphasized restraint throughout the 54 films of his career, offering emotionally rich, if purposefully understated narratives about the simple pleasures and pains of everyday life. This compilation is a tribute to Ozu's tableaux; and given that Ozu quietly punctuated his tales with shots of clouds, arrangements of bottles, industrial landscapes, and other environments, the tribute features a handful of suitably quiet sound artists who often use field recordings or environmental space within their work. Steve Roden is the perfect artist for such a tribute; and fittingly, he opens this compilation. His circular softness for chimed guitar and tapped drum patterns is a wonderful departure in which Roden pushes his sound design closer to the post-rock elegance of Bark Psychosis. Roden's piece is one of the better tracks on this compilation, with other highlights including Keith Berry's mournful grayscapes of drone and slow-motion crackle, Toshiya Tsunoda's impeccable recording of aerated hiss, a series of lilting lullaby chimes from John Hudak, There's plenty of raw phonography from the likes of Hitoshi Kojo (aka Spiracle), Kiyoshi Mizutani, Michael Shannon, and Ralph Steinbruchel. Taku Sugimoto's piece has to be noted for its sheer blankness except for six piano notes that emphatically emerge after 3 and a half minutes of silence.
This happens to be the second tribute to filmmakers from And/OAR, following the now out-of-print compilation homage to Tarkovsky Another Kind Of Language.
First proper full length in a while from these ur-drone space explorers, which is long overdue, considering the protracted near silence of VCO, and Matthew Bower all but abandoning his Sunroof! in favor of the noisier Hototogisu. Whatever you call that sort of music that Sunroof!/VCO traffic in, very few other outfits have managed to channel the same sort of ferocious guitar freakout and blissy ambient swirl into the magical metallic drift that those two groups did.
So here we have Wisdom Thunderbolt, featuring the VCO usual suspects (Neil Campbell, Mick Flower, Bridget Hayden, Adam Davenport) with a whole mess of special guests, underground drumlord Chris Corsano, the aforementioned Matthew Bower (Skullflower, Sunroof!, Hototogisu, etc.), Pete Nolan of the Magik Markers and John Godbert (Skullflower, Total) and the sound is exactly as we remember it.
Thick and dense, swirling and blissed out, druggy and blurry, smeared and shimmering. There is percussion, it mostly tinkles and skitters, but occasionally pounds and swings, organs and synths are woven into weird little buzzing soundscapes, horns wail and skronk, guitars growl and jangle...
While the opening track is a ramshackle stumble, all over the place, but in a very good way, the second track is where the band locks into that perfect groove they've always been capable of. A blown out stretch of raga like buzz, tribal drums underpinning a simple riff, a spacey sea sick shimmer, all wrapped up in layers of guitar buzz and hissy synth, rich and thick and totally mesmerizing.
The rest of the record is more of the same, longform buzz drenched krautrocky drone jams, with some notable exceptions. The 12+ minute "Rainbow Whirlwind, which sounds like some lost Spacemen 3 jam, the guitars pulsing and throbbing, tones beating against other tones, the synths and guitars creating constantly shifting rhythms, interrupted in the middle by a blown out free noise fest, before slipping back into spaced out pulse and dreamy drift.
And, the uncharacteristically 'rock'-y intro to "Sway-Sage" that sounds like the Guess Who's "American Woman", before quickly slipping back into some super distorted space jam, with a glitchy buzz laid over a relentless rhythm, and with thick ropy swirls of guitar and synth buzz burying everything in that distinctly VCO warm washed out sonic blur.
In case you hadn't heard, Von Sudenfed is the collaboration between Mark E. Smith and Mouse On Mars. Given that Smith had once quipped that The Fall could involve anybody's grandmother on bongos accompanying Smith and his cantankerous slurred vocals, it's a bit surprising that this isn't considered a Fall project. Nonetheless, Tromatic Reflexxions is clearly the best album that Mark E. Smith has been part of in years. The same goes for the Mouse On Mars side of the equation. We're not going to stray too far from the conventional wisdom regarding Tromatic Reflexxions, as we basically agree that it really does sound like LCD Soundsystem, even though Mark E. Smith wants nothing to do with any of those comparisons. Musically, the combo produces a smarty-pants concoction of post-everything rhythms with dubstep density, disco-punk punchiness, and electro grooviness all mashed up into an infectious squelch, which clearly resembles the LCD Soundsystem singles of a couple years back. Smith is just as cranky, irritable, and insufferable as he's ever been on any give Fall recording. Perhaps not surprisingly, Smith's presence in an electronica context offers an obvious comparison to James Murphy's smug delivery on the LCD Soundsystem recordings. Many of us here hadn't thought that this collaboration would work in the least, but more than a handful have been clearly won over. In all likelihood, Tromatic Reflexxions will stand out as one of the best art-rock / electronica albums of 2007. Well worth checking out.
One customer thought this was Jeff Tweedy, while another could have sworn it was Ryan Adams, but no, it's Rocky Votolato! He might be a bit lesser known, but in addition to the vocal resemblance we'd also venture to say that his songwriting chops are pretty on par with those two fellows' too.
Hell, as far as we can tell Rocky's not prone to sonic experimentation nor alternate identities, which makes him generally more even-keeled temperamentally and stylistically speaking than both of them.
As you may well know, we absolutely loved his last album Makers -- it was our record of the week back in January 2006 -- and we recently got in the reissue of his debut ep A Brief History. So we were primed and ready to hear some new Rocky tunes. We'd heard there were a few changes brewing with his new album, but despite its title, don't be expecting The Brag And Cuss to fill your ears with expletives and exclamations. No, it's nothing but hushed earthy twang pop... an ol' reliable! Whereas Makers was considerably barebones and intimate, this album was recorded with a full band featuring James McAllister (who also plays with Sufjan Stevens), Bill Herzog (who is also in Jesse Sykes & The Sweet Hereafter), Pedro The Lion's Casey Foubert and Rick Steff (who also accompanies Cat Power and Hank Williams Jr.). They play together beautifully, complementing each other with nuanced performances. There's definitely more heft to the production, but it doesn't crowd his songs. If anything the company adds to the emotional gravity of his lonesome words. Real good!
Some releases go in and out of print with remarkable and frustrating frequency. Such was the case with the early M. Ward album Duet For Guitars #2. It was first released in 1999 by Co-Dependent Records. Then Howe Gelb took a shine to it and re-released it on his own Ow Om label in 2000. 'Twas quite the perfect place for it to be! Seems Mr. Gelb was absolutely overcome by Ward's music, and chose Duets For Guitars #2 to be the first non-Giant Sand release on his label. Perhaps, it'll have the same effect on you!
Now pretty much a decade since it was originally recorded, Mr. Ward has settled into the comfy label home of Merge Records. This early album is getting its re-re-release into a stable environment to an eager, adoring and ever-growing legion of fans.
To get y'all caught up... yes, this wonderful album actually predated M. Ward's 2001 'debut' full length End Of Amnesia which we loved so much. Duet For Guitars #2 was a set of instrumentals and vocal numbers which he recorded back in 1997. If you like the somber, gruff deep voiced Americana beauty of Gelb's band Giant Sand or that of Tom Waits, Neil Young or Bob Dylan even, well then, M. Ward is definitely not to be missed.
Our Reggae section is by no means gigantic but we like to think that what we lack in quantity we make up in quality. But one thing that is apparent about our reggae section is that it's all about the classics and it's very rare that we hear newly recorded reggae that sounds as good to our ears as the old stuff. Sadly most new reggae (even by those who once delivered the good stuff) is riddled with cheesy keyboards and ultra-slick production while most newer dub is plagued by a generic paint-by-numbers ambience that lacks the grit and guts of what makes roots reggae and classic dub so special. So we were super psyched to find out that this Wareika Hill Sounds record we've been falling in love with was not some classic reissue as we first thought because of its totally warm and authentic sound, but is in fact a brand new recording by Calvin Cameron, who has played with the likes of Count Ossie's Mystic Revelation and Light of Saba. Smoking dubwise roots reggae that can not be denied! With an element of afrobeat in the fold (Tony Allen even makes an appearance!), there is a warmth and strength in these songs that has kept us coming back to this record over and over again. By far our favorite new reggae recording in a long time!
We reviewed the super limited wooden cover version of this disc on the last list and sold out immediately. So here's the even more limited jewel case version, still with hand made covers, only this time housed in, you guessed it, a jewel case. There were only 85 copies made in total, 50 of the wood ones, and 35 of the jewel case version. We're the only store in the world to carry these, and we have about 25 of the jewel case version in stock. Once these are gone, they are gone for good, so this is probably your last chance to pick this up...
Even though it wasn't all that long ago that we were served with the serious space rock wallop of White Hills' most recent full length Glitter Glamour Atrocity, it was only a matter of moments before we were already jonesing for more. And while this is not a proper WH record per se, it is at least another heaping helping of that spaced out sound we can't get enough of.
Here, White Hills team up with SF noise outfit White Pee for a nearly 30 minute single track of space-y, druggy, krautdrone ambient noise. And it's a killer. Never heard of White Pee before, and because this disc is so abstract and sort of shapeless, it's hard to put a finger on what exactly they bring to the table, but these two groups together sound like one. The noise is relegated to brief bursts here and there, for the most part, this is gloriously tranquil blissed out dronescapes. Long expanses of slow flowing Tangerine Dream and Popol Vuh synth sprawl, the FX are muted but wrap their shimmery tendrils around everything.
Here and there, the meditative shimmer is disrupted by dense gnarled squalls of gritty guitar growl, arranged into strange almost-rhythms, a stretched out lurching throb plodding along over long ominous streaks of sci fi synth. The synths got from ethereal and whispery, to throbbing and fuzzy, from dreamy and barely there, to pulsing and propulsive, almost like some disembodied Gary Numan rhythm track.
The second half of the disc is wide open and spare, shades of Tim Hecker and Machinefabriek and that sort of buzzy blurred soundscapes, guitars ebb and flow, keening high end melodies drift WAY off in the distance, dense washes of distorted guitar crumble bathe everything in grit and buzz, plaintive piano drifts in and out like some unearthly transmission, all hazy and indistinct, darkly dramatic and so lovely.
This is a SUPER limited edition, except for the copies the band kept, these are ONLY available from aQuarius. LIMITED TO 85 COPIES!! The first 50 in hand made wooden sleeves, the other 35 (these) in jewel cases, but also hand made and each one unique.
Finally, the first widely available full length (and then some!) cd release, after a handful of live eps, from�Australia's masters of monstrous sludge, a double disc set collecting tons of previously released material from some of those long out of print cd-r's, a couple tracks from the long gone Conspiracy lp, and most importantly, a brand new studio recording in the form of the 22 minute track "The Unwelcome Return"! We'll get to that in a second, but first, a primer for those new to the downtuned brutality of Australia's Whitehorse, and folks who may have missed out .
Falling somewhere between the ultra doom of Khanate, the metallic post rock pummel of Isis, and the shrieking feedback / bowel-loosening dirge of Earth / SUNNO))), Whitehorse kick up a serious racket. Rumbling ambient drones slip into screaming feedback which in turn become huge unstoppable walls of noise, occasionally interrupted by beautiful mellowed out melodic interludes. Crashing drums all over the place, high end guitar melodies shriek like sirens, and of course the howled hyper intense vocals add another layer of sonic skree to the mix,�plodding drum beats are set at least a mile apart, moans and drifting guitars and cymbal sizzle drift like tendrils of black smoke between each Teutonic crush. These guys are a massive slow moving lumbering sludge metal behemoth, trudging through graveyards, and ruined villages, the depths of hell and everywhere in between
Each track a�massive slow build, like an apocalyptic metal tinged Godspeed, swirling cymbals, keening guitars, thick drifts of distorted fuzz, underneath gargled demonic vocals struggle to be heard above the swirling din, super abstract and nearly ambient, it takes forever before the songs kick in properly and then you're done for. Slow motion math metal sludge jams of unprecedented proportions. Stumbling and crushing, swathed in space rock FX, sounding very Corrupted like, an unstoppable dirge, with some wild off kilter drumming and strange arrangements, so strange in fact, that occasionally, the band bursts into spastic chaotic almost 'free' sonic freakouts, like Neurosis doing free jazz. Nicely compliments their unstoppable glacier like brutality. But the�pace is not always so funereal the vibe is as much Eyehategod as it is Khanate, still harsh and abrasive and brutally heavy, but there's almost a groove going on here and there. Which definitely lends the proceedings a sort of stonery doom vibe. It's easy to hear bits of Corrupted, Khanate, Eyehategod, Bunkur, Moss and the like, but Whitehorse definitely add their own twisted slow motion spin.
A�good chunk of this stuff is previously released. Avid AQ doomhounds may very well have 75% of this stuff, but odds are, due to the limited nature of the eps, and especially the Conspiracy lp (of which we only ever had 20 copies), a lot of you missed out on at least some of it. And besides all that, there's the brand new 20+ minute�"The Unwelcome Return" to contend with... and whaddayaknow, another crushing, head caving slab of slow motion sonic dirgery, like Electric Wizard on some serious downers, spun at 16 rpm, a lumbering gargantuan crush, with a long stretch of swirling bass heavy ambience in the middle. A loping bassline amidst lowend rumbles and strange shuffling drumming, all wrapped in constantly shifting swells of white noise and buzzy hiss, before the whole track explodes again, trudging hellward and crushing every goddamn thing in its path. Including us. And we LOVE IT.�
Worshippers of all things doom and drone and sludge would do well to prostrate themselves before these mighty and unmerciful doomlords, and to welcome the oncoming sonic annihilation...
Packaged in a killer black on black, gloss on matte, mini gatefold lp style cd sleeve, with a full color insert!
In the long wake of Hurricane Katrina, it's good to remind ourselves of the amazing musical legacy of New Orleans. So what better time than now to get this 2 disc reissue of one of the more unique and underrated funk groups of the early seventies, The Wild Magnolias. The first Mardi-Gras Indian group to get signed to a major label (they're not real Native Americans, but African-Americans partaking in a long-time tradition of street�based competition with rival tribal factions fully decked out in elaborately ornate, feathered Indian regalia), The Wild Magnolias were known for their gospel like call-and-response vocal chants over driving funk rhythms provided by The New Orleans Project led by keyboardist Willie Tee. Compiling their 1973 self-titled debut, and 1975 follow-up, They Call us Wild, the Magnolias mix up original songs sung in native-sounding patois ("Handa Wanda", "Ho Na Nae") with interesting takes on New Orleans folk standards such as "Saints" and "Shoo Fly". Includes a PDF version of a 68 page book about their impressive history. An awesome reissue of some bad-ass funk and an amazing peek into one of New Orleans most unique street traditions!
The newest slab of blackened wyrd doom-folk from the misty moors of... Texas? Poland? Mordor? Well, wherever main-mangler Smolken makes his home these days. Smolken, also the man responsible for the equally dark and fucked up Jandekian "black metal" of Dead Raven Choir, always has had a skewed take on his favorite subgenres of music, in the case of Wolfmangler entering the realm of doom metal riding a swaybacked country-folk steed, but eschewing the cinematically Western wide-open spaces that Earth has been roaming of late, to plow deeper into the muck and mire of the direst of wagonwheel-sucking mudflats... There's 14 doleful and dirgey tracks here, Smolken sawing away on some classical-sounding stringed instrument like an uber-depressed, one-man chamber music outfit. Besides those suicidal strings, this is sparse and skeletal, there's not much more here... some background ambience, clanking percussion, and creepy whispers... all of which work for us in a Dead Raven Choir like fashion. But then Smolken airs some almost-spoken, sorta-theatrical clean vocals (on tracks 12 and 13 fersinstance) and we're not quite as into it. For DRC fans surely, but maybe not doom metallers this time out (unlike Wolfmangler's earlier split with Moss).
We've been selling Wolves In The Throne Room cd-r demos like crazy since we first discovered these guys last year. And how could we not? You gotta love a band that unfurls massive fuzzed out epics, 10+ minute bursts of swirling droning black metal, dirging, lurching and gorgeously blown out. The obvious comparison is SF black metal legends Weakling, and you know we wouldn't make that comparison lightly. The same sort of fierce brutality and chaotic ferocity mixed with impossibly anguished emotionalism all wrapped up in a blackness that is informed as much by suffocating dark ambience and mesmerizing drones as it is grim black metal.
If you thought the WITTR demos sounded great, HOLY SHIT does this new record blow those out of the water. Which is a good thing as two of the songs here are actually from the demos, but they have been massively reworked and completely re-recorded. It's got a huge wall of guitar sound, surprisingly heavy for a black metal band, in place of more typical reedy buzzy BM mosquito guitar. There's thick snarling monster riffs, dense and multilayered, spread thick over furious pounding drumming and howled strangulated vocals (very Weakling-esque). Now you might think the world needs another Nordic style black metal band like a hole in the head, no matter how amazing they are. BUT, Wolves In The Throne Room do it SO WELL, and write amazing songs, and manage to mix it up like crazy, incorporating all sorts of un-BM elements, gorgeous folky ambience, weirdly TRUE metal riffing, even some ethereal angelic female vocals. It all somehow fits, and makes the Wolves' black metal black enough to remain true, but fucked up enough to matter. Plus they probably do think the world needs need a hole in the head...
You'd never guess from listening to this record that the WITTR are a bunch of short haired, furry vested, tight panted, scruffy indie dudes from Olympia. But don't let that put you off, impossibly true metal nerds, just close your eyes, listen close, and all you'll see are grim, 10 foot tall, spike encrusted leather clad warriors of the misty, ancient northwestern forests... Yep, we're surely excited to have their "real cd" debut, at long last!!
It seems James Toth is distancing himself more and more from his free-dirge forest folk group, the Vanishing Voice and settling deeper into full-blown singer-songwriter mode. Channeling Dylan even further than last years Second Attention, he enlists the help of Sonic Youth's Lee Ranaldo (who also produces) and Steve Shelley to round out the mostly acoustic band along with his wife, Jessica Toth who provides vocal accompaniment. Less compelling than Second Attention, the spare arrangements only serve to emphasize Toth's affected vocal style which mimics later Dylan but also comes dangerously close to Phil Ochs' more cringe-worthy folk-isms with pseudo-visionary lyrics that miss more than they hit. With such high profile talent present, we wish it was much better showcased. Alas.
A brief but sweet 5 song ep from this often misunderstood, experimental, heartbreakingly sad, depressing, eclectic indierock band. As we previously opined: The lead singer's voice is this super intense, desperate, achingly sad, warbly moan (a la The Cure / Talk Talk / Ultravox), and we're used to hearing that kind of voice accompanied with Brit-style synthpop stuff (i.e. "Melt With You"). Yet with Xiu Xiu the backup to that incredible voice is trumpets and saxophones and clattery percussion (bells, gongs, perhaps even pots 'n pans), with a solid yet obviously lo-fi Casio beat keeping time, and a far away echoey tone placed sporadically throughout. Totally accessable pop with an arty creative craziness to it. Xiu Xiu also plays with song structure and tense silences. What a breath of fresh air to find an "indie rock" band who pretty much throw all the predictable stuff out the window, leaving only originality. If you can get past the singer's voice (I can, easily, but Allan and Byram are making fun of it), then you oughta give this a try. Sadie and Windy give this the thumbs up.
