Now reissued and available again, this is the very very first black metal record (!) that I (Andee) ever bought, along with Cradle Of Filth's The Principle Of Evil Made Flesh, and upon my very first listen was immediately converted to the dark side. The circumstances of my introduction certainly helped. There are plenty of ways to be introduced to new music, getting a mix tape, having a friend play it for you, hearing it on the radio, whatever, but my introduction to black metal was a little different. And a whole lot better if you ask me. There was a cool punk rock collective record store here in SF years ago (Epicenter, now long gone). I used to work at the thrift store downstairs, so like any self respecting record nerd, I spent all my free time upstairs listening, browsing, shopping, hanging out. There was a woman who worked there who was a punk rock / metalhead dream come true. Super tall, lots of spikes and leather and denim, waist length dyed dreadlocks, earrings, noserings, huge black boots, tattoos, and on top of all that she was totally drop dead gorgeous. Almost like a super model dressed up as a metalhead. And as you might imagine she seemed absolutely and totally unapproachable. Well, one day, she started talking to me, handed me this disc and the Cradle Of Filth and insisted that I'd dig 'em. Not sure why she thought I would or how she may have known, but it hardly mattered, she was talking to me, and there was no way I was not going to walk up to the counter with her and leave proudly clutching those discs. Thankfully, I did in fact love both of them, and like I mentioned, I immediately became obsessed with black metal. My mysterious black metal angel drifted off and disappeared, but my love of black metal stuck.
Hard to imagine not being blown away by this record, Satyricon's debut, a gloriously dense, snarling black buzz, with plenty of loping Viking flecked riffage, haunting folky acoustic breaks, blasting double kick, howled guttural vocals. Coming long before the super polished black tech of Satyricon's later records, this is raw and furious, the production is lo-fi but still super thick and heavy, lots of reverb, lots and lots of buzz and fuzz, perfectly situated between the ultra complex blasts of Emperor and Mayhem and the plodding hypnotic buzz of Burzum. It's plenty weird too, huge too-loud keyboard swells, haunting angelic vocals, buzzing sing songy riffs, but already even way back then, you could hear the hints of Satyricon's future as black metal masters, so heavy and strangely catchy, weird and warped, but totally grim and utterly black.
Available on vinyl again! Here's our review of this Norwegian BM masterpiece from when we reviewed the cd version year and years ago:
One of the best, most influential, most perfectly grim and black, most brutal, and most importantly one of our -favorite- black metal records EVER! Easily the band's finest moment. When anyone asks us to recommend the most essential black metal releases EVER, this record vies for the top spot along with Burzum's Filosefem, Emperor's In The Nightside Eclipse, Mayhem's De Mysteriis Dom Sathanas, Darkthrone's Transylvanian Hunger and Immortal's Blizzard Beasts. Pretty seriously daunting company for sure, but depending on our mood, a lot of the time Nemesis Divina easily bumps the others out of the top spot. From the all time classic "Mother North", quite possibly THE catchiest black metal songs ever, to the barely audible sscccching! of a sword being unsheathed about 3 minutes into the first song, to the fucking awesome band photos, this record is tough to beat. Any of the above mentioned records would be perfect introductions into the grim world of black metal, but somehow, Nemesis Divina seems like the perfect secret weapon, the record that even a non-metalhead would hear and be forced to bow down to the dark lord. So fucking great!
Ready for some galloping rifftasy?? We could be reviewing the new Early Man ep (and we will) but for your metallic delectation this week, we'd rather present you with a reissue of an old fave, a relatively obscure NWOBHM classic. If you don't know what NWOBHM means (and we mention it often enough, like in our Rogue Male reviews recently), this will clue you in with an ace to the face - even though Savage never quite made it up there with more famous New Wave Of British Heavy Metal brethren like Iron Maiden and Def Leppard*, ferinstance. And if you do know what the NWOBHM is, and love it, then this is for you. No need to hesitate. Savage's 1983 debut (they had some other, later releases, but basically blew their wad here, and how) is utterly a classic, even just on the strength of the lead-off track alone, "Let It Loose" (misidentified on the back cover tracklist here as "Letting Loose", d'oh). And the rest of the album is full of quality, crunching metallurgy too, oh yeah. Noted metal scribe Martin Popoff rates it a 10 out of 10, comparing it to the best of Saxon, Witchfinder General, Grim Reaper, & Diamond Head (we'd say it comes closest to the latter). He's quite right, this IS one of those 10/10 NWOBHM stormers that can do no wrong, unquestionably when it comes to "Let It Loose", crackling with electric energy, which sets the tone for a whole disc of white hot, speaker trashing, youthful shred, Savage sounding quite savage indeed, while maintaining the NWOBMH's reputation for pint-draining, party-hardy catchiness.
Need more recommendation? How 'bout that Metallica in their early days used to cover two of this album's songs live?! Lars knew his NWOBHM neckwreckers after all!
Aside from the aforementioned typo, this is an ok reissue, though there's no liner notes included in the cd booklet. Lyrics yes, but no liner notes, what's their excuse? We expect thorough liner notes in our reissues, people! The previous reissue of this on Neat had liners from the guy that did the awesome Mad Maxish cover art! At least this does include the same 3 bonus tracks, taken from Savage's 1979 and '80 demos.
*no, Def Leppard don't suck. Their first few albums are pretty great.
We made the cd reissue of this a Record Of The Week back on list #265... then Too Pure let it go out of print again (twice)! But now, it's been reissued on vinyl by Modern Classics, a subsidiary of Medical Records, yay. Please read on to find out why picked it as a ROTW:
God, we love this record! We've never stopped loving it. In the years since it was first released in 1993, it's never sounded tired or dated to us. Can't say that for a whole lot of other electronica records. So we are really glad to see our good old friend back in print again... We have been playing this daily since we got it, and we're surprised how many folks have never heard of Seefeel or experienced their incredible ocean of sound.
So what is all the fuss about, you say?
Well, Seefeel at their peak were one of the main players that spawned the nineties electronica genre, at a time when there were only Dance and Rock sections in most music stores. Their sound was a delirious mash-up between the shoe-gazing swirl of My Bloody Valentine, the machinic rhythm programming of Autechre, the ambient chill of Aphex Twin and the driving pulse of Stereolab, with an early hint toward the looping repetitions of William Basinski. They bridged ambient techno and indie rock by foregoing rock music's verse and chorus structures in favor of beats and loops wrapped inside icy motorik rhythms, industrial whirs, blurbs of female vocals and dubby bass lines. Like the best work of minimal composers, Seefeel's long-form compositions create a warmly hypnotic form of static movement that refused to fit neatly into music for either dance floors or chill out lounges.
Quique was their head-turning debut following two EP releases featuring remixes by Aphex Twin. That connection surely gained them a bigger following, but Seefeel was always one of those bands that should have been bigger. Of course such a potent and influential debut would lead to many of their contemporaries, bands such as Bowery Electric, Labradford, Boards Of Canada and Flying Saucer Attack, to take Seefeel's initial explorations in sound further into Post-Rock, Trip Hop, IDM and Neo-Psych territories, leaving Seefeel at a bit of a loss for a follow-up. Signing to Warp, they delved further into a dark ambient direction in the vein of groups like Main, Ice and Scorn, that was just too stark for a wider audience to appreciate. They put out two more albums before splintering off into various side projects such as Scala, Disjecta and Sneakster.
Listening to Quique now, it has lost none of its powerful splendor and warmly chilled charm. Add this to the list of favorite one really really good record bands like My Bloody Valentine and Stone Roses. So amazingly awesome!
God, we love this record! We've never stopped loving it. In its fourteen years of existence, it's never sounded tired or dated. Can't say that for a whole lot of other electronica records. So we are really glad to see our good old friend back in print again with this super nice 2cd deluxe re-issue. If you missed this the first time around, then you are in for a real treat, and if you bought this the first time around, you may just need to buy it again to get the whole extra disc of unreleased tracks and alternate mixes. We have been playing this daily since we got it, and we're surprised how many folks have never heard of Seefeel or experienced their incredible ocean of sound.
So what is all the fuss about, you say?
Well, Seefeel at their peak were one of the main players that spawned the nineties electronica genre, at a time when there were only Dance and Rock sections in most music stores. Their sound was a delirious mash-up between the shoe-gazing swirl of My Bloody Valentine, the machinic rhythm programming of Autechre, the ambient chill of Aphex Twin and the driving pulse of Stereolab, with an early hint toward the looping repetitions of William Basinski. They bridged ambient techno and indie rock by foregoing rock music's verse and chorus structures in favor of beats and loops wrapped inside icy motorik rhythms, industrial whirs, blurbs of female vocals and dubby bass lines. Like the best work of minimal composers, Seefeel's long-form compositions create a warmly hypnotic form of static movement that refused to fit neatly into music for either dance floors or chill out lounges.
Quique was their head-turning debut following two EP releases featuring remixes by Aphex Twin. That connection surely gained them a bigger following, but Seefeel was always one of those bands that should have been bigger. Of course such a potent and influential debut would lead to many of their contemporaries, bands such as Bowery Electric, Labradford, Boards Of Canada and Flying Saucer Attack, to take Seefeel's initial explorations in sound further into Post-Rock, Trip Hop, IDM and Neo-Psych territories, leaving Seefeel at a bit of a loss for a follow-up. Signing to Warp, they delved further into a dark ambient direction in the vein of groups like Main, Ice and Scorn, that was just too stark for a wider audience to appreciate. They put out two more albums before splintering off into various side projects such as Scala, Disjecta and Sneakster.
The bonus disc contains six previously unreleased tracks, and three alternate mixes from a limited white label 12" and two ambient compilations. Out of the unreleased tracks, "Clique" sounds like it just barely missed the cut from the original album line-up while "Silent Pool" is a longer version of Quique's closing track "Signals". "My Super 20" and "Is It Now?" are long beat-less swims that are a warmer hint at their future direction and the two other unreleased tracks are versions of opening track "Climatic Phase #3, and "Time to Find Me" from their first EP. It might sound like at first listen that there is some repetition between the two discs, but it's really more in line with classic ambient music's infatuation with the Dub tradition of versioning, the adding or removing of various elements in a song to give it a totally different spin. Each version really does give a different feel even if the basic structures seem similar. Seriously, the second disc is just more of what you love already, and gives us a little more of the stuff we've been missing for ages.
Listening to Quique fourteen years later, it has lost none of its powerful splendor and warmly chilled charm. Add this to the list of favorite one record bands like My Bloody Valentine and Stone Roses. So Amazingly Awesome!!!! Reissue of the year so far and so totally recommended!!!!!!!!!
Even if we didn't make this Record of the Week, we'd probably still be selling quite a few of 'em, as we're sure we've got a lot of knowledgeable record-collector-type customers for whom adding this to cart will be but the work of a second, the second after their eyes bug out upon seeing the artist and title listed above. But since this reissue is not only of an incredible rarity but also of an incredible record, we wanted to make sure everybody heard about it, besides those for whom it's already a "holy grail". Yep, Joakim Skogberg's original 1972 Jola Rota LP definitely falls into the highly obscure "holy grail" category, a lost treasure for lovers of weird, wonderful acid-folk and underground psychedelia. The sort of thing that develops a legend that it can't possibly live up to... but then DOES, blowing minds when it's finally reissued. The sort of thing that's whispered about among connoisseurs of psych, written of in a few select fanzines and blogs, heard only by a lucky few who got an Nth generation cassette dub or cd-r burn from a friend, who got it from a friend, and so on. The sort of thing, that even a few years after a brief exposure to its wonders, will make you stop and think every once in a while, dang when is someone finally gonna reissue that amazing obscure album??? Some other recently excavated examples would include Moolah's Woe Ye Demons Possessed, Bobb Trimble's Harvest Of Dreams, and Gary Higgins's Red Hash... and before that, once upon a time Comus's First Utterance too would have fallen into that category. Bruce Haack's Electric Lucifer as well, though originals of that were and are much MUCH easier to come by. Whereas *this* album was originally pressed in an edition of around just one thousand copies -- of which only a few hundred were ever sold back in the day, with the remainder of the pressing being, gasp, melted down to be recycled into other LPs!
So, here it is, artist Joakim Skogsberg's lone album Jola Rota finally, officially reissued for the very first time! Our hearts went pitter pat when we found out. We first heard this when our friend Loren Chasse (of Of/Thuja/Jewelled Antler/etc. fame) floated us a cd-r burn he had gotten from a pal overseas a couple years ago, as per the scenario outlined above. He figured we'd like it, and of course he was right. What's not to like? Swedish-forest-folk hippie ritual mixed with droned-out psych guitar. Truly strange, and captivating, vocal mumble. And, get this, it was actually mostly recorded out in a forest, on portable reel-to-reel gear!! Once out of the woods, the raw recordings were overdubbed (Skogsberg being responsible for all sounds on this album) in studio, but remain quite raw, the mystery and majesty of northern landscapes, dark shadowy places, placid lakes, tall trees and moss-covered rocks utterly alive in the music of the nature-loving Skogsberg.
Side One starts off with "Jola Fran Ingbo", which introduces Joakim's unusual "Jola" singing style derived from Swedish trad folk, also heavily influenced by Buddhist chant, accompanied by staccato bowings of ominous violin. Immediately this is waaaay darker than most other Swedish folk/psych we've heard! Seriously droney and austere. That's followed by the more freaked out, rockier "Offer Rota", which finds Skogsberg singing whilst pounding away on percussion and unfurling a thick layer of distorted guitar murk, with what sounds like a Jew's Harp warbling in the background. The next piece, "Fridens Lijor", on the other hand, is an unaccompanied vocal piece, close-miced and intimate, all about Skogsberg's fragile Jola babble...
Beginning side two, "Besvarjelse Rota" builds up a dubby, bassy electronic rhythmic whomp-whomp throb beneath its damaged psych guitar wail, that (in our warped imagination) foreshadows modern minimal techno a la Chain Reaction, "heroin house" beats.... could almost be Pole jamming with Algarnas Tradgard or something! Later, the lengthy "Jola Fran Stensate" harkens back to the solemnity of the album's first track, and then "Jola Fran Leksand" winds up this unique, amazing trip with something of a pagan campfire dance piece, for folky fiddle and rattling hand percussion.
Overall, though, Jola Rota's mood is solitary and ceremonial. Skogsberg not a guru leading his followers, but rather one man, inspired, singing devotional songs to nature, in personal communion with the ancient deities of Sweden and the universe... it IS universal, probably why it sounds simultaneously like krautrock and Tibetan worship and Native American prayer-songs. The universality of the drone, and the human voice in spiritual reverence regardless of language. At its droniest, many moments here recall Parson Sound or the aforementioned Moolah. Totally, magically mesmeric. Wow... EVERYONE who's heard this since we got it in has been entranced.
And we're extra happy that not only has this been reissued, but that the reissue was done by our pal Johan's Tokyo-based Tiliqua Records (along with EM Records, one of our absolute favorite reissue labels from that part of the world, or anywhere else). Which means, it's done up deluxe, packaged in a swank miniature gatefold LP-style sleeve, and it's been remastered from the original tapes with the help of Skogsberg himself. There's also new liner notes and previously unpublished photos of the long haired and bearded (of course) Skogsberg included. Nice! Sadly, this too is limited to a one-time pressing of only 1,000 copies... and unlike the original vinyl edition, we doubt the label will be left with any unsold copies to recycle!
FYI there will also be a super, super limited (and expensive) vinyl version of this coming on on Tiliqua in May, not sure if we'll be able to get any of those at all or if they'll be a label-direct preorder thing only...
Reign in Blood is one of the defining moments in metal. Specifically, pissed off technical thrash. Before Slayer, no one else was faster, more brutal, or controversial. Yet at the same time they managed to somehow translate their music into something commercially successful, which is as confusing as it is impressive. This, their seminal third album, produced by Rick Rubin in 1986, is what we think of when we think of Slayer. "Angel of Death," "Altar of Sacrifice," "Jesus Saves." If you're a metalhead - to any degree - you own this, or you need this. In fact, we're not going to go on too much about it because this shit makes its own case. For greater detail, you can always pick up a copy of the book about Reign in Blood from the 33 1/3 series. Slayer fucking rule, and this is one of their best records. Get on it!
My Bloody Valentine and Slowdive embody the term shoegaze. If you have, have had, or may one day have even the smallest interest in said genre, you have this or you need this. Guitars are simply texture, bass and drums take the driver's seat, and vocals flutter here and there. This is their second to last album, but kinda the last. After this was Pygmalion, which was recorded by only half the band's members (one more than the other) and caused Creation to kick them off the label. Oh, we should mention that Brian Eno produced one song, and he played on two.
Not to mention any names, but one (former) AQ staffer has a Slowdive tattoo. This record is more than recommended, it's essential.
Includes 4 bonus tracks "not on import".
In spite of the fact that over the last few years, minimal techno has become an increasingly bloated, boring, and pretentious genre, Scotland's own Alex Smoke manages to create beautiful and thoughtful tracks. We just hear so music made by artists that seem as if they have nothing else in their record collection other than just more techno, so it's an encouraging breath of fresh air when someone steps in and revitalizes what's happening. And even though it's true, we slept on this record for a while, it's better late than never, right? European clubs have recently been packed full of tight-lipped, scarf wearing DJs spinning record after record of filtered plug-in synths with deep kicks and way too much reverb on the snare. Almost like someone wrote a half-ass bassline, paired it down to the essentials, and threw some other effected shit on top. Bleh. Tracks have begun to feel as formulaic and stale as a Britney Spears track. What Smoke brings to the table is akin to Steve Reich's understanding of arrangement and flow, the starkness of minimal wave, and a dark, melodic understanding on par with groups like Depeche Mode. If it made sense to call something a linear phase composition, this would be it. Time signatures weave in and out of each other, each piece of the track eq'd just so that no piece of the spectrum is left untouched, while everything has ample room to breathe. Not just as a producer, although he is exceptional, but as a bizarre kind of songwriter, Alex Smoke excels. Completely recommended.
From the same label that brought us the damaged depressive blackened genius of Happy Days, and the melancholic doom-ed black metal of Leaden, comes this, the first release from Swiss outfit Smorzando, who craft a strange and haunting world of melancholy black metal, mixing the creepy drone-y miserablism of Burzum, with strange abstract post rock, and super blown out in the red production, creating something both black and brutal, fucked up and mysterious, with a super unique sound that is as much noise rock or post rock as it is black metal.
The drums are simple, the guitars go from distant minimal jangle, to blown out crumbling distortion, the melody is a simple keyboard suspended in a sea of black buzz, the vocals go from guttural growl to hysterical shriek, but are buried under swells of super distorted �in-the-red, shoegazey blackness. Occasionally, the songs lurch into furious blasts, but for the most part just lurch and lumber, lonely and forlorn, the deep bass and strange melodies sound like foghorns, the production wrapping everything in a grey fuzzy fog, the guitars effected and warbly, sometimes sounding almost electronic, other times sounding like a black avalanche of sound, always underpinned by a lilting melancholy melody or some ghostly ambience, so gorgeous and sad and heavy and absolutely beautiful. One of our new favorite slabs of depressive doom drenched black metal misery for sure.
LIMITED TO 200 COPIES. Each packaged in a super cool plastic clamshell cassette case, with haunting black and white artwork, and printed black and white fold out insert.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
This is my second favorite Spacemen 3 record, second only to the breathtaking Playing With Fire (which we just listed last time and is still in stock). But the more I listen to this, the more it inches closer and closer. It follows the same sonic path as Playing With Fire, with shimmery, hazy, druggy garage rock drone scapes and occasional squalls of fuzzed out buzz-saw riffs, and while it lacks some of the dreamy summery ambience of PWF, it makes up for it in gritty urgency and bleary, cloudy atmosphere. Some of these songs appear elsewhere, but these are the definitive versions, the way the band had always intended them to sound, adding layers and layers of guitars that were impossible to replicate live. This double disc reissue collects demo versions covers, and previously unreleased songs, all of them amazing. From the opening track 'Things'll Never Be The Same', a blast of thick Stooges-y sludge, to the Velvets-esque 'Walking With Jesus', a fuzzy, sun-spangled, lo-fi drone-y ramble, all shimmery strum and sing-songy vocals, to the bluesy swagger of 'Come Down Easy' sounding like Delta blues broadcast from outer space and dipped in LSD, this stuff is all so good. Yet another band that allows a straight edge goodie-two-shoes like me to dabble in dark and dangerous, dreamy and druggy excess!
Thought we'd better get around to listing this, since it was finally reissued domestically at a much cheaper price! "Taking Drugs To Make Music To Take Drugs To" is one of the best album titles ever, and at least for the heavy pharmaceutical users in Spacemen 3, it's certainly a fitting one. Recorded in the winter of 1985 / 86, the album is actually the most rock of all of the Spacemen 3 albums as their 13th Floor Elevators buzz meets the intensity of early Stooges. Sonic Boom and Jason Pierce felt that the versions of the songs found on "Taking Drugs" were better than those on the subsequent albums. And that may just be true! Easily one of the best and most important documents of eighties space-psych!
Sun City Girls fans rejoice, the vinyl reissue of their epic crowning acheivement "300,003 Crossdressers..." is upon us. Originally released in 1996 on double cd only, "Crossdressers" almost certainly surpassed "Torch of the Mystics" as the Sun City
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Reissued once again on cd, Torch... is most often referred to as the best SCG album; a good place to start.
In recent months, we've seen several interestin' Sun City Girls reissues come out on cd via the Abduction label, like such previously vinyl-only rarities as the (supposed) soundtrack recordings to Piasa The Devourer Of Men, Dulce, and Juggernaut. Along with the shaggy dog hillbilly joke that is Jacks Creek. So fans of the now sadly defunct Sun City Girls, that cultish, psych-punk, faux-ethnic, WTF? trio, have had some welcome listening of late. However, this new disc, a collection (volume one!) of Sun City Girls singles, has us the most excited yet. That's cause these nine tracks, mostly released as singles on the Majora label back in the day, were actually all recorded during the same sessions that resulted in the acclaimed 1989 SCG album Torch Of The Mystics. That album, now out of print, is almost universally regarded as the band's best, and most popular. We'd agree, it's definitely the unanimous fave here at AQ (well, along with the equally long gone 330,003 Crossdressers From Beyond The Rig Veda). Too bad Torch Of The Mystics is out of print!! But of course that makes these tracks, cousins to those on Torch, all the more covetable!
Apparently, originally Torch was meant to be a double LP, and most of these tracks were instrumentals that would have been sequenced in amongst the songs that appeared on the final version of Torch. Plans for a double LP were eventually scrapped, and much of the extra material was then released by Majora on the You're Never Alone With A Cigarette 7" and Three Fake Female Orgasms 2x7". However, three of the tracks here are previously unreleased studio recordings, and another track, "The Fine-Tuned Machines Of Lemuria", is restored to its full 12 minute length for the first time (having been edited down for 7" release).
On of the reasons we (and everybody) likes Torch so much is that the songs, sounding much like some sort of alien, Southeast Asian surf rock, were unhindered by the unhinged eccentric excesses that make so many other, more confusional SCG recordings something of an acquired taste. Their unique take on "world music" was at its most accessible on Torch, with some of their most memorable, melodic moments and evocative atmospheres. You're Never Alone..., while not quite Torch part II, is certainly in that ballpark, with the ringing, exotic electric guitar skree of Richard Bishop taking center stage on much of this, ably supported by the drums and percussion of Charles Gocher and the bass playing of Alan Bishop (with sundry other, often ethnic, instrumentation from all). There's glorious folky riffing and moody improvs and plenty of prime SCG wonderful weirdness. Definitely an essential disc for all SCG fans!!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Out of the blue, this slab of heaviness is now available on vinyl! A real swank package with new artwork courtesy of the UK's Dirter. Here's our review of the original cd release from 2001:
The world's first, best, only, (and last?) EARTH tribute band oozes forth with their second album. Some might question if there was more to be accomplished in their emulation of the glacial "power ambient drone" metal practiced by Earth, but this album should quell any skeptics -- it's slower and lower and sets yet another standard for heaviness. Thus, probably an essential addition to the collections of AQ's extreme doom fanatic patrons! And this time the boys in Sunn go beyond their obvious Earth worship to acknowledge another influence: one of the four lengthy tracks found here is a cover (or, an interpretation, anyway) of a Melvins tune! Recommended.
The third (duh) album from the lower-than-low doom duo of Stephen O'Malley (Burning Witch, Khanate) and Greg Anderson (Goatsnake, ex-Engine Kid). SUNN O))), formed in tribute to defunct Sub Pop heavies Earth, never fails to warm our doom-drone lovin' hearts,
The first two tracks, totalling 22 minutes, constitute a new SUNN original, with dark waves of Earth-worthy droneriff rolling relentlessly ever onward. (Track one is called "Mocking Solemnity" and track two is called "Death Becomes You", but there's no discernable break between them, it'll really all one piece.)
Then come the two mixes, and the surprise is that they're even better than the SUNN-alone tracks!
Maybe that's 'cause they were produced by Masami Akita, aka the notorious Japanese noise artist Merzbow! His first mix (5 mins) drops some atonal piano into the dronezone of Sunn, while mix number 2 (13 mins) really goes for a grinding godhead experience. He really takes it to another level.
After the Merzbow tracks, "Flight" closes out with another original track called "F.W.T.B.T.", and it's another good 'un, featuring guests "Bootsy Kronos" on bass, and, uh, "Aspirin Feast" on drums. Drums!
Steve O'Malley did a great job with the album design, too, somehow emulating the graphics of Earth's "2" with nicely colored picture of a hunting dog, a shot of the SUNN boys looking like long haired, black clad twins, and -- get this -- what appears to be Ozzy Osbourne's Klonopin perscription from a Beverly Hills pharmacy!
Southern Lord recommends this to fans of Earth, Melvins, Thrones, Thomas Koner...and we do too!! Add to that list Boris, Corrupted, Fushitsusha, and Loop (the last two are SUNN fan Julian Cope's comparisons)... "Flight of the Behemoth" is truly a massive, rumbling, varied, experimental DRONEDOOM ESSENTIAL!
ATTENTION: the limited edition 2cd version of this is totally gone, this is the single disc version!
As you may have noticed, the aQ speakers have been quite clogged of late with the black sonic tar of glacial doom and slow motion sludge, molten flows of downtuned guitars, rumbling bowel churning drones, impossibly slow and primordially plodding drumming, all tangled up in huge squirming, blackened riffs, like mammoths struggling to loose themselves from pits of black tar. We've also been quite obsessed with the more virulent strains of buzzing, bizarre black metal. Leviathan, Xasthur, Benighted Leams, Blackdeath, Deathspell Omega, Furze, Lurker Of Chalice and the like. But just imagine for a moment, if that river of sludge we love so much ran right through the darkened Nordic forest, or if you took all that buzz and fuzz and held it under a thick layer of black pitch, while it struggled desperately for breath, or if you took the bombinating blur of Burzum and slowed it waaaaay doooooooown, or better yet, what if Dylan Carlson of Earth grew up listening to Darkthrone and Mayhem instead of Hendrix and the Mentors. Well you'd probably get something like Black One. To be honest, what forms the basis of Black One is really not all that different than other SUNNO))) records. It's still a series of 16 rpm metal riffs, morphed beautifully into plodding hypnotic smears of metallic ambience. The blackness here comes from several sources: the art and the imagery for one, a very metal looking cover drawing, olde English fonts, O'Malley and Anderson have adopted properly metal monickers for the instruments used: axe subs, icy inverted crosswinds upon four string zamboni, grail, glacial winds, calls from beyond the grave! Then there is the presence of two current BM legends, Malefic from Xasthur and Wrest from Leviathan. That said, there are moments, where SUNNO)))'s immediately recognizable sludge does twist itself into more black metal shapes, and it's those moments that Black One truly taps into a direct line to the fiery abyss. Imagine listening to Immortal through some sort of time warp, where Blizzard Beasts is stretched into a single icy contrail spread out over 666 years, a hazy black cloud swallowing everything in its path. Add some truly frosty and fucked up vocals and ghostly guitars from Wrest and Malefic, all manner of gorgeous sonic filigree from Australian experimental guitarist Oren Ambarchi and noise guru John Weise, some text by Seldon Hunt, and that oh so familiar Sunn-y O'Malleyïartwork, lyrics via Dead (from Mayhem), Malefic, Wrest and Abbath (of Immortal) and you might just be looking at a truly and utterly black one indeed.
Recorded live, in an ancient cathedral in Bergen, Norway, Domkirke is pretty impressive slab of avant heaviness, and continues to display SUNNO))), the duo of Stephen O'Malley and Greg Anderson (and usually any number of auxiliary members), moving further and further away from their Earth worshipping roots. Having become a bona fide ART band, you're now more likely to catch SUNNO))) in a gallery, or a cathedral, than on a metal bill, which is fine, as their sound is the rare beast that does manage to bridge that gap, and most appealingly, manages to alienate and piss off folks on both sides of the divide.
So for this performance, the band chose to create a piece that reflected the history of the cathedral, creating something much more ritualistic sonically, vocal based, incorporating chants, Gregorian hymns of the Middle Ages, evoking the despair of a time of plague and death, a truly medieval sound, woven into SUNNO))'s more modern minimal glacial dronemusic. The two most noticeable additions to the SUNNO))) sound for this performance are Attila's powerful operatic vocals, and the gorgeous buzz of the cathedral's massive pipe organ. And the opening track is just that, ditching the guitars entirely, letting the organ unfurl massive minor key whirs and shimmering rich harmonies, while Attila moans and croons, sometimes adding another layer of low rumbles, other times, wailing dramatically. The organ so rich and lustrous and majestic and powerful. Reminds you that no matter how many amps you have and how much distortion you use, some things are inherently heavier than guitars. But that doesn't keep the Sunn boys from trying, as the second track returns to more familiar territory, offering up a glacial slow motion flow of crumbling super distorted guitars, more melodic than usual, churning over a back drop of shimmering organ drones, and again Attila's vocals slipping from hissed whisper, to rich mellifluous chant. Add to that a bit of electronic filigree from noisemaker Lasse Marhaug, and you've got a pretty ominous and intense slab of medieval murk. The guitars do unwind into surprisingly melodic figures now and again, but always return find their way back to that main, heaving tarpit riff.
The third side (movement), begins as more of the same, although this time the track sprawls into some almost free noise, the vocals demonic and intense, the guitars spilling out of the amps in noxious black clouds, squalls of electronics, sheets of feedback, sounds almost like SUNNO))) free jazz, unhinged and frenzied, but still bleak and black and heavy. The final movement might be the heaviest of the bunch, those oh so familiar slow motion riffs, wash over that swirling sea of whirring organ, a massive organic, almost fluid sound, alive with energy, black, yet glowing from within, building to a suffocatingly intense climax, the guitars crumbling and blown out, the organ at fever pitch, the vocals another layer of buzz and howl, the whole thing threatening to bring down the ancient stone walls, before dropping out completely, leaving Attila's rumbling low end growl, and then finally leaving just the organ, to play out mournfully and mysteriously.
Pretty fantastic. It almost makes us wish SUNNO))) would just get a pipe organ in the band, permanently. Might make touring a bit tough, but heck, it might just be worth it!
Incredible packaging, one of the thickest gatefold sleeves we've ever seen, adorned with gorgeous abstract oil paintings on the outside, and photos of the performance on the inside, full color printed sleeves, with more performance photos, pressed on black vinyl, limited to 5000 copies, never to be released as a cd or a digital download.
Yet again, proving that you haven't really owned a Sunn 0))) record until you've bought it at least twice, preferably three times, here comes two more blasts from the dark side of the doom, what many consider to be Sunn 0)))'s finest moments, their debut, The GrimmRobe Demos, and record number three, Flight Of The Behemoth! Both expanded with over the top new packaging, gorgeous Japanese style mini lp gatefold style cd sleeves, inserts, printed inner sleeves, but most importantly a whole disc of unreleased material!!
The GrimmRobe Demos was the first most of us had ever heard of this supposed Earth tribute band, their debut disc in a cardboard sleeve, wrapped in a black trash bag silkscreened with the Sunn 0))) logo in metallic gold, the sound a filthier, sludgier version of Earth's classic 2 album. We were in doomdirgedeathdrone nirvana. And still are. After a million Sunn 0))) wannabes, the GrimmRobe Demos still sound as heavy and sludge-y and as gloriously grim as ever.
The packaging is of course fantastic, a super thick gatefold mini lp style sleeve, printed in that deep blue and silver, inside a HUGE booklet affixed to the front, with extensive liner notes, in English and Japanese, including a looooong essay, Ode To The Grimmrobe, by Seldon Hunt. Each disc is in a plastic sleeve housed in a full color printed sleeve, the disc proper has more images like those inside the gatefold, while the bonus disc has a flyer and photos from the live show within. So yeah, Sunn 0))) performing live, back in 1999, when they were still an opening act (opening for Angel Rot, who?), 25 + minutes of crumbling low end destruction, gritty and grimy and filthy, a massive roiling morass of downtuned guitar rumble and shimmering feedback, gorgeous and of course brutal, and capturing Sunn 0))) near the beginning. Fans will of course want this, the packaging, the essay, the killer live show, but just like Flight Of The Behemoth, folks who missed out on the GrimmRobe Demos the first time around, should must definitely rectify that situation RIGHT NOW.
Of all the SUNNO))) cds, and there have been a LOT, this remains perhaps the closest to the original template of worshipping Earth II to a T. Which as far as we're concerned, at least sonically, is a very very good thing. Earth tribute band? Sunn? Huh? For those confused, or new to the world of Sunn 0))), let's elaborate.
Once upon a time, there was Earth, a slower than slow, heavier than heavy Sub Pop combo that took the Melvins molasses drone riffing over the edge. Turning sound into something so slow and physical you could almost feel it more than hear it. They disbanded, disappeared, and since then they've resurfaced, albeit with a new, WAY less sludgey sound, so it was and IS up to the dudes in Sunn 0))) (get it, Earth, Sunn, there's also a Sunn tribute band called Moon) to revisit, and resuscitate Earth's genius genesis (back when Kurt Cobain used to play with 'em!), and thus, Sunn 0))) deliver what could be a part two to Earth 2, loooooong tracks of primordial dirge, humming and rumbling and crumbling and moving like a blackened glacier, riffs sprawled out over minutes instead of seconds, a slowly churning propulsive murky low end beast. One track is even named after Earth leader Dylan Carlson. And of course, as we mentioned above, the band name Sunn is derived from the proximity in the solar system to Earth, but also, and maybe moreso, the amps of choice for both outfits, appropriately so 'cause it's the amps more than the guitars that you hear here. They're not covering Earth tunes here, but are basically following the same formula towards drone metal godhead. Essential for all devotees of the ultra-heavy!
Now all serious connoisseurs of depression, death, doom and utter grimness have reason to celebrate. No, we're certainly not talking about G.W. Bush's second-term inauguration! It's music we're going on about, and for fans of that brand of heavy, doomful drone that we know so many of you AQ-customers are, this IS good news: the re-release of the debut album from not-so-dynamic doom duo SUNNO)))! Yes! So log off of eBay, save your ninety bucks (that's what Southern Lord says the original cd was going for) and thank 'em for at last reissuing this disc, previously out on Hydrahead subsidary HH Noise Industries back in 2000. Now this classic comes packaged in a jewel case, instead of a spray painted hefty bag sleeve. And yes, there's a BONUS TRACK. Sixteen minutes and forty seconds of bonus track entitled "Grimm & Bear It"...those jokers. That brings this album to over 72 minutes in length, perfect for enjoying your own mini-coma in its ambient embrace. Of all the SUNNO))) cds since, this remains perhaps the closest to the original template of worshipping Earth II to a T.
For some "historical" perspective (and for any who are puzzled, to explain that last comment), let's revist our original review of this disc, upon its first release:
"Whoa, an Earth tribute band! Y'know, Earth, the slower than slow, heavier than heavy Sub Pop combo from a few years back, the band that took the Melvins molasses drone riffing over the edge. They're not around anymore (and weren't that great toward the end anyway) but this project (featuring members of Burning Witch/Goatsnake/Engine Kid) revisits Earth's genius genesis (back when Kurt Cobain used to play with 'em), for some long long tracks of primordial dirge. One track is even named after Earth leader Dylan Carlson. And of course the band name Sunn is derived from the amps of choice for both outfits, appropriately so 'cause it's the amps more than the guitars that you hear here. They're not covering Earth tunes, but are essentially following the same formula towards drone metal godhead. Essential for all devotees of the ultra-heavy!"
Rumbing distortion. Doom. Drone. The vibrations have begun, another SUNNO))) disc is upon us!
As you probably know, the shorthand description for this band is that they're the SUNN that orbits Earth (the band). But actually this release from Stephen O'Malley and Greg Anderson's heavier-than-thou SUNNO))) proves that (as we knew all along) they exert their own gravity in the universe of dark heavy drone musicks. Previous efforts like "Flight Of The Behemoth" have been faves round here, and they also made a fan out of pagan psych-rock maven / monolith expert Julian Cope, who appears here on the 25 minute opening track "My Wall" reading an epic poem! It's a bit like Current 93 but of course waaaay heavier. SUNNO))) has some other heavy friends involved with this recording too, among them the mighty Joe Preston (Thrones, ex-Melvins, ex-Earth!) who brings in some of the fucked up programmed drumming that makes his Thrones project so special. Meanwhile, Jessamine/Fontanelle's Rex Ritter not only plays on the disc, but took care of the recording and mixing too. And the doom-folk direction that Cope's presence suggests is furthered by vocal contributions from Nordic ice witch doom vocalist Runhild Gammelsaeter (whom some will know from her band with Greg Anderson, Thor's Hammer). The final, spacey track with her and Preston dueting is a dronefolk dream. Holy Wotan! Space rockers, drone fiends, pagans, and doom heads alike all should worship this dark SUNN... And we're told the recording session apparently yielded enough material for more than one album, thus there should be a White2 to look forward to someday!
MPEG Download: "The Gates Of Ballard" [/audio/sunngates.mp3]
MPEG Stream: "The Gates Of Ballard" [/audio/sunngates.m3u]
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Whoa, an Earth tribute band! Y'know, Earth, the slower than slow, heavier than heavy Sub Pop combo from a few years back, the band that took the Melvins molasses drone riffing over the edge. They're not around anymore (and weren't that great toward the end anyway) but this project (featuring members of Burning Witch/Goatsnake/Engine Kid) revisits Earth's genius genesis (back when Kurt Cobain used to play with 'em), for some long long tracks of primordial dirge. One track is even named after Earth leader Dylan Carlson. And of course the band name Sunn is derived from the amps of choice for both outfits, appropriately so 'cause it's the amps more than the guitars that you hear here. They're not covering Earth tunes, but are essentially following the same formula towards drone metal godhead. Essential for all devotees of the ultra-heavy! Each disc, with a handsome paper sleeve cover, comes sealed in its own spray painted hefty bag!
It was inevitable really. The Japanese masters of Orange Amp-powered drone-sludge and the robed priests of low end doom. How could it not happen? In fact, if you remember the 2005 April Fool's AQ list, we actually jokingly predicted this epochal event! Although in our version it also included Earth, each band playing one note of the world's heaviest E chord.
The real question was never IF it would happen, it was when. And how. Especially how. C'mon, how on earth can you fit that many amps in a recording studio. They must have used an airplane hanger, either that or they filled a high school gymnasium with Sunn and Orange stacks and microphones, and actually played in an entirely different room.
Regardless, it happened, and it sounds as good as you might imagine. Both bands completely compliment each other. SUNNO))), whose slow motion riffing borders on pure ambience, is given a serious propulsive shove, with more structured riffing and the addition of DRUMS!!! Boris get dragged back into the gloriously glacial tarpit of their older records, discarding their current garage rock rrrooooaaar for that classic slow motion doom trudge. However you look at it, it's basically the best record either band has put out. It's like an EVEN heavier SUNNO))), with bigger riffs and pulverizing doom rock drums, and of course wailing psychedelic leads. For Boris, they've taken their blown out grooves and dipped them in tar, added a million more pounds of guitar firepower and made the best Boris record since Flood.
But it's not all pulverizing doom riffage. There's plenty of dark droning ambience too. Huge stretches of swirling guitar rumble, dreamy swaths of wispy steel string shimmer. murky and haunting, processed vocals and minor key melodies swimming in a black sea of echoey ambient guitars and sizzling cymbal shimmer. The strangest track is probably "The Sinking Belle (Blue Sheep)", sort of the Boris / SUNNO))) version of a torch song, with FX smeared piano, strange buried rhythms, and hushed vocals, like a doom metal Mazzy Star.
The closer "Bloodswamp" is 14 minutes of churning downtuned guitars and shimmering Sunroof! like ambience. No riffs really, or if they are there, they're stretched into thick streaks of black fuzz. A furiously epic coda to a fucking amazing record.
The first 5000 copies come with a bonus disc titled SatanOscillateMyMetallicSonatas (a nod to Soundgarden, there?) that features a single 28 minute track called "Her Lips Were Wet With Venom" guest starring Dylan Carlson from Earth! Before we go any further... are you thinking what we're thinking... April Fools? SUNNO))) and Boris And Earth!!! And I bet you at least some of the bonus track is in E!! Boy, did we call it. And actually Atsuo from Boris confided in a friend of AQ that indeed, part of the reason they got Dylan to guest was because of that April Fool's review! How cool is that?!?
Anyway, the bonus track is a monstrous wall of churning guitars, with occasional howled almost death metal vocals buried way down in the mix, and languorous Earth Hex-like twang guitar draped lazily above a churning blackhole ambience. So good.
Besides Dylan Carlson of Earth, there are lots of other guest performers including Jesse Sykes, Joe Preston from Thrones (also ex-Melvins, ex-Earth), Kim Thayil from Soundgarden (aha) and Rex Ritter from Jessamine.
Packaged beautifully in a mini cd style gatefold, with AMAZING cover art, black on black with weird muted color and text printed in glossy varnish and metallic gold, both bands be-robed and standing in a cornfield, a full color booklet attached to the inside, a metallic sticker on the front, each copy individually numbered.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SO PLEASE DO NOT ORDER IT. SORRY.
In an attempt to record an album that will induce coronaries in record collectors worldwide, the current monsters of sludge: Sunn 0))), Earth and Japan's mighty Boris, got together and recorded a single track, 11 minutes long, one chord, an E to be exact, with each band handling one of the notes in the chord. Sunn 0))) deftly tackle the G, as if it were a blackened, dying sunn. Earth spews forth the B, with as much vitriol as they can muster. And of course Boris offer up a soul crushing E to complete what is quite possibly the heaviest chord ever recorded. EVER! Unfortunately this is super limited, in fact we didn't get any copies at all. We're currently bidding on the only copy in existence on Ebay right now. The Buy It Now was $25,000, so the fact that the bidding is now at $18,301 and the reserve has still not been met is not very encouraging. But c'mon, three bands, three notes, one chord, eleven minutes, one copy. You just can't put a price on that!
And while we all want to own the first edition of this already out of print triple threat sludge match cd, rumours on several message boards suggest there will be a repress, another single copy, but this will be the timeshare version. For a small fee, you will be able to own, listen to, and gaze adoringly at the cd for a brief period of time each year (determined by the number of buyers, limited to 365, so at the very least you can own the disc one day a year), before a courier shows up to deliver it to the next owner. We'll of course keep you posted.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Don't get too excited. By the time you read this, it will be long long long gone....
We've been getting all riled up over some hot Afro-rock releases lately, first from those killer Nigerian comps put out by the Strut and Soundway labels and then The Peace's Black Power reissue. But the lo-fi fuzz that's really rocking our world is this gem from Chrissy Zebby Tembo & Ngozi family, 1974's My Ancestors. Though included on the Love Peace and Poetry African psych compilation, Chrissy Zebby Tembo may not be so memorable from that because their track was the one instrumental track from My Ancestors, and though it's great, it's not as good as the tracks where Tembo sings. Like an odd hybrid of Malcolm Mooney from Can and Sabbath-era Ozzy Osbourne, Tembo's English delivery over these fuzzed-out groovers is the reason to take notice. Hailing from Zambia, same as The Peace and The Witch (another Afro-rock group we'd like to see get more affordably reissued), Tembo wails over these rhythmically charged but largely western-style rock structures. The best being the Sabbath gone to South Africa "Trouble Maker". In constant rotation, since this first arrived a few weeks ago, we've finally managed to get enough to share with our customers. Don't hesitate, this whole record kills!
Aaah, could it be... the return of the shoegazer? Definite shades of early Stone Roses. A little twee and precious, but pretty, mellow, and easy-going with some lovely lush cello and a little bit of simultaneous English-French male-female vocalising to subtly spice things up. The first track absolutely destroys me, which may be due to me missing all this sort of stuff as a high school hessian.
Wow, does this one push all our shoegaze buttons, a sound we've been craving like crazy lately. There was a time when shoegaze was everywhere, but as of late there's been a serious paucity of classic sounding music in that inimitable style. Luckily there's a brand new one from AQ faves Trembling Blue Stars, who while not always necessarily shoegaze-y, manage to fill that void so perfectly with The Last Holy Writer. Less jangly then their last outing, The Last Holy Writer has everything we've loved about this band on display and in full affect. With a guitar sound that echoes the sound of Curve, introspective lyrics and wry delivery of vocalist Bob Wratten and the bittersweet voice of other vocalist Beth Arzy. It's the perfect combination of breezy and moody, reflective and heartbreaking. So nice to see a group so far into a long career make such a challenging and envelope pushing record. In fact this might even be our favorite Trembling Blue Stars outing yet. The perfect laying around on your bed, holed up in your room, window open, cool breeze soundtrack for heartfelt longing and bittersweet ache. So lovely!
Members of Enslaved and Fe Mail doing Neurosis-y avant metal!!!!?
Ahhhhh, grim, necro, frosty, raw black metal. It's an acquired taste, but once you've tasted that black blood, there's no turning back. Whether it's Darkthrone's Transylvanian Hunger, Ulver's Nattens Madrigal, or any one of the legion of lesser known black hordes, it's a sound that soothes like only raw fuzzy, buzzy, Burzumic guitardrones and blurry battle blasts can. Hungarian black metal horde Tymah's take on this bleak, harsh and blackened buzz doesn't veer far from their influences, this is as grim and as true and as black as you could hope for, the majority of Transylvanian Dreams a dizzying blur, a near dronelike wash of low end rumble and insect swarm guitars, while beneath, a relentless lightning fast blast, and above, pure tortured yowls and demonic shrieks, which is where Tymah do truly distinguish themselves, as vocalist / guitarist Dim is a woman, a rarity for sure in black metal (and metal in general), not that you necessarily could tell from her harsh and harrowing, truly anguished sounding screech (very reminiscent of Weakling at times), but still there's something truly inspiring about a corpsepainted, be-spiked, axe slinging, sword swinging she-demon lurking wraithlike in that same black forest, holding her own and then some with the black metal boys club. And if for some reason those sorts of things don't do it for you, just close your eyes and forget we said anything, and you'll soon be basking in (unisex) black metal bliss.
FINALLY, the long awaited follow up to Usputuspud's "Liturgical Alcoholik", the side project of the mighty Wildildlife's, and Aquarius' own, Matthew J. Rogers. It actually hasn't been that long, but the otherworldly allure of his first tape had more than a few of us wondering where he would go next. With his new tape, Disco, gone is the delicate, breathy, gauzy, and windy washes of harmonica, replaced by much more muscular and present tones, as well as an entirely new commitment to rhythm. Anyone who has enjoyed the last couple Astral Social Club releases will be pleasantly surprised by this tape, as it has a similar angle on club music, but stretches the palette elsewhere. Where ASC has employed a program of smooth digital disorientation, Usputuspud invigorates the 4/4 dance tradition with incredibly warm, tapey washes of distorted harmonica, accented by the skitter and sputter of rhythmic clusters careening through the mix.
The A-Side, "Cherished Wig," begins with a spare collection of dubby rhythmic ingredients, all persistently staking their claim to the track, before the 4/4 beat and harmonica washes flood the stage. As the track progresses the harmonica builds and bleeds through the entire spectrum of the track, resulting in a droney bedlam of bleary eyed tones, wandering the far reaches of the red. The b-side, "Fetish Ball", begins with an amazing and infectious loop of what sounds like a heavily distorted gamelan instrument. It's an entirely globular and bulging phrase, occasionally giving way to warm waves of distortion and losing its phase, but then coming back with buoyant and propulsive revolutions. In the loop's periphery Usputuspud accents the rhythms with surging bass tones, and watery percussive paddling sounds. As the song progresses, the variety and intensity of peripheral sounds grow, to include exalted vocal howling, and more established percussive counterpoint. The track ends with a fantastic and surprising coda that employs a more diverse array of tones, and a production approach that removes the distorted obfuscations from his sometimes belied interest in dance music. "Disco," is a nuanced affair, finding a soft spot between the ethereal drone of his previous work, and the uhhh... post-proto-motorik gabber he has infused it with! The results are mesmerizing, and recommended indeed. And to boot, it may be the most handsomely packaged tape we've received this year, with a beautiful layout, accented by vintage black-ink stamps, and some seriously decorative hole punching.
B9 Bis was a label compilation from Sandwich Records, a Brussels' based post-punk and new wave imprint that mirrored itself after the Rough Trade model of running an underground label through an underground record shop. This compilation originally came out in 1980, showcasing what Belgium had to offer the world in the way of melding oblique electronics and moody theatrics to the post-punk ethos, which had already been established by the likes of Joy Division, Devo, and Magazine. Unfortunately, export sales for the label were never terribly strong and the label folded, despite the fact that the Belgian scene later exploded out of the electronic body music spurned on by Antler Subway throughout the decade.
What's found on the compilation is a solid cross section of the contemporary sound of 1980: slashing punk guitars, lumbering basslines, angular art-rock tunes, and tinkering with new-fangled synthesizers and sequencers. The influences of the aforementioned bands are worn proudly on the sleeves of many of these bands with admirable results. The standouts from the original comp include the pre-Front 242 project Prosthese with a cold burst of Klaus Schulze electronics, the jangle power pop of Digital Dance, and the bleak Joy Divisionisms of Satin Wall.
LTM have flushed out a full cds worth of material with a bunch of ancillary projects also from Belgium at that time including an early Front 242 track, an early b-side from the overlooked Siglo XX, and the Factory Records endorsed The Names. A very good investigation into a forgotten chapter of post-punk.
Basic Channel had a short existence, but was incredibly influential on the future of techno. Between 1993 and 1995, Basic Channel released 9 singles that infused the jack hammering acid tracks of Detroit Techno with the ghostly hiss that accumulated on Lee Perry's dub productions in the '70s. However, this was not the electronic dub of Pole or Kit Clayton, although both were obviously huge fans of Basic Channel. Rather, Basic Channel offered an hyper-abstract vision of techno that never sacrificed the integrity of the rhythm. Amidst the aersolized sounds, gray modulations, and purposefully murky timbres, the Basic Channel producers Moritz von Oswald and Mark Ernestus (who would later go on to form Rhythm And Sound) always centered their work along the skeleton of a propulsive techno beat.
This Basic Channel compilation is now in its third pressing; the original came out in 1995 in a fittingly non-descript cardboard sleeve and later in the metal tin designs that were used for their later Chain Reaction series. This compiled the more ambient and abstract cuts on those singles. If you're looking for the heavier tracks from Chain Reaction on cd, the mix found on "Scion Arrange and Process Basic Channel Tracks" is unrelentingly good, but if you just want to bliss out and drift off and be narcoticized by throbbing pulses and fuzzy grit, you can't do much better than this.
A friend of ours is a Canadian MC who often introduces himself with the line, "I'm quite popular in France... a country renown for its terrible taste in music." With that in mind, it's unsurprising that the treasures found on this latest compilation of French minimal/cold/new-wave and post-punk from the fine folks at Born Bad Records in gay Pareee never found much favor in their homeland the first time around, as a country immersed in accordions and Edith Piaf may not have known what to do with Warm Joe's synth-bleep-infused, art-damaged, poppity punk skronk ferinstance.
If you've been following the slow but steady trickle of French reissue compilations that we've been fawning over for the past year here at aQ HQ like So Young But So Cold, BIPPP, and Les Jeunes Gens Moderne (that one coming soon on an expanded double cd by the way!), you'll be pretty familiar with the basic formula for many of the tracks: primitive beat box drums pushed to their limits + fuzzed out guitar + synths that provide everything from squidgy bass to massively hooky lead lines to disco lasers to de rigeur blips, bloops and bleeps + vocals that manage to sing, scream, coo, croon and yowl all at once = insanely melodic, freaked out french synth-punk that hybridizes everything good about early electro, new wave, disco, punk, pop and even chansons francais. So yeah, if you liked any or all of those other comps then save yourself the trouble of reading any further and just buy this already. It rules.
Not convinced? Ok, fair enough. What if we told you that IVG not only digs as deep as if not deeper than the other comps (honestly, when a track you've never heard by Ruth is the most familiar thing on the tracklist, then you know that you're in for some serious obscurities...), but it also pushes the weirdo factor up exponentially? For starters, Dead Heat have a baby laying down vocals on their contribution, "Damnee Petite Sophie" and every single part of Crise de Nerf's over-caffeinated fuzz freak out, "Rock A La Tele," honestly sounds like it's about to explode spectacularly. Toss in some alternate reality soundtrack work by Stabat stable, not one BUT TWO soundscape-y tone poems by Theatre Commercial, and a song by Ruth that sounds frighteningly like Dr. Know from Bad Brains jamming with Sonic Youth and you know you are headed somewhere fantastic. Seriously, mes amis: up the volume, up the speed, up the fuzz, up the fucked up French punks. ALLONS Y!
Another amazing and mysterious and confusional release from Tesco, who almost single handedly are keeping modern industrial and post industrial music alive and kicking. They've brought us Der Blutharsch, Death In June, Anenzephalia, and now JUCHE. A compilation of modern industrial artists, weighing in on North Korea (!). What is Juche? Well Wikipedia describes it like this:
"The Juche Idea is the official state ideology and state-sponsored religion of North Korea and the political system based on it. The doctrine is a component part of Kimilsungism, the North Korean term for Kim Il-sung's family regime. The core principle of the Juche ideology since the 1970s has been that "man is the master of everything and decides everything". Juche literally means "main body" or "subject"; it has also been translated in North Korean sources as "independent stand" and the "spirit of self-reliance"."
Removed from the context of actual, totalitarian politics, Juche sounds kinda cool. Intense, brutal, simple. And certainly like some sort of industrial music manifesto. So it makes sense that these bands would have something to say about it. What exactly is up to you to decipher. From the music and the extensive art and text in the accompanying booklet. But for now we'll concern ourselves with the music�
We were mostly excited by a brand new unreleased track from aQ faves Anenzephalia, whose past records were rife with the sort of intense, bleak, grim, blackened dronescapes we can never get enough of. The track here is still grim and dark, but more rhythmic, a crackling lo-fi glitchscape, a skeletal rhythm crafted from squelches and pops spread out over the drift below, a garbled alien melody, equal parts sine-wave and damaged sonar ping, eventually joined by a wavery insect like blackbuzz, and some distorted disembodied vocals, a looped snippet from a speech of some sort, the whole track subtly harrowing, and weirdly hypnotic.
The Turbund Sturmwerk track is super creepy as well, a whispery shimmer of ambience, a strange looped vocal whir in the background, sweeping swell of distant distortion, soft smears of hiss, all beneath an urgent voice, an emotional speech of some sort, the song shifting gears part way through and morphing into a swirling dirge, of crumbling downtuned chords, throbbing low end buzz and extremely panned bursts of fuzz and hiss. The Grey Wolves offer up another chunk of grinding ambient creep, a rough, gritty textured wash of processed synths and strange looped distortion, melodies rendered in shards of feedback and fractured effects, a voice buried in the mix, urgent and ominous, peppered with bits of Bush, and some tangled blurred rhythms.
Operation Cleansweep weigh in with a sinister stretch of drawn out tones, layered caustic rumbles, whirring machinelike drones, mysterious percussive thumps and creaks, all smeared into a dense throbbing buzz. The strangest track is probably Militia's, beginning with some spoken word, that slips into singing, in the background a slow building looped chunk of glimmering ambience. Soon an hypnotic looped synth melody swoops in, pulled from some lost Phillip Glass piece, accompanied by junkyard drums, all very mesmerizing and repetitive, a bit like gamelan, or some Steve Reich piece. A haunting slab of alien industrial world music.
The rest of the tracks are just as weird and cool, dark and drone-y, Con-Dom, Genocide Organ, Ex-Order. In fact, much of this comp seems to fall more in line with experimental drone music, than traditional 'industrial' music, some of it reminding us of mellower more blissed out Prurient, with processed vocals, all manner of rumbling, pulsing low end, plenty of buzz and blurred murk, all of it dark and mysterious and fucking awesome.
Packaged in an oversized A5 red textured cardstock booklet, the text and symbols on the cover letter pressed in embossed metallic gold, inside a full color booklet, with lyrics, images, photos, each band with their own page. And as it says on the back cover "Limited Edition of 15,000,000 copies", so better get yours now�
Seems like every few months we're blessed with the release of another cool psych rock reissue compilation full of obscure gems... Prog Is Not A Four Letter Word, Neurotic Reactions, Cherrystones Word, Cambodian Rocks, the entire Love, Peace & Poetry series, just to name a few... It's amazing what can be dug up by the dedicated collectors and DJs who put these mixes together, folks who trawl the dusty record shops and flea markets of the out of the way corners of the globe looking for the freakiest sounds. In that tradition, this week's excellent example is entitled Obsession, a compilation named for the reason it exists! And the groovy, swirling, often harder-edged fuzz attacks found here are certainly worth obsessing over. Just little bits of flat plastic to some, but the best things in life to others!
Obsession also sorta sounds like the name of a perfume, and if this was a perfume, it would be a very exotic scent indeed. We can kind of imagine that the Sun City Girls would have found a lot of this fairly inspirational to the "international rock" side of their output. Circa 1967-'73, the tracks here come from all over the world. A whole bunch from South America: Brazil's Quarteto Nova Era, Flavio Kurt, Novos Bahianos, Arnaud Rodriguez, Suely E Os Kantikus. Peru's Sonora Casino and Jean Paul. Uruguay's Ovni 87 and Los Chickichaka. And Argentina's La Barra De Chocolate. Then there's three from Turkey (Ersen, Arif Sag, and the beloved Erkin Koray, with a cut from his Bunalim-related band, Ter, meaning Sweat), and even outfit from India (Atomic Forest, whose track "Obsession '77" is actually what gave this comp its name).
Best of all, most of 'em we'd never ever heard of before -- and yet the killer to filler ratio is muy excellente. You get everything from jungle sounds and loungey vibes to Middle Eastern bellydance fuzz guitar to Mutantes-style tropi-delic pop to slamming go-go dancing beats to swinging horns... and let's not forget the plethora of wild wah-wah'd psych guitar soloing found here. And this comp gets further points for including in the cd booklet full-color sleeve art from the rare original singles, and some textual information too, pertaining to each track.
After being AWOL for a year or so, this longtime fave is now back in stock, and the timing is perfect since we've been raving about a bunch of similar comps of cool vintage French new wave/punk/electro stuff recently like Bippp and IVG and Des Jeunes Gens Modernes. If you liked those, you gotta check this out, 'especially if you're into the proggier side of things.
This one was kind of a sleeper hit when we first listed it. I mean, we knew it was a cool record, but boy did people like it. We sold a ton and then the label ran out. At last it's been repressed, so here it is again. Definitely recommended!
France. Synths. 1977-83. Intrigued? You should be. This comp, compiled by a couple of today's top trainspotting electronica mavens, highlights what are indeed some obscure, awesome French entries into the field of proto-techno. Richard Pinhas of Heldon we've talked about recently, also Metal Boys, and you might remember Ruth from a reissue a while back, but there's plenty of names here we're getting acquainted with for the first time: Nini Raviolette, Mathematiques Modernes, Kas Product, The (Hypothetical) Prophets, Moderne, The Droids... Sixteen tracks in all of sinister prog/pop electronics, droning ambience, Magmoid robotics, futurepunk, and sci-fi dance darkness. So young, so cold - so stylish.
Another fantastic release from the brilliantly named Yarn Lazer label. This one from Honey Owens who also does time in Jackie O Motherfucker. We mentioned it elsewhere on this list, but there definitely seems to be a preponderance of vocal based music surfacing lately, Grouper, Bastard Wing, Pump Kinn, Lichens, and Valet also uses the voice as a major component of her sound. Twisting and stretching it into broad sonic strokes and dreamy drones. But it's not just vocals, Owens also weaves darkly delicate little sound worlds, of muted tribal percussion, dark cavernous rumbles, lots of buzz and creak, alien transmissions, clattery minimal percussion, crumbling guitar grit, murky swirls of reverb and delay, the perfect sonic backdrop for all manner of processed and unprocessed vocals, ranging from sultry chanteuse like croon, to chopped and delayed Boredomsy "boop boop"s to breathy ambiance. Really beautiful and understated.
Packaged in simple and striking silk-screened cardboard sleeves.
LIMITED TO 200 COPIES. ALREADY OUT OF PRINT. WE ONLY HAVE ABOUT 30 AND ONCE THEY ARE GONE THAT'S IT!!
We've been pretty enamored of this whole new ambient processed vocal dreamdrone movement, our favorites probably being Grouper and Valet, both capable of turning simple vocal melody and some old FX into gorgeous drifty epics. We were warned / promised that this new Valet single was nothing like the rest of her recorded out put, supposedly it was the prettiest and most straight ahead thing she's recorded, and damn if that ain't the truth, not to say this isn't still trippy and druggy and space-y, it most definitely is, it just happens to be more folky and, well, song-like.
It's almost straight ahead, simple guitars drift and wave, shimmer and sparkle, amidst a soft background of distant drones and soft whirs, but the vocals are way up in the mix, smokey and sultry, very torch song, still bathed in reverb, but more for mood than obfuscation. A languid late night ballad, a throaty croon singing melancholic tales over that spidery minor key slowcore backdrop, definitely reminds us of Mazzy Star or Galaxie 500.
The flipside is more of the Valet we're used to, which balances the folkier flip quite nicely, a bit of spaced out shimmer, looped melodies, and blurred vocals set adrift in soft gently flowing streams of abstract ambience, and murky moodiness. So lovely.
SUPER LIMITED! Pressed on clear gold vinyl.
These days, Portland seems to be at the epicenter of a new wave of seriously creative DIY underground 'noise' rock. From the last Yellow Swans record to the wonderfully incestuous Marriage Records crew, there have been a seriously ridiculous number of great releases in the last couple years. The thing is, though, that while you could argue that there is a "Portland sound," every project is totally distinct, so you can't really go lumping them all into some generic category. Well, Honey Owens' newest release under the Valet moniker is absolutely no exception. It's absolutely amazing. If you've been following her work, and you were lucky enough to grab one of the Fire/Beachside 7"s, you have probably noticed a trend toward more structured and more accessible songs. The pop-ophile in us who loves hooks and pretty melodies was pretty excited, while the nerdy drone-monger side was seriously scared. "What if she goes too far? Too poppy?"
Alas, Naked Acid is simultaneously a seamless blend of previous works, and -- yes -- a step toward tracks that are more easily digestible. It's like Fripp & Eno had a hippie baby with Karen Dalton and Tangerine Dream. But through it all, one thing that keeps us more than happy is Honey's voice. It's gorgeous, but not at all fragile. Not even so much confident. Instead, it seems beautifully unconcerned with those sorts of paradigms. The overall feeling is one of blissful engagement with melody and texture. Analog synth-sounding drones, gentle strumming, then suddenly everything is heightened by vocals and searing psych guitars. Just like a good movie, the final impression of any artistic experience is at least partially governed by the ending. On Naked Acid, the second to last song is "Fire" from the eponymous 7", which quietly dies down before bringing us to the final piece, a techno song. While on paper it may sound off-putting, it somehow works. If you can picture everything else about this record somehow being woven around some sort of late '90s Detroit techno, created in the wake of Basic Channel and Chain Reaction, then you've got a good idea. Maybe the reason it works so well is simply because it hints at unpredictable ambitions of Ms. Honey Owens, and we've got to say, the future is looking pretty good. Absolutely, wholeheartedly recommended.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Finally someone has seen fit to re-press and re-release all the amazing early French black metal, precursors to everything we now hold grim and true and cult. Mutiilation, Belketre, Togeist, Vlad Tepes and more. Vlad Tepes, might be the most legendary (outside of Mutiilation who seem to be the only one of those bands to still be playing / recording) perhaps due to the scarcity of recordings or maybe the ridiculous monies fetched by originals on eBay. But the music is as vital and brutal as ever, even a cursory listen reveals plenty of sonic similarities to current BM bigwigs Xasthur, Leviathan, Nachtmystium and the like. Thick swaths of blackened buzz abound, but all wrapped around mournful minor key riffing and all sorts of fingerpicked melancholy melodies. There's also some serious eighties true metal worship going on, with some almost NWOBHM sounding riffs and LEADS, you sure won't here most modern black metal bands letting loose way up on the fret board. But it suits the shound, a sloppy, ultra distorted, buzz drenched blurry black metal, recorded white hot, loud vocals (that's sometimes seriously freaked out, swerving from growl to rasp to falsetto screech and back again), loud drums, all wrapped in thick distorto guitar, oozing the sort of evil that most bands spend their entire careers trying to manufacture. As it says in the liner notes: "This is Cletic and Barbarian Black Metal ruled by the voice of the Black Legions Spirits."
This reissue includes the ultra rare War Funeral March ep as well as an even more rare 1993 rehearsal tape.
Finally someone has seen fit to re-press and re-release all the amazing early French black metal, precursors to everything we now hold grim and true and cult. Mutiilation, Belketre, Togeist, Vlad Tepes and more.
This is a reissue of an ultra rare split released originally in 1995. The is definitely the best sounding Vlad Tepes recording we've heard, nice and thick and heavy, a buzzing swarm of black metal fury, but there still are plenty of lo-fi-isms and some weird mixing (really loud drums), but here the strange mix actually works in the band's favor, with the guitars at the forefront, huge serpentine riffs, sometimes churning out an almost NWOBHM sound, but more often buzzing and twisting and giving the whole thing a very drone-y washed out feel, definitely looking forward to modern black metal outifts who would stretch their riffs into extended, near drone-like hypno-BM.
Vlad Tepes are teamed up here with their way more obscure black metal countrymen Belketre, who are so buzz soaked and so fast and so blown out that their blazing buzzing black metal becomes a superdistorted white hot smear of prickly fuzz guitar, lightning fast blasts, and a thick fog of low end rumble, all tangled up in a swirling streak of chaotic mayhem. Ther are brief stretches of midtempo swoon, with seasick rhythms and clean guitar melodies, but they are quickly subsumed and obliterated by burts of face melting blackend blur. Belketre are quite possibly our favorite new (old) black metal discovery.
We love music. But even so, it's not like we love everything. Here at the store, we've all got different tastes and enjoy different things to varying degrees. Regular readers will notice there are only a few unanimous picks, but pretty much everyone here loves Windy & Carl!
This release veers into way different territory than might be expected, but will still please plenty of W&C's more adventurous fans. Before hearing the record, rumors were circulating about how harsh it supposedly was, and how it sounded nothing like what we'd expect. Well, after checking it out, that's true, and then again it's not. Many of the same sonic qualities are present: warm drones, whispy guitars, etc. But it's in the melodies where this really diverges from the norm. Whereas W&C typically go for major-key, pretty drones, this work has a truly sinister quality to it. To really engage with the music, you need to at least become acquainted with the general concept.
On the surface, I Hate People sounds very unlike what we'd expect from the kindhearted dog-lover, musician, and Michigan record store owner we've come to know and love. So let's talk more about this specific release. Well, the cover sports her 1987 passport photo, which shows a very Siouxsie and the Banshees-esque, punk-meets-goth Windy. On the inside there is a short musing on Sirens, which can be summed up by one particular line: "at one point or another, we've all wanted an island." I Hate People is a record that openly paints human relationships as being a Self versus Other paradigm, and then juxtaposes that with the relationship between sailors and sirens. Windy hates people because people are the only thing that can truly hurt us. Okay, you get it. We don't want to get all pedantic. So what does it sound like? Sonically, the release definitely reflects a musical exploration of those ideas. At times more or less frustrated, but throughout it evokes a certain feeling of anxiousness and alienation, but never apathy. This record maybe be best suited for Windy & Carl fans who can stomach the idea of truly disturbing drones, or possibly even fans of leftfield, ambient black metal. Yeah. So if none of that scares you, dare to delve in! This is a great release, and we hope to see more solo work from both Windy AND Carl! Recommended!
"So it was that three hundred electric moons cancelled the ancient green queen of loves with their blinding chalk rays..."
So concludes one of the obscure, occultic pieces of text excerpted in the cd booklet of this new disc (in this case the Futurist prose poem "Uccidiamo il chiaro di luna" by Filippo Marinetti) and is to us a suitably evocative and cryptic description of the beautiful, distorted drones conjured by White/Lichens, a collaborative project staffed by Rob Lowe (aka Lichens, who records for the Kranky label in his hometown of Chicago) and Matt Clark and Jeremy Lemos of the Chicago heavy ambient guitar duo White/Light (who have a cd on Rebis).
Lichens' previous disc The Psychic Nature Of Being on Kranky (lp version on Holy Mountain) we described as "delicate" and "crystalline", constructed mainly from electronically-treated live improv loopings of his own voice, abetted with guitar and percussion. But the scary dronescapes of White/Lichens are more dense than delicate, the added weight of Clark and Lemos' guitars "heavy-ing up" the Lichens sound. You'll hear rumbling low-end and keening highs in this most satisfying set of billowing electric drone, what distantly sounds like a Morse code transmission buried beneath the destroyed residue of 1,000 doomed violins... It's like the Vibracathedral Orchestra scoring an opium induced nightmare, or the organic decay of an claustrophobic early Kluster track exposed to alien moonlight for the past 40 years. There's five tracks here, the first and last being the longest (19 and 16 minutes apiece, approximately) with the middle three around four minutes each. At its most dense and distortion-filled, as on the final track "Bael", this could be a glitchless version of the murky Merzbowian Sheer Hellish Miasma stirred up by their pal Kevin Drumm. Or KTL's most Earth-y moments tempered by the homebrewed, gentle freeform folk-psych of a Jewelled Antler recording.
We don't doubt for an instant that if this was a limited edition cd-r from some mysterious Finnish forest dweller, or lathe cut 10" by a kid in New Zealand, we'd be assured of selling fistfuls of 'em. And therefore, since the well-respected Holy Mountain label judged this to be deserving of not-so-limited cd status, that should indicate it's even MORE worth picking up, than if there were just 50 copies made, intended solely for collectors...
If there's any justice in this world, it should be anytime now that Adam Forkner becomes a household name, well at least in houses that care about awesome underground music. His past bands, Yume Bitsu, Surface Of Eceyon and the ambitious project [[[[VVRSSNN]]]] all had amazing moments that swept us away, but we think it's in his newest incarnation as White Rainbow that he's truly tapped into some serious musical magic.
Much like his recent collaboration with Honey Owens for the limited cd-r by their duo World, Forkner has found a way to stretch out his sounds and tap into something transcendent. With it's Dr. Brommers inspired manic packaging, and it's equally metaphysical title, this is a record whose sounds are well able to back up the mysterious belief system its entire aura points at. Channeling the living spirit of folks like Terry Riley and LaMonte Young, Prism Of Eternal Now is not merely just a tribute to those icons but living proof of how their influence has touched and inspired a younger generation of musicians aiming to create dense, enchanting, and alive sounds.
The album reveals many different shades of Forkner's musical explorations. From the dreamy, subdued and shoegazey side to the active, relentless and spacious. This is music to get lost in, lost to and lost with. The kind of record you put on and that immediately has you drifting off in a million different directions. Forkner has made his own brilliant Rainbow In Curved Air for a new generation. Highly recommended!
