The Night I Met Maria C

(Locust) Used CD $4.00

The fifth volume in the Met Life Location Sound series from 2003 is an “aural take on waste and getting wasted,” accomplished by pairing a field recording of Seattle City Dump Wallingford Transfer Station, unedited and complete from start to finish, with the title track, which was “aggressively edited from a single evening of drunken prowling.”


Live In Kyoto

(Locust) Used 2xLP $20.00

On this 2004 recording Seiichi Yamamoto (Omoide Hatoba, Boredoms), Eric Cordier, and Chie Mukai (Ché-SHIZU) start with isolated squawks and work up to what sounds like a bunch of chickens getting their necks wrung by robots, eventually lifting off into a proper noise-out in which waves of noise approach, recede and disappear down a wubby plughole. 180g vinyl. Silkscreened jacket. Sealed


Neck To Neck

(Locust) Used LP $12.00

With a “jump-cut, chopped-up, collaged quality that the best of Burroughs’s nonlinear destroyed narratives had,” explains Cows Are Just Food, the 2009 remastered reissue of Neck To Neck’s “warped, new-wave mutant pop,” originally release in 1984 by A-Mission, “is violently listenable and malleably harsh, sounding utterly modern and coming on at times with all the ugly fuck of discordance that Wolf Eyes conjures up: klang and skree and brake fluid vomiting; minimal, über-distorted beats and brutalist vox spat right in yr faceholes with garish glee.”


Backporch Hillbilly Blues Vol. 2

(Locust) Used CD $15.00

Peculiar set of electrified and acoustic bumpkin fiddle howls and screeches from the early to mid-1960s. Sealed but there's a hole drilled in the barcode so we're listing it as used.


All The Leaves Are Gone

(Locust) Used CD $6.00

A tangle of swooning vocals, tickly electric guitars and an omnipresent, incense-laced haze.


Metal Notes

(Locust) Used CD $5.00

According to a (not making that up), Metal Notes “moves away from tradition into approaches influenced by Cage and minimalism…. [Highlights on Locust’s 2006 reissue of what was previously released on cassette by New Wilderness Foundation in 1985 include] “the opening suite ‘Gamelan NEA, [which] alternates ethereal, high-pitched patterns (a bit reminiscent of the early ‘little instruments’ experiments of the Art Ensemble of Chicago) with solemn gongs. Denise Rightmire-Womelsdorf’s ‘Keith Rays” is an effective elegy for a friend killed in a car crash. Peter Griggs’s ‘Through the Looking Glass’ is a variation on traditional music with similar charms.”


The Complete Gamelan In The New World

(Locust) Used 2xCD $13.00 (Out-of-stock)

2004 reissue of two legendary recordings originally released by Folkways in 1979 and 1982. This New York performance group counts as its founders Fluxus pioneer Phillip Corner, electronics composer Daniel Goode, and core member Barbara Benary. Equally inspired by the resonant decaying sounds of New York school composers like Morton Feldman, the stunning pacific gamelan music of its namesake and the wild antics of Fluxus, their sound is trancelike and beautifully inspiring. With new liner notes by Marcus Boon.


A Walk Thru The Bazaar

(Locust) CD $8.00

(Locust) Used CD $6.00

“The fourth installment in the 2003 Met Life Series by this Turkish composer takes the listener through an Istanbul marketplace and captures the energetic day-to-day activities of hawkers buying and selling goods, children running about, traditional music in the distance, cell phones playing unfamiliar melodies. Helvacioglu’s response is almost like an enriched memory of the market’s cultural texture that musically retains much of that raw Earth feeling one initially encounters on the field recording. But source material is elevated as field-recorded voices are transformed into a rich chorus ensconced in an infectiously pulsing electronic trance that seems to float above the market itself.” Used copy has scribbled barcode.



(Locust - 013) CD $12.00

A real time performance on overhauled 21-string banjo of deeply satisfying, impulsive outer cosmos ragadelia that is unfiltered aural transcendence, Metzger's hypnotic raga epic is both slow burning meditation and urgent mind / body duel.


Rampotanza Grodo Rempelente

(Locust) Used CD $8.00

“Sourced heavily in recordings made in a busy Buenos Aires street in 1994,” reports Rovi about the third volume in the Met Life Locations Sound Series, titled after “another one of drummer / guru Miguel Tomasín’s inspired manglings of Spanish, is another fine example of the kind of blurring of the difference between life and art at which the Argentinean avant-gardists are uncannily gifted. The second track, recorded in July 2002, remixes the same street sounds into a mist of grainy drone … before a crazy psychedelic jam session kicks in [where] Tomasín’s utterly original and totally wonky drumming steers the rest of the group into all kinds of odd corners, with hilarious and wonderful results.” Punched barcode. Sealed


We Have Won

(Locust) Used LP $5.00

Brooklyn duo Che Chen (founder of O Sirhan O Sirhan Magazine) and Rolyn Hu (operatrix of the Glasslands performance space) disinfect disaffection with their brand of elemental buzzing unrock. Guitar, girl voice, off-drum, unidentifiable noisemakers and homemade gadgets are the foundation for a sound that grafts a smiley face on the body of no wave’s penchant for alienation. Paste-on cover, insert. Numbered edition of 330


Dartmouth Street Underpass

(Locust) Used CD $8.00

“Apparently, Keith Fullerton Whitman feels a … procreant urge to capture … brief moments of life that seem to be outside of ordinary reality,” surmises Pitchfork about the first volume in the Met Life Locations Sound Series from 2003. “In the Dartmouth Street tunnel that runs from Back Bay Station in Boston to Copley Plaza, a cavernous walkway lined with glass brick walls reflects the sounds of passengers and trains in such a way as to sound like music to his ears. We have utility doors banging, footsteps on a catwalk, some lost guitar reverberating down the walkways, the arrivals and departures of three trains, and all the percussive accompaniment of people running to make their transfers…. About five minutes in, this mechanized drone of trains disappearing down the tunnel coalesces into a heavy constant undertow of sound, swallowing up the guitar, passengers, and the approach of other trains, sustaining the snippet beyond its apparent qualities. What separates this material from the field recordings on the old Folkways label is that the raw sound taped by Whitman is conversely used to create a new piece, almost a reflection of the original sounds which are now bent and refracted through his eyes and ears. Whitman’s response piece runs nearly the same length as the centerpiece, and is remixed in real time, combining these elements along with some of the life sounds from where he was doing the remixing, on his front porch. Here, Whitman builds on the odd metallic train drone of the original with a harmonium-like resonance, washing everything out with a beautiful haze of generator buzz, becoming the thick air of the underpass itself, completely saturated in humid humming. He even lets the birds in the trees and the cars on the street make an appearance as the drone begins its gentle descent back into the everyday. Scribbled barcode. Sealed