MIKE OLDFIELD
Tubular Bells - (1973)

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music. (allmusic.com)

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MELVINS
Stoner Witch - (1994)

The early to mid-'90s proved the Melvins' golden age, and the three principal albums from that period — Stoner Witch provides the centerpiece — are virtually unassailable in their range, depth, power, and experimental courage. Picking up on the basic framework of Houdini, Stoner Witch resolves into an ear-catching workup of classic rock themes, tempered, of course, with a fairly judicious sampling of acid-trip detours. Where Houdini resided more in an expansive — though lugubriously heavy — metal vein, refining the techniques built up through the band's early struggles, Stoner Witch truly showcases the band at the apex of their wide-ranging creative abilities. The melodies — yes, melodies — work seamlessly with the ubiquitous chugging riffs; Buzzo's vocals, often reminiscent of a David Thomas (Pere Ubu) after a few weeks of no-nonsense boot camp, are sometimes quiet and reflective, and more often than not, positively Stentorian. And naturally, drummer Dale Crover's percussion and pounding behind the kit is astonishing, powerful, and daring. The album opens with the distorted thud of "Skweetis," the amps and cymbals washing well into red-line territory before yielding to a three-count of heavy-duty classic rock with "Queen," "Sweet Willy Rollbar," and "Revolve." From that point on, there is a deliberate sea-change, beginning with the faux-lounge tweaking of "Goose Freight Train," the nearly unlistenable Merzbow-noise of "Magic Pig Detective," and ultimately the hammer-down hardcore of "June Bug" sandwiched between two ambient tracks: "Shevil" and the album closer, "Lividity." (allmusic.com)

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EINSTURZENDE NEUBAUTEN
Live In Kunstkopfstereo - (1980)

I posted this mainly for the die -hardest of Neubauten fans to enjoy. A 40 minute recording of the bands first ever live performance from the Diskothek Moon in Berlin on April 1st 1980. This was originaly released on cassette and sold at Blixa Bargeld's Eisengrau shop in Goltzstrasse, Berlin. Interestingly, it was limited to only 20 copies. Although the sound quality is not the greatest it will surely be a cool addition to any Neubauten fan's collection.

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Echospace
The Coldest Season - (2007)

The Coldest Season compiles and fuses the eight tracks from a four-part 12" series released during mid-2007 on England's Modern Love label, adding one beat-less/bass-less piece to help assemble a steadily flowing, discreetly stimulating, 80-minute whole. This is breathing ambient dub techno, just as exemplary of the form as anything made by Mark Ernestus and Moritz Von Oswald (Basic Channel), Andy Mellwig and Thomas Köner (Porter Ricks), René Löwe (Vainqueur), and Stefan Betke (Pole). Rod Modell, who has been producing ambient electronic music for over ten years — with well-regarded solo releases on the Silentes label, as well as feverishly collected singles as half of Deepchord — came up with the raw source material, including loops made from Detroit field recordings, while partner Steven Hitchell made point-perfect sense of it all. Depending on your mindset, the disc can be ominously disquieting or oddly comforting, like the sensation you might get from being marooned in a prairie on the wrong side of the tracks. Though a lack of indexing would make to-the-second track separation nearly impossible, each of the nine tracks has its own characteristics — this despite the fact that the basic components are limited to dubwise basslines that fade in and out, heavily treated percussive accents, shapeshifted textures, and, as importantly as anything else, echo. If there is one track that stands out, it is "Aequinoxium," not only for its accessibility, but its rather novel sound design as well, from its hypnotically moving bass vamps to its several layers of reverberating thwacks and barely perceptible undercurrents of a paranoiac's personal movie theme. There are some mild surprises, too. "Celestialis" breaks most from conventional four-four thrum, slowly introducing some rhythmic patter that sounds like a soft-shoe shuffle done on silt. Closer "Empyrean" is the disc's most straightforward section, carrying a sideways skank that is almost pleasantly propulsive — possibly the closest Modell has come to doing straight dub reggae. (allmusic.com)

Part 1

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Part 2

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SPIDER AND THE FLIES
Something Clockwork This Way Comes - (2009)

On a break from wreaking garage-punk havoc with the Horrors, keyboardist Spider Webb and bassist Tomethy Furse reinvented themselves as Moog droogs Spider & the Flies on Something Clockwork This Way Comes. Given that the Horrors' biggest influences — which include Joe Meek, Screaming Lord Sutch, and the Syndicats — are at least a few decades old, it's not a surprise that Webb and Furse know a thing or two about vintage electronic music as well. Throughout these seven songs, the pair get outlandish sounds out of their synths and pay homage to electronic experimentalists like Wendy Carlos, Delia Derbyshire, and the rest of the BBC Radiophonic Workshop composers; "Desmond Leslie" is an aptly metallic, clanking tribute to the musique concrète artist and sci-fi writer. Webb and Furse's Meek worship continues with "Jungle Planet," which, with its exotica-tinged drums and radar-like synths, sounds like a kissing cousin to I Hear a New World's alien field recordings, which, like Something Clockwork This Way Comes, was also a concept album about visiting other planets. Spider & the Flies are aided and abetted by producer Barry 7, whose late, great group Add N to (X) is also a major influence on the duo. The album's centerpiece, "Metallurge," which 7 co-wrote, fizzes, buzzes, and growls like one of his former band's wonderfully short-circuiting contraptions. As it unfolds, Something Clockwork moves from spacy heights like "Million Volt Light" and "Space Walking" — a track whose whistling synths could announce the arrival of the TARDIS — to the dancefloor beats of the vaguely industrial "Teslabeat" and "Autochrome," which pays homage to more recent inspirations like Juan Atkins. Though Something Clockwork This Way Comes feels like Spider & the Flies are walking in the shoes of their influences, they pay their respects ably and entertainingly, and if nothing else, it shows the pair has great taste. (allmusic.com)

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ALTER NATIVES
Hold Your Tongue - (1986)

The Alter Natives are a frantic, improv-minded combo from Richmond, Virginia's hop-crazed art community. During SST's expansionist days of '86, their all-instrumental, sax-led spazz attack was among the most promising noise the label released. The band's first two LPs, recorded as a quartet, feature sax and flute-playing (Eric Ungar) of a remarkably non-fusionoid stripe; by the time of the third LP, however, the configuration was rock-basic (guitar/bass/drums)

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BOX SET
THE RESIDENTS
Our Tired, Our Poor, Our Huddled Masses - (1997)

4 discs, 63 songs, 1 box.....and it was limited to only 3,000 copies. To celebrate The Residents 25th anniversary, Ralph Records put together this compilation that spans the groups recorded history.
Disc 1, Washington: album history 1996-1981
Disc 2, Lincoln: album history 1980-1972
Disc 3, Jefferson: singles history 1972-1997
Disc 4, Roosevelt: history mystery

Long out of print and very hard to find.......get your's here. Eat your hearts out Rez fans!!!

Disc 1

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Disc 2

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Disc 3

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Disc 4

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