Theo Angell & the Tabernacle Hillside Singers – Auraplinth [Digitalis]

This is the first time I’ve gotten a real advance promo copy of something, so I made sure to get a review done by the day it came out. Rather than mess it up, by finally getting around to writing a review in three months or something. So anyway, this Theo Angell record comes out today, on Halloween man. It seems like on odd day to release Auraplinth on because it’s not really spooky or ghostly at all. But maybe it’s here to cheer us up during the dreary upcoming Thanksgiving season.
The record begins with “In About a Half Hour”, built around autoharp, tambourine/rattles, acoustic guitar and hand drums. And of course Angell’s voice as well. It’s a nicely off kilter folk ditty with a few choice melodic flourishes, pretty characteristic of the rest of the record. The only thing I’m not digging on the track, is some not so subtle use of effects namely autopan, it distracts from the song a tad and feels superfluous among the all-acoustic arrangement. “Crows Landing” follows focusing on Angell’s vocals. His voice’s only accompaniment is a repetitive, unchanging pattern on a banjo (I think). Had the vocals been dull, the track would have easily floundered, but Theo does a hell of a job carrying the song and being the central source of melody on the track. “On the Willow” returns to a bit larger arrangement this time rattle, electric and acoustic guitar, glockenspiel and a (wooden) flute. But again, Angell is the main melodic presence, and leads the band to strange but beautiful places, with subtle additions by the various instruments. Both “Stuttgart Summertime” and “Bountfling” are short tracks based around acoustic guitar and vocal, they are both nice enough but don’t leave a particularly strong impression after they’re done. When I listened to this album the first time, the first track that really grabbed me was “Have U Seen the Birds Lately”. Angell moves back and forth between a stronger deeper voice and a witchy falsetto. Though his voice leads the track, the simple accompaniment sounds determined and effective. Basically, just a rapidly plucked guitar, a couple insertions of a slide guitar and some nice subtle backing vox as well. It’s hard to say exactly what about it works so well, but it does nonetheless. “Written With the Word” is a brief acoustic ditty, a little reminiscent of Devendra Banhart before he started making really shitty records. However, it’s the next track that everyone is/will/should be talking about/listening to.
”Apparently Someone Tried To” is one of the best rock songs I have heard in a long time. From the first to the zillionth time I’ve listened to it, the track is always absolutely incredible. It’s kind of funny, that when conventional rock elements (i.e. drum kit, electric guitar) are introduced, Theo Angell creates his most sublime work. The whole track is just a little askew, the guitars are melodic but not in a predictable way, drums are steady but not repetitive. And like many other places on the record the song is taken to unexpected, though fitting, places. One of my favorite aspects is there is a guest vocalist (maybe one of the Hillside singers) that just fucking rules! He has a great, cunning Bill Callahan-esque voice and navigates his way through the track with a strange sing-speak that, somehow, just totally works. I’m not actually sure what he’s talking about, but it sounds so cool just by the way he delivers the lyrics. Props to Theo for, being chill enough, to let another guy sing lead on his album. By the way, Angell provides backing vocals and sings the chorus and his voice blends beautifully with the voice of the mystery guest. Seriously this track is just fantastic, and I don’t feel like I am adequately describing it which frustrates me but whatever, take my word—you know I’m good for it. I keep drawing this paragraph out just so I can listen to the song again. If I ever made some ‘Sweet Stuff From Double Oh Seven’ mixtape, “Apparently Someone Tried To” would be there, without a doubt. I’d have to put it first too, so it’d be easy find for all the times I’d want to play it again. I might not actually end up listening to the rest of the tape if I did that though.
So after the profound, momentous “Apparently Someone Tried To”, come the albums three weakest tracks. “Flurdrid Mourning” is a pseudo-drone type track with a single looped drum hit and weird alien-through-a-wahwah vocals. I don’t mean to sound like a jerk, but I don’t understand how the track made the cut. It would be one thing if it was a one minute interlude or something, but it gets very tiresome after its relatively unchanging five plus minutes. “Is the Worst Ever Best?” works a little better, though it isn’t a strong track in itself. It is a vocal and tambourine duet, and it does what it does and moves on quickly. “The Golden Hour” certainly has some pretty moments but on the whole feels aimless and adrift, not quite cohering as well the stuff on the first half of the record. Footing is regained for the next tracks though. “Gardenfull” is similar to “Written With the Word” but with some really nice backing vocals which add a lot of dynamics to the track. There is also a great change-up towards the end, taking the track out on a high note. The title track features first-rate flute accompaniment and a strange sinister/beautiful vibe. “She King”, the album’s longest track, has kind of a Wooden Wand backed by a super-subtle Family Underground type sound, which is something I never thought I’d hear but it sounds good. The finale, “Forward With the Veil”, sounds similar to something off the most recent Justin Shay record on Foxglove, not one of the strongest tracks but gives the record a low-key finish.
All in all, Auraplinth is a pretty good record with many magnificent moments that will delight anyone into folk-pop oddity. I hate to tell someone else how to make their art, but to my ears, the album would have been stronger if it had been cut down to eleven maybe twelve tracks, but that’s just me. Angell has done a good job establishing is own sound and the record is definitely one that gets better the more you listen to it, which is probably the greatest quality an album can have. Oh, and in case you missed it, “Apparently Someone Tried To” is one my favorite songs of the year.
Other notables are: the album is released today-according to the press release, comes in a “heavy duty gatefold jacket w/ full lyric sheet” and was mastered by Pete Swanson. Czech it out.

Auxiliary Out Radio Programme #4 (10/28/07)

”The Casual Joke” Turner Cody Buds of May (CD) [Digitalis, 2007]

”Apparently Someone Tried To” Theo Angell & the Tabernacle Hillside Singers Auraplinth (CD) [Digitalis, 2007]

“Dun Dan” Group Doueh Guitar Music From the Western Sahara (LP) [Sublime Frequencies, 2007]

”Untitled 5” Richard Youngs & Tirath Singh Nirmala Richard Youngs & Tirath Singh Nirmala (LP) [HP Cycle, 2007]

”Sequins” Big Blood Space Gallery Jan. 27, 2007 (CD-r) [Dontrustheruin, 2007]

”Neutron Dracula” Crappy Nightmareville Neutron Dracula (7”) [Black Velvet Fuckere, 2007]

”Glisters” Ray Off Nothing Like a Ribbon Round a Parcel (CD-r) [Black Petal, 2007]

”Side A” Fantastic Magic Witch Choir (CS) [Abandon Ship, 2007]

”Fonta” The Reggaee Catolistal (CS) [No Label, 2007]

”Vlige” Benjamin Franklin Takes Time (CS one-sided) [Dreamtime Taped Sounds, 2007]

”De Transistions Van Hallucinatorische Knikken Tussen” Miles Devens Atlantic Woman (CS) [New Age Cassettes, 2007]

“I Am Your Charred Remains” Ajilvsga Thorazine To Infinity (CS) [Peasant Magik, 2007]

”For What It’s Worthless” Barrabarracuda Abasement Tapes (CD-r) [Not Not Fun, 2007]

”Human Friend/Snail Territory/Megasolar Bodyslam” Fricara Pacchu Space Puppet (CS) [Lal Lal Lal, 2006]

mp3: Part 1 Part 2

Tent City – Tent/City [Arbor]/James Fella – D888 [JK Tapes]

When I can, I like to do some sweet theme-teamed reviews, and here it’s themed times two. Theme one is James Fella does his thing on both releases, the first with his Tent City crew and the second all by his lonesome. The other theme is Chicago area label bros Arbor CDR and JK Tapes each put out one of the releases. So they are, like, connected but times two.
Anyhow, nuff o dat. The Arbor CD-r starts us off, man I have to say this thing looks and feels totally sweet. Arbor always brings its A game on the aesthetic front, but Mike Pollard has outdone himself this time. As you can see this thing is sewn from a classic red cowboy bandana and even has a little button snap to make sure yr CD-r is nice and cozy and don’t fall out (dontcha hate that?). This release is apparently the studio debut of Tent City, which is interesting cause they’ve been around a while you’d think they would have done it by now, but who knows. They seem to be pretty fucking good at the live thing considering the long live recording on their Cascade Trinkets CD-r is one of my favorite pieces of music from this year. Anyhow, enough about that. The CD-r is made up of 5 untitled tracks ranging from 2-12 minutes. The first track starts out with a little of the typical Tent City sound, wind instrument and thumb piano type sounds over shaking and tinkling, then about a third of the way through a really low (in pitch and volume) synth pulse takes over. The synth continues to the second track and is joined little by little, by muted guitar and sounds akin to the rustling of broken glass. At the end a neat little dilapidated piano loop materializes which is sweet, but it’s a little too late though. The first two tracks are much too drawn out, and for some reason everyone seems really timid like they aren’t comfortable with the synth loop or something. There’s just not a whole lot interesting going on. Things begin to pick up in the third track, however. A guitar is riffing on the melody from “Unmade Bed” against some thumb pianoing and rattling and shaking. It happens gradually but things get jammin’, anchored by some sweet thumb piano licks. The fourth track is the longest and best. It’s a bit more aggressive, with a percussive presence something the previous tracks lacked. There is actually a distinct rock vibe to the track courtesy of a grinding, dirty guitar riff and later a 4/4 drum beat. It seems like an odd fit at first but it actually ends up being pretty groovy. The caravan moves along getting to a surprisingly noisy crescendo. The final track, a two minute coda, is a nice droney sendoff with a bunch of loops and the plucked sounds of something. A pretty little piece.
It seems like the studio recording may not be Tent City’s forte, at least not yet. The record gets off to a needlessly slow start but the second half is quite cool. Still respek to TC for trying something different. They’re still one of the better improv’d jams acts (I don’t mean that like jam band) around. The thing that’s so sweet about the live stuff I’ve heard is they always seem to be movin and groovin to a vibe of raw, communal inspiration. But here, you don’t really see it too much until the fourth track when things start clicking. It’s a decent but not perfect effort, but certainly worth checking out if you are a fan of the group or sweet bandana packaging.
D888 is interesting cause the insert gives a pretty detailed, second by second breakdown of the sounds heard for each side by Fella himself. This makes my job really easy cause I don’t have to guess or hyperbolize the sounds coming out my speakers. I can straight up tell you, “Dudes, the sounds you hear at 2:25 in on the A side is empty mic sockets while phantom power was turned on and off, tracks then punched in and out while making one master from the eight tracks.” But that doesn’t have the same mystery to it, so I’m gonna go with a sorta old fashioned type review.
The alternate title for the tape is “compiled sounds salvaged from the memory bank of a digital eight track recorder late summer 2007”. And that is pretty accurate to what it sounds like, but it’s also a bit more. It took a couple listens for my ears to figure it out, but after they did D888 became a rather fun tape to listen to. I’m generally not into the whole collaged aesthetic cause it usually comes off as too scattered, and I am a man of composition (whether it’s improvised or meticulously constructed). However, this tape is pretty well paced. Side A begins with echoing guitar until a bit of noisy drones and whathaveyou join and eventually take over the track. Noises are looped and layered building to chiming feedback which promptly cuts out and more looped noises replace it. Then a zoo of squiggly sounds emerges. They sound like the “telephone” setting on toy keyboards, but at all different speeds. The track continues this weird wobble for a while until guitar and a fuller drone take over until the end click. My apologies for all the “untils” and “thens”. Odd little track but it moves fast over a relatively wide range. Side B begins with guitar as well but it’s a weird muffled fuzz tone and some vocals are in the mix too I think. Quickly after, there is some clipped electronic sounds hopscotching around and eventually cohere into a steady stream. Then similar sounds but a bit more dronier (which consulting this handy insert are the “same sounds, less loud and slower”). After that comes the coolest part of the side, a bunch of skittering sounds all combining into a wicked cacophony of sound. Overall, it’s a pretty interesting tape worth repeated listens.
The James Fella cassette comes packaged in JK’s, signature by now, d.i.y. aesthetic; this time a paint drenched tape case. Both releases are still available from their respective labels, though they’ve been out for a little while so you may want to hurry and snag a copy if you want either of them.

Evan Miller/Gown – Split [Arbor]

I was browsing random websites the other day and anyhow, I noticed that this Evan Miller/Gown isn’t sold out. And well, dammit, it should be. I bought my copy immediately when I heard about it, figuring it would be gone quick. So now, I feel I must do my part to vouch for this tape’s greatness and give it the proper props.
You know the drill, two guitarists, two sides, one sweet spool of tape. I think Evan Miller is a relatively new face but lately he’s been rollin’ out some tapes on Night People and I’ve been digging ‘em. I’m no scholar of Fahey or Jack Rose or whoever the god of the acoustic guitar is. But I do know that I like the way Evan Miller plays. Apparently, “Spectre” was recorded in a storm which is rad cause you can hear thunder rolling in the background, which sometimes provides great punctuation, and maybe even a bit of rain too but I might be confusing that with tape hiss. This track moves a lot slower and is less sweetly melodic as his other work I’ve heard. However, there is way more sparseness and tension in this piece. It makes me think of a lamenting score for a wounded cowboy in a western. Like the dude is shot and the music starts and there is a ten minute long slow motion sequence of the guy stumbling around all bloody, crawling through the dust and writhing in agony. The track is based around a couple circular arpeggios, which are broken up every so often with melodic flourishes. The track actually reminds me of Earth’s latest stuff, not so much aesthetically but in the way that restraint is used to create intensity. Cool track and an interesting take on the solo acoustic guitar thing.
Miller’s track is cool and all but the real reason you need this tape is what comes on the backside. Gown (a.k.a. Andrew MacGregor) is probably most well known, at least nowadays, for playing with Thurston Moore in the Bark Haze, however based on “Pigeon Church”, Gown could kick Thurston’s and his own ass at guitar—combined, which doesn’t really make sense but this track is that good. This track is so good that my friend who loves Daft Punk stopped everything he was doing said “Drew. Who is this? This track is incredible!” “Pigeon Church” is like a wind storm, an electrical storm, and a snow storm combined and played on guitar. I’m not sure if this thing is multi-tracked or looped but either way it’s rather dense. There are tons of frequencies flowing out of the amp and Gown blows them every which way, all around the track. What’s amazing to me is, for ten minutes, the track somehow never loses the blustery, weathered texture, or its undulating intensity or its melodic center. Sorry to quote Radiohead, but everything is in its right place you know? The guitar tone is very electric and powerful, but not noisy in the way you think of Hototogisu or someone being. Its palette is very much whites, greys, silver rather than black. Last I heard, MacGregor moved up to Newfoundland, so I hope he’s basking in its remote, solitary chill and recording shitloads of stuff. It’s almost mean to just give me one track; I need a hundred more at least. I mean really, only one windswept, classic, masterful, mind ripping Gown piece per release? Come on! How am I supposed to live on that?
The tape, as mentioned, is still available from Arbor and it comes with an insert, printed tape labels and a classy, 3 color screen printed J-card of a wildcat battling vapor (or something like that). So, get it already.

Auxiliary Out Radio Programme #3 (10/21/07)

“Ink Sac” Aaron Dilloway & C. Spencer Yeh The Squid (LP) [Hanson, 2007]

“Confessions of a Digestive System” Chris Cooper Bill Nace Duo I’m Fucking in a Sitting Room (For Nmperign) (CS) [Night People, 2007]

“The Lionshead” Scumm O)))) Brown One: The Bathrobe Demos (CS) [No Label, 2007]

“Summoning the Recluse” Ettrick Brutal Sound FX Compilation and Exhibition of Strange Fact (2xCS) [Enterruption, 2007]

“Lanzarse” Goliath Bird Eater Brahmans (CS) [Nurse Etiquette, 2007]

“Eureka” GHQ California Night Burning Dreams (LP+3” CD-r) [Not Not Fun, 2007]

”Untitled 2” Menstrual Chinese Dream Menstrual Chinese Dream (CD-r) [Nature Tape Limb, 2005]

“Curly Fruit” Quilts Acid Flower (3” CD-r) [Ruralfaune, 2007]

“Standing Water” Emeralds Grass Ceiling (CS) [Fag Tapes, 2007]

“Wanderlands” Agitated Radio Pilot Ghost of Medb/Under Your Night (split with Nether Dawn) (LP) [Pseudo Arcana, 2007]

”Drifter” Pillars of Heaven Silver Tusks Vol. 1 (CS one-sided) [Peasant Magik, 2007]

“Rope” Gowns Red State (CD) [Cardboard, 2007]

“Aborescent” Arachnid Arcade Crepuscular Aborescent (CS) [Psychform, 2007]

“December, 6th 2006” Dull Knife Untitled (CS) [Psychform, 2007]

“Love Falls” (VxPxC) Stoned to Death (CD-r) [Leaf Trail, 2007]

(some of the voice parts didn't record very well, sorry)
mp3: Part 1 Part 2

Auxiliary Out Radio Programme #2 (10/14/07)

“The Story is Told in a Different Sphere” Brothers of the Occult Sisterhood Temicxoch (CD-r) [Foxglove/Digitalis, 2007]

”I Need Her” CJA/Smokehouse Whiskey & Freedom (CS) [Abandon Ship, 2007]

“Cyuti” Xochipilli Aircquocces of the Arc Tones (3” CD-r) [First Person, 2007]

”Feggic Shoam” Non-Horse Horse Split (with Horse Head) (CS) [JK Tapes, 2007]

“Untitled 3” Sarin Smoke It Chars Our Lips Yet We Still Drink (LP one-sided) [Wholly Other, 2007]

“Kuni Majagani” Group Inerane Guitars From Agadez (Music of Niger) (LP) [Sublime Frequencies, 2007]

“By a Thread” Pink Reason By a Thread (7”) [Trick Knee Productions, 2007]

”Chapter of the Fog” Family Underground Riven (LP) [Not Not Fun, 2007]

“Flash Pumper” Manpack Variant Sticky Wickets (CD) [Digitalis, 2007]

”Larvae” Family Battle Snake Split (with Owl Xounds) (CS) [Blackest Rainbow, 2007]

“The Mirror Speaks” James Blackshaw The Cloud of Unknowing (CD/LP) [Tompkins Square, 2007]

“Miami Morning Coming Down” Earth Hibernaculum (CD) [Southern Lord, 2007]

Auxiliary Out Radio Programme #2 (mp3)

Pocahaunted – Emerald Snake on Ruby Velvet [Not Not Fun]

A little while back I was having a conversation with a friend about Pocahaunted. We were both fans, we always enjoy stuff we hear by them but what we were really discussing was the standard Pocahaunted framework (i.e. two chords repeated ad infinitum and vocal coos and moans). This framework has served them well thus far, but at this point it seems to be inhibiting their potential (could you imagine how awesome they would sound if there was some big glorious change in chord progression every so often?). So seriously, days after we had that convo the Phaunts dropped this little baby. It was sold out in an instant like all their stuff, but it’s still worth noting even almost two months after its release.
While Pocahaunted has yet to work in a third chord, their overall aesthetic has been given an update. The most obvious change here is the steady dubbeats supplied by Bobb Bruno (of Goliath Bird Eater and Bobb Bruno). The repetitive drum pattern is hypnotizing, like traditional Pocahaunted but in an entirely different way. It’s actually somewhat reminiscent the drums (sample?) in “Gates of Ballard” by Sunn o))). Anyway, back to the whole hypnotic thing; this isn’t Portishaunted or nothing (ha?) but the dubbiness actually really works well in duo with Pocahaunted’s style because they both go for atmospheric and spellbinding but do it coming from two distinct directions. It’s a mutualist relationship, the beats keep the rest of the track focused and the rest of the track keeps that same drum pattern repeated over and over from getting on yr nerves. So anyway, it’s an unexpected though very welcome addition to the Pocahaunted teepee (tipi?). Elsewhere in the track there is some rad fuzziness, coming from one of the guitars and a bass or keyboard or something, giving the track a much fuller overall sound and richer texture. It also has a bit of a home-taper feel due to a recording bobbles, which is fine in my eyes.
As evidenced by this tiny CD-r, Pocahaunted still have a few tricks up their sleeve which warms my little knife (I hope they expand the scope of their songwriting sometime soon though). And the dang thing comes with fake snake skin sewed on too! As mentioned, it’s sold out, but if you can find it pick it up.

Robedoor + Pocahaunted – Hunted Gathering [Digitalis]

Both the Robedoor and Pocahaunted crews have been making a name for themselves this year, especially when in tandem it seems. They opened for Sonic Youth in collaborative live form pretty recently, and their first shot at a collabo release, Mouth of Prayer, was reissued by Blackest Rainbow only mere months after it came out in the first place. This double disc split/collab slab, courtesy of Digitalis, is the next piece in the ever expanding RBDR+Phaunt puzzle.
The excellently titled, Hunted Gathering starts off with Robedoor in classic dread drone mode. There is sloshed vocal murk a plenty, but what Robedoor has always been killer at is the way they incorporate rather typical instruments into their palette of scuzz and hum. This track, “Plague of Settlers”, has an organ of some sort, bass, a drum kit perhaps a guitar, all mingling and forming into a heavy monolith exploding underneath the Earth’s surface. Pocahaunted follows with “Roman Nose”, beginning in typical Phaunt fashion, two guitar chords cycling back and forth and female vocal séance. In addition, the girls are joined by subtle drumming (I’m assuming by Goliath Bird Eater’s Bobb Bruno) and I’m pretty sure I hear a male voice in there too but don’t quote me. It’s a nice unified procession, almost to a fault, but vocal “solos” towards the end help break the sameness up a bit. Another Pocahaunted track, “Crow Scout” follows but it doesn’t quite do it for me. The central melody and arrangement doesn’t gel well enough to sustain the piece across its almost 14 minutes. There are some of those classic, sublime Pocahaunted vocal moves in it though. My ears like that. Robedoor gets back on the mic and closes out the first disc with “Spectral Outpost”. It’s a long, gradually winding piece, like riding a rollercoaster in slow motion, in the dark. Except instead of being filled by excitedness, like you would be on a rollercoaster in regular motion, you’re filled with utter creepedoutness. This is real digging-up-bodies-on-an-ancient-Indian-burial-ground shit, total looming doom. Give it a few minutes and you’ll be under its spell, marching hypnotized into oblivion just as I am.
Robedoor opens up the second disc as well. But out of left field, it’s a pretty serene piece called “Ancestress Moon”. And it’s the only track length on the album that doesn’t make it to double figures. It doesn’t go anywhere particular but it doesn’t really have to, it’s a nice comedown after “Spectral Outpost” AND it’s a great lead in to the final solo Pocahaunted track “Warmest Knives”. “Warmest Knives” starts out almost identically as “Roman Nose”, but soon enough it morphs into a rather lush echoing piece. The mysterious Laena (whose violinwork was the standout on the Phaunts’ Rough Magic tape) makes a much welcomed appearance here. Her violin isn’t front and center, but it comes in at all the right places. This may be the foggiest Pocahaunted has ever sounded and it suits them well. The track still feels a bit long, but the fine use of dynamics by all parties involved excuses that. “Razed Terrain”, Robedoor’s final bout, is a decent enough though repetitive vocal-dominated affair, that can't quite compare to their excellent cuts on the first disc. Though I do dig the cymbal smashing towards the end. The grand finale, the collaborative title track, is a very disembodied sounding piece. The Pocahaunted element is prominently on display while the Robedoor faction snakes around in poisonous mists. Towards the end of the track the intensity has increased a bit but it doesn’t sound too much different from when it started. It feels more like a Pocahaunted piece with Robedoor sitting in rather than a full on meeting of the minds, though maybe it’s just me.
While I wouldn’t call Hunted Gathering either group’s best work, it’s still a good showing (especially for Robedoor) and unlike the rest of the groups’ other work, it’s still available. All in all, the whole thing is a classy, well put together project by Digitalis. The sound is crisp thanks to Bobb Bruno and Pete Swanson, on recording & mixing and mastering duties, respectively. The sweet collage plastered all over this thing is by Manda and Bethany of Pocahaunted (also Roy Tatum of Buried Valley is credited to layout, as well as additional instruments) and it’s just totally fun to look at, especially the inside. So if you’ve yet to hear either subject of this review, I suggest you pick this up. It’s definitely the best bang for your buck. And if yr a fan of either group, well, you already know what to do.

Auxiliary Out Radio Programme #1 (10/7/07)

“The Mighty Mississippi” The Cherry Blossoms The Cherry Blossoms (LP) [Apostasy/Black Velvet Fuckere/Breaking World/Consanguineous/Hank the Herald Angel/Yeay!, 2007]

”a-doz-hiel-z” The Skaters Lal Lal Lal Festival Compilation (CD-r) [Lal Lal Lal, 2007]

”Pigeon Church” Gown Evan Miller/Gown Split (CS) [Arbor, 2007]

“Cops Wet Pussy” Deep Jew Bored Fortress Split Series (with Mindflayer) (7”) [Not Not Fun, 2007]

”Guru Femmes” Wooden Wand More From the Mountain (7”) [Woodsist, 2007]

”The Pig That Stood Upright” Medroxy Progesterone Acetate Something in the Weeds (CD-r) [Midwest Death Cult, 2007]

”Untitled 2” Orphan Fairytale Speaking Spooky (CD-r) [Foxglove, 2007]

“Fraha” Softwar Softwar (CD) [Digitalis, 2007]

”Side B” Slow Listener Untitled (CS) [JK Tapes, 2007]

”Undying Glare” Bone Awl Undying Glare (7” one-sided) [Nuclear War Now! Productions, 2007]

”Heart Current” Grouper Cover the Windows and the Walls (LP) [Root Strata, 2007]

”Violent Memory” Robedoor Hopeless Transformation (CS) [Goaty Tapes, 2007]

”Untitled 3” Tent City Cascade Trinkets (CD-r) [Night People, 2007]

”The Fire Sky” Kiss the Anus of a Black Cat An Interlude to the Outermost (CD/LP) [(K-RAA-K)³, 2007]

”Sandwall” Drowner Yellow Swans Drowner Yellow Swans (CS) [Tape Room, 2007]

”Untitled 1” Burnt Hills Cloud Nine (CD-r) [Tape Drift, 2007]

I've posted a link to download an mp3 version of this show. Audacity was being a son of a bitch this week but I finally got a passable recording. I had to chop the show up weirdly (the Slow Listener track got split up, sorry) and there are some volume inconsistencies but overall it sounds okay. I've got another program I'm gonna try using for next week's show, so hopefully I'll fair better then. Thanks for your patience.

Auxiliary Out Radio Programme #1 (mp3)