Update: CANCELLED! (the instore, not The Hemlock show). Sorry!

Old AQ faves The Renderers, from New Zealand!
And they'll be at The Hemlock later that night, too!
an aQ-blog about music, and our store that sells it!
new arrivals, new releases, unearthed gems
and long lost favorites.
also just the everyday goings on here at aQ...
Doug Shipton (Finders Keepers Records/B-Music UK) is a renowned record hound, LP compiler, international DJ and co-founder of Finders Keepers Records. He's in the States to promote his long awaited debut mixtape, DEDICATED SWALLOWER OF FASHION - a cacophony of syncopated psychedelic madness that draws from his enviably expansive record collection and challenging DJ sets, dusting off handpicked fuzz-ridden-break-heavy platters from as far and wide as Malaysia, France, India, Germany, USA, Russia, Spain, Columbia, Italy and Indonesia.
Mahssa (B-Music/Finders Keepers Records Los Angeles) represents the UK- based B-Music/Finders Keepers Records in the States (West Coast office) and is part of a global collective of DJs and "Vinyl Librarians" dedicated to the art of discovery (and rediscovery) of off- kilter music, film, design and literature of the better part of the '60s/'70s and beyond. Her own psychedelic "record party" in LA is called CUREATION, and she's responsible for the curation and compilation of the respective POMEGRANATES and GOOGOOSH collections.
Floating down the Yuba River, hang gliding off the cliffs at Fort Funston, a day at Ocean Beach with the dog, a leisurely stroll in Golden Gate Park, a fat bag of Trainwreck; these are among the many images that come to mind when listening to Mitchell and Manley’s Norcal Values.
Inspired by his spiritual advisor, Bettina Richards, Phil Manley recruited the shredding stylings of Earthless’ Isaiah Mitchell to collaborate on a record comprised almost exclusively of a single continuous guitar solo. The recording was made live with no overdubs - completely improvised. This recording exhibits inspiration so pure that it could only come from within. Drawing from the classical Indian music tradition as well as from modern new age music, Norcal Values is the sonic equivalent of fine Californian cuisine. We invite you to dine upon its bountiful aural splendor. Bon appetite.

Ahh, Finland. We've said that before. Now perhaps people in Finland think about California the way we think about Finland. But of course they'd be wrong. We don't have any analog to Moomins trolling about in our forests. Whereas our fantasies about that far-off land are quite accurate. At least, judging by the ongoing gurgle of cd-rs and tapes and cds and such flowing from their fertile "free-folk" underground, from Kemialliset Ystavat to Avarus to Kiila. And recordings like Lau Nau's Kuutarha just make our fantasies of Finland more and more vivid and otherworldly. Lau Nau is Laura Naukkarinen and a few friends. She's a very lovely singer, a member of Kiila, Paivansade, and Anaksimandros. Here her melodic Finnish-language vocals are set to droneily folkish backing, making for quitely distorted lullabies. Finnophiles will agree that this could also definitely be compared to Islaja, but perhaps rawer, more broken down and abstract. And to make a Finland-California comparison, well, this could basically be a Finnish version of Jewelled Antler's Franciscan Hobbies, with Laura Naukkarien's vocals. So very very nice. (Hmm, which came first? Jewelled Antler or the these Finnish forest folk folks? Doesn't matter, it's the zeitgeist we guess!)
For some reason, we like to look at the list of instruments and non-instruments used on records like these, maybe you do to, so here goes: acoustic bass, bass recorder, five-stringed kantele, acoustic guitar, tenor recorder, violin, bamboo flute, colorful juice glasses, mortar, mandolin, witch laugh megaphone, baby's rattle, bike bells, banjo, cowbells, electric guitar, organ, willow whistle, tablas, percussion, cymbals, comb, beer cans, tamboura...
Lau Nau's Nukuu walks an incredibly fine line between the expansive forms and consistent density and texture of drone music, while also hiding within that density many structural shifts more akin to folk music. Watching her music vibrate between these two poles is the main attraction on this record, but remarkably, she finds an incredible amount of detail and freedom to explore between them. The songs often anchor in centrifugal clusters of tone and texture, looping and feasting on themselves, while occasionally a lyrical vocal passage, or a particularly noteworthy electronic or acoustic phrase will emerge to a more singular position in the mix. Other songs however, are less roiling and give the listener the opportunity to bask in the delicacy and winsome precision in Lau's voice, sometimes creaky and childlike, other times whispered and ghostly. Lau's decisions regarding the modalities and textures of her instrumentation, as well as the cadences of her lyrics, sung in Suomi, all reflect Finland's liminal position between the influences of Europe and Asia. That said, given her lo-fi recording approach at times, she can sound eerily similar to some of the '78s we've been graced with in the past year from Dust-to-Digital's Victrola Favorites and Black Mirror collections. The obvious comparisons to Islaja and Kuupuu, her collaborators in Hertta Lussu Assa, yields Lau a more innocent, gentle, and dare we say motherly distinction, as opposed to the bewitching dark humor of the other two. Without indulging her biography too much, it is worth noting Lau gave birth to a son in the interim since her last album. Apparently much of the record was written while her child was sleeping, and so too it is titled, "sleeps." Naturally it follows that there are a few lullabies in the mix, but there is also a keen sense of independence, as though these songs are about digesting much more than motherhood, a feet in itself. Like another Scandinavian luminary on this list, El Perro Del Mar, Lau butts up against an almost hymnal like intimacy at times, though her work is naturally more feral, and less controlled and crystalline. Fans of all things Finnish will obviously be pleased, but those who've enjoyed Natural Snow Buildings, acts from the Dronevolk compilation, and even Valet will also find themselves gently coaxed into a similar but challenging musical terrain. All told, atmospheric and entrancing, subtle and intelligent, composed and vulnerable, Nukkuu comes highly recommended.
Got a few copies of this avant turntable masterpiece back in, figured we'd relist it in anticipation of the almost for sure upcoming Strotter Inst instore!
We are huge fans of weird turntable music, from Jeck, to Gum, to Otomo Yoshihide, to Martin Tetrault, but as much as we love all of those folks, our heart belongs to Strotter Inst., aka, Christoph Hess, an older Swiss turntable mad scientist, who creates Frankensteinian record players with multiple arms, weird obstructions forcing the needle to jump and skip, strange strings and rubber bands, that the moving parts pluck and strike, all creating gorgeous mechanical symphonies of sound, with JUST the player, when the manipulated records are added (and they often are NOT), things only get more expansive and lush and amazing.
This latest release from Hess finds his interest in fucking with lps and their players extending to even the pressing process, with the various tracks mastered at different speeds, requiring a small diagram on the label demonstrating which part of which side plays at which speed. Not that it necessarily matters, as Hess' crazy sonic concoctions sound great at any speed.
The sounds here follow on from those on the many other records of his we've reviewed, like some sort of minimal DIY krautrock, or a band like Avarus, populated exclusively by homebuilt noise making robots, all assembled from turntables, it is unbelievable to hear these sounds and know they were designed and planned by Hess, but it's the machines that are creating these gorgeous hypnotic rhythmscapes.
Hypnotic, repetitive, cyclical, but always shifting subtly, crackle, scrape, rumble, hiss, skip, all deftly arranged into propulsive grooves, the rubber bands offering up melody, strange rubbery tones, percussive, but definitely melodic, while the turntable itself, when not striking or plucking the bands, unleashes strange grinding rhythms, peppered with percussive scapes, haunting textural whirs, the rhythms almost tribal, often skeletal and sparse, but just as often dense and layered, when the records are included in the sound making, the various manipulated grooves, spit out even more strange clicks and moans and bleeps and even some strangely appropriate counter rhythms.
Absolutely fantastic stuff, we would imagine as amazing to see as to hear, lucky for us, there's a good chance, Hess will be in the US soon, and will hopefully be visiting aQ for a demonstration / performance.
We're pleased to be starting the new year off with a cool instore right away, this week in fact, we'll be hosting Silver Pines along with related act Pure Ecstasy here at AQ for a free instore performance on Thursday, January 7th, 6pm. Be sure to be here!We weren't sure what to expect of this, when one slow night we were going through a pile of cd submissions and it was the last thing we put on. But we were instantly floored! We didn't really know too much about this band except they were from San Marcos, TX and recently relocated to Austin, having dropped off the cd-r with us when they were on tour (we had mistakenly assumed at first they were local!).And also what we wrote re: Pure Ecstasy's recent 7" debut, "Future Nostalgia":
Silver Pines revel in a sound that can be best described as shoegazey stoner country-rock. Thick, warm, slow-burning and gauzy with lots of reverbed slide guitar and heavy psych amp fuzz underscoring the female singer's pretty heavy-lidded drawled vocals, the songs on Forces remind us of smoky perfumed parlors from a forgotten age. The kind of music that instantly transports you to an a dreamy antiquated time but in a way that seems refreshingly unfamiliar and charmed. Reminiscent of a fuzzier more narcoleptic Mazzy Star or a more heavier slow-rocking Beach House, Silver Pines has taken us all quite by surprise by their majestic grace and atmospheric beauty. Soooo good!! Hopefully this won't be the last we hear from this band. Each cd-r hand silkscreened and colored. Already assured a spot on our top ten lists for the year. Don't miss out!!!
Pure Ecstacy comes from the same home-grown Austin scene as Yellow Fever, Silent Land Time Machine and Smokey Emery, and includes members of Silver Pines. This is their first self-released 7" of lackadaisical lo-fi stoner rock, taking its time to unfurl through hypnotic washes of wah'd and delayed guitar and low-key vocals that slowly build, reminding us a bit of Ducktails on a breezy Beach Boysish roadtrip through the American heartland. Only 50 copies of this 7" were made with hand assembled spraypainted covers.Should be rad, so come on by Thursday!
