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  • Awaken, My Love! (Awaiting Repress) Awaken, My Love! (Awaiting Repress) Quick View

    $19.99
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    Awaken, My Love! (Awaiting Repress)

    Awaken, My Love! is a bold departure from the hip-hop sound of his previous work, and finds the Atlanta star evolving into full-on funk and R&B mode. Donald Glover and longtime collaborator Ludwig Goransson channel the spirit of Parliament Funkadelic with a potent psychedelic funk vibe that permeates through the entire album. Check the Bootsy-esque single Redbone and the epicMe And Your Mama for a taste, we know you'll be coming back for more!
    1. Me and Your Mama
    2. Have Some Love

    3. Boogieman
    4. Zombies

    5. Riot

    6. Redbone
    7. California

    8. Terrified

    9. Baby Boy
    10. The Night Me and Your Mama Met

    11. Stand Tall
    Childish Gambino
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Time Peace: The Rascals' Greatest Hits Time Peace: The Rascals' Greatest Hits Quick View

    $31.99
    Buy Now
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    Time Peace: The Rascals' Greatest Hits

    For The First Time on 180 Gram Vinyl, Mastered By Joe Reagoso & Kevin Gray.


    After delivering a rapid succession of hits, Atlantic honored The Rascals with their first best of album Time Peace: The Rascals Greatest Hits. Filled with tons of number one singles and hit album tracks like Groovin', Good Lovin', & A Beautiful Morning this incredible 1968 effort awarded these legends their first number 1 album! In addition, the masterpiece included more hits like Lonely Too Long, How Can I Be Sure, & A Girl Like You.

    1. I Ain't Gonna Eat Out My Heart Anymore
    2. Good Lovin'
    3. You Better Run
    4. Come On Up
    5. Mustang Sally
    6. Love is a Beautiful Thing
    7. In the Midnight Hour
    8. (I've Been) Lonely Too Long
    9. Groovin'
    10. A Girl Like You
    11. How Can I Be Sure
    12. It's Wonderful
    13. Easy Rollin'
    14. A Beautiful Morning
    The Rascals
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Thorens TD 190-2 Turntable - Black Thorens TD 190-2 Turntable - Black Quick View

    $799.00
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    Thorens TD 190-2 Turntable - Black


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Plays 33 1/3, 45, and 78 RPM records


    Not just for beginners


    The TD 190-2 is the big brother of the TD 170-1. Plinth and platter have more mass, which in combination with the electronically controlled DC motor enhances the silent running as well as the sound.


    Thorens Turntables
    $799.00
    Thorens TD 190-2 Turntable Buy Now
  • Thorens TD 190-2 Turntable - Silver Thorens TD 190-2 Turntable - Silver Quick View

    $799.00
    Buy Now
    x

    Thorens TD 190-2 Turntable - Silver


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Plays 33 1/3, 45, and 78 RPM records


    Not just for beginners


    The TD 190-2 is the big brother of the TD 170-1. Plinth and platter have more mass, which in combination with the electronically controlled DC motor enhances the silent running as well as the sound. It therefore doesn't matter if you prefer the delicate sound of a violin or rather some powerful guitar riffs.


    Thorens Turntables
    $799.00
    Thorens TD 190-2 Turntable Buy Now
  • Sibelius Song Recital (Speakers Corner) Sibelius Song Recital (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Sibelius Song Recital (Speakers Corner)

    Jean Sibelius (1885-1957) composed songs from the beginning almost to the end of his lifetime. Shortly before his death, he arranged the piece, which closes this album, Kom nu hit, Död, and so opened a stylistic gateway to Modernity. All the songs in this collection were composed around 1900 and are filled with Late Romantic harmony, a glorious sound and emotional feeling. The song Svatar Rosor is immersed in an alternating bath of major and minor to evoke a dramatic and tragic mood, while the wonderfully colourful Den Första Kyssen, op. 37 no. 1 depicts in music a girl's dialogue with the evening star. And with Flickan kom ... op. 37 no. 5 and Var det en dröm op. 37 no. 4, a powerful vocal drama is placed alongside a lyrical gem. Of the latter work Sibelius allegedly said: »Here you are, this is my most beautiful song!

    Without a doubt, Kirsten Flagstad is the ideal singer for this repertoire. Her highly dramatic soprano voice rises monumentally over the surging orchestral sound but dims down appropriately and effortlessly in the hushed passages. Wagnerians, Strauss lovers and fans of grand romantic gesture will thoroughly enjoy this LP.




    Musicians:



    • Kirsten Flagstad (vocal)

    • Øivin Fjeldstad (conductor)






    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Sibelius Song Recital
    Jean Sibelius
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Return Of The Century Return Of The Century Quick View

    $14.99
    Buy Now
    x

    Return Of The Century

    Return of the Century is the new full-length album from Chicago psych-pop troupe The 1900s, their second for Parasol Records. Expect a bouquet of the prettiest pop songs this side of Belle & Sebastian and The New Pornographers, adorned with co-ed harmonies and nifty instrumentation. A triumphant return, indeed.
    1. Amulet
    2. Lay a Ghost

    3. Kidnap Runaway

    4. Lions Fur

    5. Tucson

    6. Zerkalo

    7. Bmore

    8. Babies

    9. Overreactin'
    10. Jean Demon

    11. Sanzimat
    The 1900s
    $14.99
    Vinyl LP - Sealed Buy Now
  • The Knick (Original Series Soundtrack) The Knick (Original Series Soundtrack) Quick View

    $29.99
    Buy Now
    x

    The Knick (Original Series Soundtrack)

    THE KNICK is the new exciting TV series by writer/director Steven Soderbergh (HBO's Behind the Candelabra, SideEffects...). Cinemaxis to premiere The Knick on August8. Starring Clive Owen and set in New York 1900, the show centers on Knickerbocker Hospital and the ground breaking surgeons, nurses and staff, who push the bounds of medicine in a time of astonishingly high mortality rates and zero antibiotics.


    The soundtrack features a fantastic score by acclaimed composer Cliff Martinez (Drive, Springbreakers, Only God Forgives, Solaris).

    LP1
    1. Son Of Placenta Previa
    2. I'm In The Pink
    3. Placental Repair
    4. Finish Your Breakfast
    5. Thus Speak Thack The Wise
    6. Never Read Him
    7. Aortic Aneurysm Jr.
    8. Goodnight Nurse Elkins
    9. Not Leaving This Circus
    10. Drizzled Him Good
    11. Falling Off A Bicycle Plus
    12. I Want To Get My Log Dunked
    13. Another Tuesday At The Knick
    14. Call Me Dad
    15. Number 11 Is Mine
    16. Save The Leg
    17. Fire It Up Again


    LP2
    1. Breakfast Strikes Back
    2. Pretty Silver Stitches
    3. New Standard Hernia Procedure
    4. Douse This
    5. Knickerbocker Piano Stretch
    6. Faces Like Cabbages
    7. I Ain't No Street Walker
    8. Abscess
    9. Breakfast Walks Among Us
    10. I Can Do Strange Things
    11. We're Out Of Cocaine
    12. Show Me The Busy Flea
    13. Sail To Europe
    14. I'd Like To See That
    15. My Book
    16. It's Dr. Thackery
    17. Will It Hurt

    Cliff Martinez
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Radium Death Radium Death Quick View

    $19.99
    Buy Now
    x

    Radium Death

    Known for the sparse, haunting qualities of his mostly solo recordings of what he refers to as roots-folk music, in which his husky voice is often accompanied by little more than a banjo or acoustic guitar, William Elliott Whitmore sought to add some new pitches to his bullpen for his new ANTI- release Radium Death. I purposefully went into it wanting to make a little bit of a departure, sonically, using an electric guitar a little bit more and adding more instrumentation, more full-band type stuff, says Whitmore. I wanted to switch it up a little bit and plug in to see what that felt like. I was reading a lot about the so-called 'radium girls' of the early 1900's, these assembly lines of women painting watch dials with radium to make them glow in the dark, he says, detailing how the workers would lick the tips of their paintbrushes to get them pointy while dipping them repeatedly into the chemical substance before it was known to be dangerous. So, in my mind 'radium death' came to represent something that you're told is good for you-maybe by a higher power-but really is killing you. It represents those lies that are told, and how we can protect ourselves against them. The songs assembled, while not a concept album, present a cohesive look into those recurring Whitmore themes of respect, protection, sustenance and survival. The blazing (even by WEW standards) opener, Healing To Do, pulls no punches, kicking in immediately with the rhythmic shuffle of a full band, an organ, and Whitmore's upbeat rasp. The pace continues with songs like Trouble in Your Heart, 1000 Deaths and Don't Strike Me Down, preaching patient hope, rebirth, renewal, and revolt over stomping drums, acoustic strumming and even an electric guitar solo.
    1. Healing to Do
    2. Civilizations
    3. Trouble in Your Heart
    4. A Thousand Deaths
    5. Go On Home
    6. Don't Strike Me Down
    7. Can't Go Back
    8. South Lee County Brew
    9. Have Mercy
    10. Ain't Gone Yet
    William Elliott Whitmore
    $19.99
    Vinyl LP - Sealed Buy Now
  • Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Copland - Appalachian Spring / Billy The Kid (Speakers Corner)

    Aaron Copland is among those Americans whose compositions have found worldwide recognition. Measured against his long lifespan (1900-1990), his creative phase was relatively short, and indeed he hardly composed at all from the Sixties onwards. His most important works were his answer to the musical crisis of the Thirties, and he has gone down in history as having greatly influenced the development of New Music in the USA.



    The ballets Appalachian Spring (1944) and Billy the Kid (1938) are considered to be key works of their day. Both have folkloric traits, which brought Copland the reputation of having a penchant for borrowed melodies. In reality, the well-known tunes are very subtly treated and modified, and are incorporated into large-scale, defined forms. Now and again, melodic echoes of Mahler's music or highly rhythmic exposed passages reminiscent of Stravinsky flash through. The ballet Billy the Kid is thoroughly American. Arranged in orchestral 'wide-screen sound', as it were, cowboy melodies glow with the very best Wild West tradition, and are bedded in a dramaturgy which is almost ripe for a film soundtrack. The signal to Hollywood is virtually unmistakable. That is America.




    Recording: June 1961 by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    Copland: Appalachian Spring, Billy the Kid - The London Symphony Orchestra conducted by Antal Dorati
    Antal Dorati with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) Quick View

    $89.99
    Buy Now
    x

    The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress)

    There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical.



    This album documents just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of '50 years of Jazz' (which also paralled Armstrong's life, for he and jazz were both born at the turn of the century - Louis in 1901, as a baptismal certificate discovered after his death has established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program.



    Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show "Sleepy Time Down South", almost invariably followed by "Indiana"), Louis Armstrong gave his all every performance - no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night.



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Edmond Hall (clarinet, vocal)

    • Trummy Young (trombone, vocal)

    • Billy Kyle (piano)

    • Dale Jones (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)



    Recording: June 1956 live at Medina Temple, Chicago

    Production: George Avakian



    Format: 3LPs 33rpm / Box, booklet



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble

    2. Medley: Memphis Blues/Frankie And Johnny/Tiger Rag

    3. Do You Know What It Means To Miss New Orleans
    4. Basin Street Blues
    5. Black And Blue

    6. West End Blues
    7. On The Sunny Side Of The Street

    8. Struttin' With Some Barbecue
    9. When It's Sleepy Time Down South

    10. Medley: Manhattan / When It's Sleepy Time Down South

    11. Indiana
    12. The Gypsy
    13. The Faithful Hussar

    14. Rockin' Chair

    15. Bucket's Got A Hole In It

    16. Perdido
    17. Clarinet Marmalade
    18. Mack The Knife
    19. Medley: Tenderly / You'll Never Walk Alone

    20. Stompin' At The Savoy

    21. Margie
    22. Big Mama's Back In Town
    23. That's My Desire
    24. Ko Ko Mo (I Love You So)
    25. When The Saints Go Marching In
    26. The Star Spangled Banner
    Louis Armstrong
    $89.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Sibelius Symphony No. 2 in D Major Sibelius Symphony No. 2 in D Major Quick View

    $34.99
    Buy Now
    x

    Sibelius Symphony No. 2 in D Major

    180 Gram Audiophile Vinyl Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!


    Paul Kletzki is best remembered today for his conducting career and many recordings but less well known is his pre-war career as a composer. Born in Poland in 1900, he joined its Philharmonic Orchestra at the age of fifteen as a violinist. After serving in the First World War, he studied philosophy at the University of Warsaw before moving to Berlin in 1921 to continue his studies. During the 1920s his compositions were championed by Arturo Toscanini; and Wilhelm FurtwÄngler, who permitted Kletzki to conduct the Berlin Philharmonic Orchestra in 1925.


    Because he was Jewish, he left Nazi Germany in 1933 and moved to Italy, however due to the anti-semitism of the Italian Fascist regime he moved to the Soviet Union in 1936. He later went to live in Switzerland. From 1942 onwards Kletzki wrote no more compositions; having lost much of his family in the holocaust, Nazism had destroyed his spirit and his will to compose.


    His conducting skills then came to the fore. Kletzki was invited by EMI's Walter Legge to conduct the newly-formed Philharmonia Orchestra in London and many fine recordings were made (including this Sibelius record in early stereo) for EMI. In 1954 he was appointed chief conductor of the Liverpool Philharmonic Orchestra and between 1958 and 1961 he was principal conductor of the Dallas Symphony Orchestra. From 1966 until 1970 he was the General Music Director of the Orchestre de la Suisse Romande. He died in 1974.


    In the original June 1956 review M. M. of the GRAMOPHONE wrote: Kletzki makes an impetuous attack on the music which is virtually completely successful, carried along by a marvellous quality of both orchestral playing and recording... Whether it is a sweep of full-bodied tone, a biting attack, a resonant pizzicato, or a sensitive solo that is called for, it is always there; even to tunes from the basses with a distinctly above-average proportion of note to rumble. And all of it set off by a brilliant quality of recording with fine internal balance... The new Kletzki... addresses the listener directly and convincingly.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards at the Vinyl Factory, Hayes, using the old EMI Records presses.


    Recorded in stereo on 15 & 16 July 1955 at the Kingsway Hall, London. Produced by the legendary Walter Legge and engineered by Douglas Larter and Neville Boyling.


    This title is not eligible for discount.

    Jean Sibelius (1865 - 1957)
    Symphony No. 2 in D Major, Op. 43
    Side One:
    1. I. Allegretto
    2. II. Tempo andante, ma rubato
    Side Two:
    1. III. Vivacissimo
    2. IV. Finale (Allegro moderato)
    Paul Kletzki
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ultima II Massage Ultima II Massage Quick View

    $22.99
    Buy Now
    x

    Ultima II Massage

    TOBACCO can't have nice things.


    On his third album, the Pennsylvania snake-synth-charmer deepens his approach
    to aural depravity. Ultima II Massage widens a jagged swath through the dude's
    own weird catalog, each disparate track damaged to the point of contributing to
    some sort of greater, lurching Frankenstein-like state. "I spent a lot of time
    breaking it in all the right places," says TOBACCO. "It ends up making the whole
    thing breathe - sometimes gasp for air. It feels more alive." Immediately after
    nishing 2010's Maniac Meat, he went to work on the beat-addled series begun
    with Fucked Up Friends in 2008. There were notable breaks en route to now - a
    surprising commission to remix White Zombie's "Thunder Kiss '65," a new BMSR
    record (Cobra Juicy), and producing Demon Queen's Exorcise Tape with vocalist
    Zackey Force Funk - but he saved the worst for last, amassing the most
    misanthropic material for Ultima. To wit, SPIN dubbed early share "Lipstick
    Destroyer" a "junkyard takedown of Daft Punk's beloved, pristine electro."
    TOBACCO explains his modied approach: "I wanted to push each song just
    enough, so that even when the album's at its wildest, it's something you can zone
    out to. It feels like a denitive end to a concept I've been trying to perfect forever.
    Maniac Meat was linear. This time I wanted to do a lot of di!erent things and have
    them come together as one meditative piece. At least for myself."


    Which, oddly enough, makes sense. This is easily TOBACCO's most diverse set to
    date - his own Stereopathetic Soulmanure, but about that 1-900 hotline life:
    massage parlors, plasticized sleaze, fake tans, old dial-ups to the fan clubs of
    dead B-actors. Fittingly, the album's only contributor is Beck music director Brian
    LeBarton who shrieks as Notrabel on the grimy freak-out "Streaker." At 17 tracks,
    Ultima is stacked with beautifully perverse hits - from the sickly sticky "Eruption,"
    to the wobbly demon swaggerer "Face Breakout," to the distorted punk spazz of
    "Dipsmack," to the apocalyptic sepia ambience of "Spitlord." You may hear
    disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan,
    or maybe just public-access TV and bad VHS dubs of '80s horror icks. Or the sun
    exploding and everything you've ever loved melting. Again, TOBACCO was just
    trying to make meditation music.


    But to nd that rotted sweet spot, as always, he had to subvert his pop urges.
    TOBACCO went back to the cassette decks he started o! with - analog weapons
    of distortion to compliment his hissing vocoder and blown rhythms. Any moment
    that felt "just right" was brutally assaulted until ugly again. All to accomplish one
    end: "This might be my most purposely difcult album yet, but I promise if you let
    it in, it can fuck you up."


    Ultima II Massage. No happy ending.

    1. Streaker (ft. Notrabel)
    2. Good Complexion
    3. Video Warning Attempts
    4. Eruption
    5. Lipstick Destroyer
    6. Self Tanner
    7. Face Breakout
    8. Blow Your Heart
    9. Beast Sting
    10. Dipsmack
    11. Creaming for Beginners
    12. Omen Classic
    13. Pool City, McKnight Road
    14. Spitlord
    15. Father Sister Berzerker
    16. The Touch from Within
    Tobacco
    $22.99
    Colored Vinyl LP - Sealed Buy Now
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