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"badaboom grammophone 5"
Bless Ba-Da-Ben Goldberg's sweet heart for keeping the magic going. Publishing a +200 page book with a various artist compilation CD doesn't happen easily, overnight, nor is it probably financially rewarding. Thankfully he's got the support of a number of great writers and wonderful musicians which I'm sure make the realization of the project worth it. The writings in the fifth book (I can't call these magazine issues), as Ben describes, is lacking a thematic tie. The music, however (recorded especially for the compilation) is somewhat of a tribute to Raymond Scott's classic, 'Soothing Sounds for Baby' LP without doing any cover versions or reinterpretations of the original. This volume's decidedly more electronic cast than volume 4 includes Cex, Solex, Flowchart, Marumari, Bogdan Raczynski and Arovane alonside a number of others I can't say I'm familiar with, but afterwards am surely interested in. The music and the book work well together, as the soothing, electronic melodies have allowed for some quality "me time" with the book without being obtrusive. [Anybody who has fallen in love with the prettiness of Mum — and I know there are a ton — shouldn't avoid this package.] The book entries are relatively short and entertaining, ranging from a short play, a profile on Boston's best record store Twisted Village, features on upcoming indie rock stars I've never heard of, Raymond Scott, Franklin Bruno and Drew Daniel discussing dissertations, and a ton of music reviews more brief than we've ever been here on The Brain. All this for under $8 even! Mahvelous. This would have been the perfect Christmas gift to a music-loving loved one. - Jon Whitney
samples:
Jim O'Rourke, "I'm Happy, And I'm Singing, And A 1,2,3,4"
While this Mego release from O'Rourke may go completely off in the other direction of his concurrent "Insignificance" in that it's a "Powerbook" disc, the compositions which make up the three title tracks vary themselves. "I'm Happy" is comprised of multi-layered vibrato synth and sampled bagpipe ostinatos weaving in and out of each other. When first introduced, they come across as tense, but eventually blend nicely with a long, low rumbling from something resembling a bowed double bass to break the tension and channel a release. "And I'm Singing" starts with ticking stopwatches, bells and chimes which give way to a high end dentist drill-like squelch and percussive fumblings as a backdrop for a flurry of distorted keyboard lines and snippets, pretty piano flourishes and a distant kick drum beating out the time. The piece has some nice movement of sections within it's structure, once again breaking the tension. Even an acoustic guitar is played, sampled and added to the mix. For me, "And A 1,2,3,4" is the surprise track. Clocking in at over 20 minutes, this track conveys the atmosphere and mood of listening to Labradford, SOTL, or Godspeed, with it's hauntingly beautiful arrangement of swelling strings, tremolo guitar and keyboard drones. At first, the segments of the piece sound almost random, but after a few cycles through you get the feeling of how it moves as a motif becomes more apparent. This disc is bound to surprise a lot of O'Rourke fans who have come to expect his unique angle with this solo showcase on the laptop. The three tracks, having been recorded live in New York, Osaka and Tokyo back between 1997 and 1999 begs the question, what the hell took so long for us to get to hear this stuff? - Gord Fynes
samples:
COMAE
"Where the fuck are you?" was the witty title of one of Robert Hampson's Touch Ringtones. Main fans could well ask him that very question. Apart from the odd DJing stint and half a 12" from his dub-beat persona Chasm courtesy of Fat Cat, he seemed to slip quietly away for way too long. He hasn't been idle though, and there's a new Main album due on the K-raa-k label in February. In the meantime, feast your ears on this wonderful collaboration with Janek Schaefer. I went to hear Philip Jeck and People Like Us play late last year and was pleasantly surprised when half of the unknown quantity on the bill, Comae, turned out to be none other than Mr Hampson and his laptop. The Comae CD, released by Rhiz, displays similar sound organisation tricks to the Main "Firmament" series, but the focus has shifted from guitars as sound sources to environmental recordings. Mostly these are merged into an organic whole where the origins of the sounds are completely recontextualised, but occasionally familiar sounds such as rainfall or crows cawing are hazily apparent. Comae accentuate the electron microscope feel of later Main recordings, taking found sound to alien environments. After sudden crackle eruptiung from silence, 'Dichroic' descends into revolving worlds within worlds where sound particles blink in and out of existance over vast cavernous shifts of dense drone-loop. Often there's a deep slow bass pulse as higher pitched sounds drop in and out and often attain a climactic resolution. Dynamics and relative volumes are broad and the stereo sound field is utilised effectively. The eight tracks merge into one another forming a seamless whole; 'Induration' cuts dead on a deep surging tide of sound as 'Trine' sets off a ringing backdrop for shards of spikey ethernoise to float on and rapidly sink into without a trace. The first part of 'Mere' seems to be the track in which both Robert and Janek let slip what they're best known for. It has a classic Main textured loop over which vinyl grooves crackle. Then it cuts abruptly with a rapid wave of noise and a more abstract second half follows. For a while it sounds as if they've caught a bee in a jar and the entrapped insect keeps ramming the glass in futile escape attempts, but at the same time an amplified close up of buzz from right under the bees wing echoes. 'Courou' builds up into a fairly dense track which occupies similar terrain to Janek Schaefer's Fat Cat album "Above Buildings". 'Verglas' opens with some starry high pitched brain tickles out of which an ever evolving drone emerges, and a strange machine rumbles. This is perhaps the most mind altering track as the windy drones are subtley rotated from speaker to speaker. 'Pavane' is haunting and windswept, a distant mutant piano echoing hesitantly through memory fog as massive iron doors slam. All is reduced to a dirty brown sludge before a resounding multi-hued climax rises from the murk, like a slow motion film of a castle collapsing in reverse. Comae was one of my ten favourite CD's of 2001, and the minute-long samples below really can't begin to do it justice - it has to be heard as a continuous hour long soundscape. - Graeme Rowland
samples:
H>OST, "CIN"
Though the V/Vm Test Records press release states this is the solo debut from classically trained Polish musician Jacek Toszek, I can't help but wonder if this is just one of the V/Vm lads hiding behind yet another moniker. Dubious track titles such as "Cirrostratus Over Norman, Oklahoma 1927", "Massive Hornblended Character with Distinct Traceability" and "Consistent Prunes At The Speiss Lavender Trail" seem to support my theory. But regardless of who's responsible, the end result - 40 minutes of melodious, textural ambiance - is really, really nice. Much like The Caretaker's "Selected Memories from the Haunted Ballroom" album from a few years ago, "cin" is also possessed of ghostly nuances. Many tracks seem to be borrowing music, some possibly orchestral, then obscuring it in comfy blankets of fuzz, buzz, loops and drones while others seem to do the same without any source material. Electronic insects, piano and a children's playground surface momentarily. Track 10, "Tartar Emetic", shows the first sign of unruliness with louder, whooshing currents and minor glitches and, later, "The Atmosphere is Not a Perfume" gets even testier with mildly distorted waves. Then "Mylonite" calmly wraps things up in static sparkles and more warm padding. Nice, really nice. I love this softer side of the V/Vm catalog. A new Caretaker full length, "A Stairway To The Stars", is due out soon. - Mark Weddle
samples:
DAVID THRUSSELL, "The Voices Of Reason"
Australian David Thrussell first emerged in 1991 as Snog in the world of techno pop, and has since released well-reputed albums under the names Black Lung and Soma. Theoretically, Thrussell should have had an easy time getting this, or any particular record released. However, this time around it's spoken word.
Recorded between 1998-2001, Thrussell dwells deeper into the themes that are omnipresent in his projects - but this time no groove nor splendid electronica to distract the listeners from the text. Over a supportive soundtrack of creeping electronica blended with jazzy interludes he speaks about media influences, the state of civilization, mass manipulation and consumer habits with a dark sonorous voice. Obvious Aspects of daily life like plastic, oil, money or electricity are questioned effectively in an astonishing way.
Read in the style of an imaginary American radio suspense story, the lyrics gain an ironic value which is not far away from self-parody. At least the impression resulting is anything than dead serious.
Added for further enlightment besides extensive linernotes are some illustrations by himself and a CD Rom clip of "The Plastic Wars Pt. I".
This is a careful skilled concept album which does not sell new insights or doctrines but cleverly uses available information and sets it in context to encourage THINKING ABOUT IT ALL - including questions like "Does he really mean this seriously?" and "Is this fact or fiction?"
- Carsten S.
samples:
Arc / Ashfordaisyak split CD
Arc starts things off with 2 tracks recorded live in Toronto - really well done, slithery tribal stuff a'la 'Culling'- era 23 Skidoo. Lots of drumming and percussive electronics with a soothing, nocturnal feel. Some glitchy electronics rear their head near the end of the first piece along with a soothing wash of keyboard harmony, all done to excellent effect. I could do without the processed vocal but that's just my onus to bear. The second offering, 'Friction' has the same nocturnal feel but more somnambulant with echoed guitar, distorted piano and tones stretched to the breaking point. Parts of this reminded me of the earlier works of Current 93 and then it would shift to almost Eno-esque and then again to parts that sounded like Can while still being wholly original.
Ashfordaisyak doesn't quite jibe as well in my opinion. The starting track 'Refugees' has all the usual clichés; distorted, delayed, clanking, walkie talkie vocals and screams pitch shifting into the upper registers - all told a rather pale Whitehouse imitation although the tune is somewhat redeemed by the inclusion of cheesy electro-style drums in the middle. The other two tracks don't fare much better - 'I'm Pregnant' sounds to me like early sampler and tape loop experiments and the final track 'Where do Balloons Go When They Die' has a 'pots and pans industrial' feel - lots of tinny metal clanking and ominous vocals. A good effort and some potential here, it just needs refining.
All told, the disc is worth the price for the Arc tracks especially for fans of the aforementioned C93, 23 Skidoo or even earlier, instrumental Coil. Here's hoping we see more from both of these artists. - (Menschenfeind Productions - http://www.menschenfeind.com)
Maurice Underwood
samples:
JOHN CALE, "DREAM INTERPRETATION"
Subtitled "Inside the Dream Syndicate II", this is the second CD in the trio documenting a stash of Cale's old sixties tapes unearthed by violinist Tony Conrad. Tony's probably quite pleased to have these released as they seem to back up his claims that Dream Syndicate sonic happenings were very much collective endeavours. The opening twenty minute Cale and Conrad string drone duet certainly has all the traits of the previously released 'Day of Niagara' but is a better recording, although still sounding rough hewn. Perhaps it could be viewed as a stepping stone on the path to Conrad's unrelenting skullfuck "Four Violins", but it's a transcendent portal in its own right. Cale's deep viola is the foundation with Conrad's violin cutting through the dream mist at spiky glancing angles. The viola is overwhelming, and every time Cale shifts the drone up or down a notch colours swirl, shift, dissolve and reform.
'Ex-Cathedra' is Cale solo on Vox Continental Organ with a beautiful shimmering tremelo loop underpinned by an intermittent half drowned lower chord. The third track is twelve minutes of what sounds like rummaging through the guts of a piano with a bunch of keys. Latterly the strings are bowed frantically to an intense maelstrom, and remind me of a couple of Thurston Moore's comparatively polite duets with Nels Cline on "The Pillow Wand". 'Carousel' is perhaps the most throwaway track, but only because it's been done better so many times since. Cale makes 'electonic sounds' which thunk thunk thunk in the way that a guitar resting on top of its amp might. The best is saved until last. The second duet with Tony Conrad is as strangely beautiful and haunting as a track with a title like 'A Midnight Rain of Green Wrens at the World's Tallest Building' ought to be. The strings ooze retuned sadness for plummeting inter-dimensional avians. The final track finds Cale rattling off some extremely ragged guitar strumming with original Velvet Underground drummer Angus Maclise bashing away on the cimbalom in a clattering freefalling ecstatic frenzy which perhaps shows a step in the evolution of the glorious finale of the first Velvet Underground album. - Graeme Rowland
samples:
louie austen, "only tonight"
I don't want to sound sexist, but there is something sort of endearing about a short, horny Canadian chick with an afro and hairy armpits in skin-tight clothing prancing around and singing about her sexuality. Those who know Peaches know exactly what I mean. Perhaps it's the ugly duckling all grown up and having so much fun that it's amazingly attractive. An old, balding Austrian on the other hand, singing about grabbing his shaft between songs in which he pulls a lounge singer routine, is downright disturbing. Especially with the spoken word tracks with a fake NY accent picked up by hours in front of Godfather movies. It should come as no surprise this release originates from the Cheap label and arrives via Kitty Yo. I feel like I'm in a nightmare, stuck in an airport in Munich, desperately trying to get the hell out of the country. Time drags as all flights are delayed and I'm forced to watch drunken old men doing karaoke in a bar. Somebody pinch me. I'm too damned sober for this. - Jon Whitney
samples:
DAVID SHEA, "TRYPTICH"
New York-based composer David Shea is an exemplar of the old cliche that necessity is the mother of invention. The former pupil of Morton Feldman started merging sounds in a sampler as a means to an end. He wanted to continue composing but had insufficient funds to hire performers to play his ideas. This later evolved into the sampling of musicians playing hybrids suggested by Shea, which he then recontextualised via the hard drive. Since 1992 he's released a regular slew of CD's documenting his mixed up soundworld where a house anthem might speed head on into a hardcore double kick drum Cantonese military march as keys fly off the piano. Not surprisingly he's turned up on John Zorn compositions such as the dark masterpiece 'Elegy' but perhaps more surprisingly he's also collaborated with Robert Hampson. Shea's opus "The Tower of Mirrors" would probably be a better place to start if you haven't heard him before, but "Tryptich" offers three snapshots of tracks he performed live throughout 2000 and shows how his tracks mutate and compress over time. He's been working on a much longer soundtrack to the Hindu epic the Ramayana, but 'Sita's Walk of Fire' documents otherwordly atmospheres before Sita walks through a wall of fire after escaping the demon Ravana, and the carnivalesque whirling celebration and dancing afterwards. It mashes up sampled Eastern instumentation with nineties hyperdance moves into a heady swirl of colour. Although it's a different piece of music the horse dream fantasy film soundtrack 'One Trick Pony' seems like what might have happened if "The Tower of Mirrors" had been compressed to ten minute duration, as Shea relies on similar tricks to suggest dream states - a laugh cutting the scene dead, eerie gongs and chimes and propulsive beats. There's an Antipodean doing-ping rhythm that keeps everything moving and sounds like he might even be able to afford the musicianly services of Rolf Harris these days. His soundtrack to ancient Roman twisted tales 'Satyricon' is necessarily fuller as he's squeezed its hour into a third of its former duration, and it also seems slightly sped up. Some of what it gains in density it loses in development, but if you can say the same thing with less words, why not? The closing percussive dash is even more cinematically frenetic and climactic than it was before, especially after he's cut its 'Waves' aftermath to almost nothing. - Graeme Rowland
samples:
SHORT STORIES BY 310, "NOTHING TO SEE HERE"
The majority of NYC duo 310's catalog has been released by the UK's Leaf label, part of the Post Everything collective, but this disc is the debut from Manifold sub label Desolat Recordings. Desolat's manifesto is simple and spot on: "dark > drifting > textures > no beats". The pre title "Short Stories by" is equally apt and, along with the unique b/w photo circa the 1950's affixed to every cover, further describes the mysterious character of this particular release. Fifteen untitled tracks, most 3 minutes or less, creepy crawl out of strangers' family albums, films and subconscious minds. There is something to see here in most every piece, though it's often difficult to tell just what it is and when and where it took place exactly. All sorts of hazy, sampled found sounds - movement, footsteps, church bells, traffic, rain, crickets, background conversation, occasional spoken words and utterances, etc. - and (some presumably appropriated) music are mixed with ambient drifts and left to loop. The effect is highly cinematic, the aftereffect like an out of body experience ... - Mark Weddle
samples:
Little Computer People, "Electro Pop"
Initial disclaimer: I'm not really a big fan of electro music (i.e. Drexciya, Bunker, Adult, etc. .. not the EBM stylings of Metropolis Records). Most of it just really bores me, and the "gimmicks" that seem to be found often within them (oldschool/retro sounds, vocoder vox, etc.) never really grab me. UNLESS, however, we're talking about Anthony Rother, the mastermind behind Little Computer People (and Psi Performer, and maybe some others). Mr. Rother uses the same set of tactics and gimmicks that I harbor disdain for, but for some reason, if Rother is at the controls, I LOVE the music. Such is the case with "Electro Pop," which is probably the catchiest album I've ever heard. All of the tracks are clearly heavily influenced by Kraftwerk (Little Computer People was actually a Commodore 64 game, I believe) and most of them feature ultra-catchy heavily-vocoded computer vocals. The lyrics are pretty cheesy Euro-English, but for some reason, I love them, and whenever I listen to the disc, I find myself chanting along: "TREAT ME LIKE A COMPUTER... SEX WITH THE COMPUTER... I AM A COMPUTER..." Sad, but true. Really a brilliant album and highly recommended. - Chris Zaldua
samples:
Anthony Rother, "Biomechanik Remixes"
Yes, more Anthony Rother. This one is not as good as Little Computer People, but it's still good. It suffers, however, because it's only a single, and seven remixes of even the greatest song gets a little old. Biomechanik is taken from an earlier album by Rother, "Simulationszeitalter." Seven mixes are included on the disc as well as a pretty cool video, which I'll get into later. The music is standard Rother electro fare - which isn't a disparaging description - but a few of the tracks get pretty old. The Larry McCormick mix and Rother's own mix are the standouts in my opinion, but what makes this disc a "must buy" is the Biomechanik video included - a classy production that is sadly a bit short (less than three minutes) but what it lacks in length it makes up for in style. Mechanical imagery and two women lying naked on operating tables while white-clothed nurses/doctors (?) operate on them - bio-mechanics. That is what Rother is about. A worthy purchase, but look for something else if you're just starting out with Rother. - Chris Zaldua
samples:
OCOSI, "GUIDED"; HORCHATA/OCOSI; NOS, "NOT OTHERWISE SPECIFIED"
Do you think Mick Harris, aka Scorn, ever regrets supporting all the guys that try to make music that sounds a hell of a lot like his? The 'dark hop' category - beats, bass and deep ambient atmospheres - is full of imitators and occasional innovators. Here's three more discs to add to the pile:
Ocosi is Paul Molyneux with former member Simon Smerdon (aka Mothboy) also present on the title track of this limited edition of 100 CD-Rs from Manifold. Divided up into 7 tracks totaling 44 minutes, "Guided" is exactly how I like this sort of music: gritty, dark and aggressive. The beats are raw, the bass is booming, the drift is eerie, the pace is slow and everything just jells the way it should. Though the rhythms are like locked grooves there are occasional staggers, change ups and breaks to help keep it all interesting. Except maybe "Go Away" which languishes in a cymbal like loop. The tense, near 15 minute finale "At Ends" is perhaps the most intriguing, strangely enough considering it's simply a slowly revolving industrial soundscape devoid of beats.
For this 62-minute disc, Ocosi team up with 'dark ambient soundscape' artist Horchata (Mike Palace) and leave the production up to him for a cleaner, more digital take on the sound. And, ultimately, a much more laid back and boring sound. The 11 tracks are comprised of the usual beats, bass and backing recipe, but are really lacking in grit and thus flavor. The sounds are pretty dull, the programming rather drab and the atmospheres more faint than they are dark. And 3 tracks are far too long at 7 to 9 minutes apiece. In this batch "Transfiguration" is like the cookie that somehow got all of the chocolate chips. It has glimmering metallic bells, a funky groove, a pretty melody via Horchata's own arp-01 midi file generating software and impressive interplay between bass/beats and backdrop. At least I can savor that one. A second volume of Horchata / Ocosi is planned, also via Zero 1 Media.
NOS is Swiss duo Giuseppe Di Benedetto and Jean-Claude Codoni and this is their self titled debut for Economy Records, a sub division of Manifold. Nine tracks make up 53 minutes of murkiness. And I don't mean that as a compliment. The mix is awful. Every sound is consumed by a bass heavy, atmospheric gunk. That, combined with the wimpy and downright dull rhythm programming, makes for music with very little edge. "Unknown" starts off promising but doesn't know where to go from there. "Ultimatum" tries to get nasty but ends up being a big mess of percussion. Yuck. Forget this one. - Mark Weddle
samples:
We know that sometimes these CDs are somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site. |
the worst "best of"
Subject: 2001 poll
Hey. Enough with your anti-Big Label crap! Music is music. Apparently there's no problem with blatant Fridge ass-kicking even though you're involved with the release of the album... oh, and bullshit that Fridge placed so well in so many categories for the end of year poll. Get off your high-horse and grow the fuck up. It's sad that the Brainwashed Brain has become such a boring read. Too many reviews from too many contributors that simply don't know shit about music or how to write about music. Liven up or fuck off!
If we wanted to fudge the results, we would have certainly done so, trust me on that one.
Subject: re: 2001 winners
I, too, am upsetted by the list this year. What made it to the top is really
just the lowest common denominator of everyone's list... none of these albums
are in my top ten. I think the Brain could still make up for this year's
folly: by listing some of the more examplar top ten lists of people, like maybe
the reviewer who listed Funckarma as a top album (Chris Zaldua). I know this
is highly subjective, but it is a better gauge of the more esoteric and choice
tastes I have come to associate with the Brain.
No matter how many warnings there were, people were still too hasty. Numerous people had admittedly forgotten about albums released in the early part of the year and many people just chose things they owned to fill out their ten favorite of the year. We have listed our picks as writers in the new contributors section but have left the votes on the readers poll as is.
Subject: [no subject]
how many voters were there?
Over 300.
Subject: Bowery Electric
Hey bro,i've been looking all over for bowery electric cd's and i cant find the
one i heard years ago....any for that matter.i did find one and i dont know the
name of it.i put it my cd case and lost the jewel.it wasn't it though.anyway,i
was writing to see if you would be so kind as to sell me copies of yours .
tapes,cd's,whatever.
i know this is kind of a wierd thing to have happen to you
but i'm desperate.
let me know either way if you want to help me out.
thanks
The first two albums are still available through Kranky and Beggars Banquet still sells the other two to most stores.
Subject: [withheld]
LEGENDARY RUSSIAN HARDCORE/GRIND/FUN BAND
crazy and primitive music with misanthrophic and offensive lyrics.
We fight for the legalization of murder, stimulation of the domestic violence and suicide!
go and kill yourself, you stupid fuck!!!
your band sucks, you fuckinart fags!!!!!!!!!!
Happy New Year to you too!
Subject: [no subject]
I know I've written you before, but I just wanted to drop you another line and let you know that I think that with brainwashed.com, you provide an amazingly valuble resource to the music community at large. While I enjoy the somewhat small group of people who have the same interests, I think that music in general would be a lot better off if everyone operated like you did. I've been reading different pieces of the site now for nearly as long as it's been around and have made "the brain" a weekly read stop since its inception as well (my girlfriend has on more than one occassion caught me reloading the page on sunday nights before bed in hopes that it had been updated). In addition, I've been checking in on your daily tidbits at your personal site and I like reading much of it as well (and as a bike commuter, feel like I have several things in common with you, even though I live in the midwest instead of Boston). Again, I just want to tell you that I think brainwashed.com is my favorite music site on the web. If it weren't for this site, I'd honestly be probably listening to much different things (and be less of a music snob, but what the hell... :) ). The site has also been sort of an influence on what I try to review and promote (although i let an occassional big label thing slip in) on my own site. At any rate, keep up the good work. I just wanted to tell you that I really enjoy the site.
Okay, okay, just stop gushing or your girlfriend will start worrying.
Subject: NWW/C93
Hi...
Terrific site. I wonder, I miss my "Faith's Favourites" 12" and is there
somewhere I could get another one? Also are there any NWW videos that
you're aware of? There is a fine interview w/NWW in an old issue of
Unsound that may be post-able if you do not already have it.
Thanks a lot
Thanks for the note. I think your best bet is to monitor auction websites since used places wouldn't be able to pay reasonable rates for it.
Subject: Re: Adult. "review"
Jon Whitney,
I've always suspected you're a wanker but now I'm sure about it.
Once again I'm proven correct that it's only fans who ever get crazy upset about bad reviews.
Subject: brainwashed radio
hi. um just wanted to send a letter to thank those who organize the radio bit.
i'm in china now and until i stumbled across yr website was suffering from a
certain sicklyness of a media-withdrawl. i am recovering now. but i owe it to
you guys.
that's all.
good work.
rock on
Thanks, glad you're enjoying it!
Subject: Brain in the Wire
Don't quite get the the #004 'Brain in the Wire' details. I am a subscriber to
Wire, hence I'll have disc 1 & 2 . Can I not just order disc X + special
packaging, without having to receive two discs that I already will have?
Otherwise, hope you are all well.
Give your duplicate disc A and disc B away as presents. Share your music!
Subject: [no subject]
ha ha ha i am insanlly mad godspeed the black emperor is brill ha ha bouncy bouncy bouncy
Looks like some 19 yr old is bored on their college break.
Subject: Magnificent! Magnificent!
I listened to teh samples on your web site and like to order a copy of
magnificent! magnificent! no one knows the final word"
(Pieros 002CD)
anyone knows where can I order it?
Talk to Aranos.
Subject: Box of Trash
In this week's review of the new Boyd Rice you mention "the amazing 5xCD set called 'Box of Trash'." Do you know if/where this is available? Thanks.
Do a search on "Box of Trash" together with "Pebbles" and see what you come up with. There are various online chains which carry or will order it.
Subject: stickers
do ya'll have stickers?
Yep, in the commerce section. They're cheap!
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