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A Monster Calls'
A Monster Calls SoundtrackPressed On Double 180-Gram Audiophile Vinyl
First Pressing Of 500 Numbered Copies On Colored Vinyl, Black Vinyl Thereafter
PVC Protective Sleeve
Includes 4-Page Booklet
Printed Inner Sleeves
OST Of The 2016 Movie, Based On The Best Selling Book By Patrick Ness
Score By Fernando Velázquez
Featuring The Title Track Tear Up This Town By Keane
A Monster Calls is a fantasy drama film about a boy seeking the help of a tree monster to cope with his single mom's terminal illness. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth.
The film is directed by J.A. Bayona who was inevitable praised for his previous directing work The Orphanage.
The critics site Rotten Tomatoes reports an approval rating of 85% for the film, based on 52 reviews, with an average rating of 7.4/10. The site reads, A Monster Calls deftly balances dark themes and fantastical elements to deliver an engrossing and uncommonly moving entry in the crowded coming-of-age genre.
The intriguing Score for the film is composed by Fernando Velázquez, who already had experience in the world of cinema and especially in the terror genre. He composed films like Devil, written & produced by M. Night Shyamalan, and the Guillermo del Toro-produced feature The Orphanage.
In 2010 he was one of eleven selected composers to create symphonic works for the Bilbao Symphony Orchestra. In the same year Film Music Magazine rated his score to 'Devil' as one of the best scores of the year, quoting Velazquez's brassily orchestral ambitions pay more of a blood oath to Bernard Herrmann and James Newton Howard, with the kind of churning, melodically rich symphonic sound that makes DEVIL's mostly elevator-bound setting anything but claustrophobic.
Two years later Film Music Magazine ranked his score to 'The Impossible' as one of the Top 10 scores of the year.LP 1
1. Tear Up This Town - Keane
2. Conor Wakes Up / Main Title
4. The Monster Wakes Up
6. The Second Encounter
7. The First Tale
8. The School
9. Home Alone / Dad Arrives
10. Grandma's Clock / The Second Tale
1. Break Things
2. A World Destroyed
3. Big Dreams
4. A New Hope / Dad Leaves
6. The Third Tale
7. I Wish I Had A Hundred Years
8. The Truth
9. End Credits
10. Montage (feat. Felicity Jones)
11. Tear Up This Town (Film Version) - Keane$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Great Mother: Holy MonsterItaly's Hierophant have been making waves since their formation back in 2010. CVLT Nation called their self-titled first album in 2011 straight killer no filler. The band went on to tour Europe with the likes of Deafheaven, Oathbreaker, Tombs, Pelican, Cancer Bats and many more, and made an intense and relentless live reputation for themselves. Now, Hierophant presents another hit album with Great Mother: Holy Monster.1. Son of the New Faith
2. Son of the Tongue's Prison
3. Son of the Four-Hands Way
4. Son of the Carcinoma
5. Son of Egotistic Love
6. Son of Public Castration
7. Son of the Cathartic Cave
8. Son of the Black Mirror$13.99Vinyl LP - Sealed Buy Now
The Call Of The CosmosLavishing in pop structures but drawing in myriad influences to the wondrous black hole, The Call Of The Cosmos features some shimmering spaciousness but also sleazy exotica-themes, not unlike a Lee Hazelwood production infected with Joe Meek s ghost. Roswell s own songwriting and voice recalls a solar-fried Bobby Gillespie, an artist he no doubt originally influenced with the Spacemen 3. Elsewhere, there s truly psychedelic excursions into outsiderdom which come off like the The Seeds mutating ever larger into lysergic-dipped monsters.1. Interplanetary Spaceliner
2. Give Peace Another Chance
3. The Girl From Orbit
4. Asteroid No. B 612
5. Island Of Ether
7. Outskirts Of Infinity
8. Counter Clock World
9. Time Is Of The Essence$26.99Vinyl LP - Sealed Buy Now
NOW That's What I Call HalloweenPressed On 2x 180-Gram Orange & Purple Vinyl
NOW That's What I Call Music!, the world's best-selling multi-artist album series, is pleased to announce the upcoming release of NOW Halloween!, the NOW brand's spooktacular first foray into the tricks and treats of Halloween-themed rock and pop music, ranging from TV (True Blood) and movie themes (Halloween, The Exorcist, Beetlejuice) to novelty smashes (Monster Mash, Werewolves of London) to radio perennials (Season of the Witch, Don't Fear the Reaper, I Put a Spell on You).
NOW Halloween! showcases 18 Halloween-themed classic hits from a variety of artists including director John Carpenter's Theme from Halloween, Rob Zombie's Dragula, Saint Louis Symphony Orchestra & Chorus' O Fortuna, Mike Oldfield's Tubular Bells/Theme from The Exorcist, Blue Oyster Cult's (Don't Fear) The Reaper, INXS's Devil Inside, Jace Everett's Bad Things/Theme from True Blood, Warren Zevon's Werewolves of London, The Specials' Ghost Town, Oingo Boingo's Dead Man's Party, Bobby Boris Pickett and the Crypt-Keepers' Monster Mash, The Citizens of Halloween's This is Halloween, Donovan's Season of the Witch, Nina Simone's I Put A Spell On You, Danny Elfman's Beetlejuice: Main Title/End Title, Run-D.M.C.'s Ghostbusters, DJ Jazzy Jeff & The Fresh Prince's A Nightmare On My Street and Rockwell's Somebody's Watching Me.
The premium content--by the original artists--selected for NOW Halloween! has never been available on one collection until the release of this special anthology.
NOW That's What I Call Music! debuted in the U.S. in 1998, following 15 years of multi-platinum international success. The series has generated sales exceeding 250 million albums worldwide, including more than 96 million in the U.S. alone. All 55 previous releases in NOW's numeric U.S. series have reached Billboard's Top 10, and 19 volumes have reached No. 1.LP 1
1. John Carpenter - Halloween Theme
2. Rob Zombie - Dragula
3. Saint Louis Symphony Orchestra & Chorus - O Fortuna
4. Mike Oldfield - Tubular Bells (Theme From The Exorcist)
5. Blue Oyster Cult - (Don't Fear) The Reaper
6. INXS - Devil Inside
7. Jace Everett - Bad Things (Theme from True Blood)
8. Warren Zevon - Werewolves of London
9. The Specials - Ghost Town
10. Oingo Boingo - Dead Man's Party
1. Bobby Boris Pickett and the Crypt-Kickers - Monster Mash
2. The Citizens of Halloween - This is Halloween
3. Donovan - Season Of The Witch
4. Nina Simone - I Put A Spell On You
5. Danny Elfman - Beetlejuice: Main Title/End Title
6. RUN-D.M.C. - Ghostbusters
7. DJ Jazzy Jeff & The Fresh Prince - A Nightmare On My Street
8. Rockwell - Somebody's Watching Me$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Here Be Monsters
"When they didn't know quite what was there, they put Here Be Monsters. When I think of where my career has gone over the last 35 years, it's usually in that area - off the map." --Jon Langford
Here Be Monsters finds acclaimed musician/visual artist Jon Langford and his band Skull Orchard scanning the outskirts of popular culture, its title born of medieval cartographers' term for the dragons, sea serpents, and other mythical beasties that reside beyond the boundaries of the known universe. This new album will feature a unique piece of artwork specific to each track printed on individual inserts included with copies of the CD. Best known for his work in the The Mekons and the Waco Brothers, Langford has been a leading pioneer in the assimilation of folk/country music into punk rock since the genre's first evolution over 30 years ago.
The album sees the Welsh-born, Chicago-based singer/songwriter, bandleader, producer, painter, and poet plotting a clear-eyed, sharp-elbowed course through such far-flung subjects as alternative hierarchies and astronomy, perpetual war for perpetual profit, the culture of detachment, middle age, fatherhood, fame, and the fleetingness of love. The subtext of the album is maybe the things our civilization thinks of as fixed and immovable might actually be redundant/obsolete/discredited and it's up to us to question and find new rocks to be washed up on , says Langford, who called in Mekons/Waco Brothers veteran Mike Hagler (My Morning Jacket, Wilco, Neko Case, Billy Bragg) to record this album at Chicago's Kingsize Sound Labs. Skull Orchard used to be a fairly solitary activity - songs that didn't fit anywhere else - stuff that was too Welsh or personal to bother the Mekons or Wacos with, says Langford, but something happened with the band I formed to tour with the previous record. It turned into a real group, so this is much more of a band project than any of the solo things I've done before.
Also known for being a prolific visual artist, Langford designed all the artwork for Here Be Monsters himself, including individual designs for each track that will be showcased on separate inserts in the CD and in a collage on the LP jacket. This album really brings the art and the songs together - a chicken/egg which came first situation. The songs are very visual and in some cases came directly from the paintings, continued Langford. Star maps, strange creatures, sympathetic monsters, monsters we have created - the little poem at the top of the album is all about that.1. Summer Stars
3. Gone Without Trace
5. Sugar On Your Tongue
6. Drone Operator
7. Don't Believe
8. If You Hear Rumours
9. What Did You Do In The War?
10. Lil' Ray O' Light$20.99Vinyl LP - Sealed Buy Now
Superior Catholic FingerStarting with a random snippet of evangelist preaching isn't necessarily the newest of touches in music, but putting it at the beginning of a track called Monster Lust has its own appeal. Creed's second solo album was his conscious return to the more zoned-and-stoned style of Chrome, though given how there was a fair amount of that on X-Rated Fairy Tales it would be more accurate to say that on Finger Creed just decided to let everything run riot. Tempos are often more stretched out than before, effects are tweaked and then tweaked again; in short, it's everything that a lot of rock music both mainstream and underground in 1988 was generally avoiding. With new drummer Ted Preuss helping out with returning bassist Duran, Creed leads his merry men into another fantastic bout of aggro-death-science-fiction snarl. Creed's low, vicious voice perfectly suits his abrasive feedback and more, while the rhythm section can both pound out things in a metal-punk style or just go with the flow. Who Cares is one of the best in the latter vein, with heavily flanged drums mixing with the simple but effective basslines as Creed goes off with both guitar and distorted vocals. Thick blasts of feedback that fill up the mix in both rhythm and soloing often remain the way of things for Creed; Too Bad, with its quick, almost punky verses, is a great example of him at his most crazed. The title track is one of Creed's best, a slow-and-low number with another great taking-off-to-Mars solo from the band and some disturbing rumbles down deep in the bass. Sometimes things maybe get a bit lost along the way -- The Cookie Jar descends into some aimless bits before picking up the groove again -- but otherwise Creed once again is flying high.
-All Music Guide1. Monster Lust
2. Mustard Dog
3. Superior Catholic Finger
4. Too Bad
5. The Bridge
6. Who Cares
7. The Cookie Jar
8. Weekends$37.99180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
PestePeste was recorded in Italy (where Hierophant is headquartered) at MV Multimedia Studio. This 10-song album is the follow-up to 2013's acclaimed Great Mother : Holy Monster, which was called ...a searing brand of no-holds-barred dark hardcore that's characterized by bleak, unrelenting guitars and harsh, incomprehensible vocals by Big Cheese Magazine.
It was hard to fathom Hierophant harnessing the potential to create a record heavier and more malicious than Great Mother : Holy Monster, an already pummeling whiplash of American D-beat-inflected metallic hardcore. Lo and behold: Peste manages just that as a superior, succinctly crushing assault, its tendencies largely erring on the side of European death metal. Hierophant spell out the desolation and desperation leveled by a war amid the id, ego and super-ego, all torturous, violent imagery and morbid, damning assertions that make it a pleasantly grim nightmare to suffer through.1. Inganno
10. Inferno$19.99Vinyl LP - Sealed Buy Now
Wall Of SoundI thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.
Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.
I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.
It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.
The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.
This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.
Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.
I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.
Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what
Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.1. Self Pollution
2. Sorrow and Madness
5. For A Friend
6. Pussy Ghost
7. The Blackest Rose
8. Something to Fight
9. The Soldier
11. The Last Lament$23.99Vinyl LP - Sealed Buy Now
Run River North
2-LP Gatefold Package With Bonus Track
"Run River North stays the course - and finds success." - NPR
"Snappy rock and chamber folk frames their tales of their parents' dreams and struggles to find purchase in America."
- Wall Street Journal
"the band's ambitious folk pop instrumentals, and embellished with frontman Alex Hwang's dulcet, Ben Gibbard-like tones,
is a sense of possibility" - MTV World
In the course of several months, Run River North went from playing a handful of hometown shows in Los Angeles to
performing to an audience of millions on late-night show Jimmy Kimmel Live! It was an explosive trajectory for the sextet,
whose uplifting anthems march to the beat of drums, jangling guitars and a rapturous string section. The rapid ascent from
obscurity launched a new chapter for the band (then called Monsters Calling Home), whose upcoming full-length self-titled
debut ventures further into effervescent rock anchored with a down-home aesthetic.
The band recorded their self-titled debut with producer Phil Ek (Fleet Foxes, Built to Spill, Band of Horses). The songs ebb
and flow with optimism, traversing emotional and musical landscapes woven into the strings duo of Daniel Chae and
Jennifer Rim, alongside the galloping rhythm section of bassist Joe Chun, keyboardist Sally Kang and drummer John
Chong. Together, their voices coalesce as one, a chorus calling out with a gentle urgency. The music of Run River North
explores the ever-shifting search for self, from the energetic indie-rock interludes to the lonesome guitar strums, always
asking the question: Is home a place or is it the people in your life? "We're not a posh, polished pop sound," says Alex
Hwang, Run River North's singer/songwriter. "We have stories we want to tell and they take a little more time. After all, the
journey to find your place is a long one, it's an ongoing, evolving adventure."1. Monsters Calling Home
3. Lying Beast
4. Run River North
5. Growing Up
6. Fight To Keep
7. In The Water
11. Banner$25.99Vinyl LP - 2 LPs Sealed Buy Now
Suicide SocietyWith "Suicide Society", Annihilator goes headfirst into some of the most technically perfect, crisp, and crushingly taut, riffage Waters has ever produced. Although Waters' vocals keep traces of stylings from his "King of the Kill" album, they now evoke a surprising blend of legends such as Staley, Osbourne, Hetfield and Mustaine. This, in a twisted way, mirrors Waters' signature blend of riffing, drums grooves and bass; all drawing from multiple sources and genres. Waters has built a worldwide reputation as being a premier guitarist and songwriter; the conciseness and arrangement of "Creepin' Again" is both an air-guitarist's dream and a sharp reminder of this. The gloriously-brutal thrash of "My Revenge" calls up a vintage of '85 with the technical chops of 2015. The neo-classic title track defiantly expresses anger at the state of world affairs, while offering up hope in closing. With the multi-layered power of the anthem "Snap", Waters illustrates the diversity of Annihilator's sound, without sacrificing one decibel of attack. Metal fans all across the world are aware of Annihilator's stellar, energetic and "real" live shows. Drum monster Mike Harshaw continues on for his 4th year with the band, one familiar name returns & another is born: bassist Cam Dixon (from "King of the Kill" era) returns to the fold & guitarist Aaron Homma makes his debut with the band. For further infos see: www.udr-music.com and www.annihilatormetal.com1. Suicide Society
2. My Revenge
4. Creepin' Again
5. Narcotic Avenue
6. The One You Serve
7. Break, Enter
8. Death Scent
9. Every Minute$29.99Vinyl LP - Sealed Buy Now
The Violent Sleep Of ReasonPressed On Grey / Black Splatter
Limited To 1000 Copies
The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.
"There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.
For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."
The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.
"Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."
But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."
Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."
At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"
A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."
Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.
"No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."
As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."
But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH
"He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."
So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?
"In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."
Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.1. Clockworks
2. Born In Dissonance
4. By The Ton
5. Violent Sleep Of Reason
6. Ivory Tower
9. Our Rage Won't Die
10. Into Decay$27.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Pacific Rim Soundtrack180 Gram Audiophile Vinyl
Featuring Tom Morello (Rage Against The Machine, Audioslave) On Four Tracks
Includes 6-Page Insert
PVC Protective Sleeve
Pacific Rim is a 2013 American science fiction monster film directed by Guillermo del Toro, and starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Burn Gorman, Robert Kazinsky, Max Martini, and Ron Perlman.
The film is set in the future, when Earth is at war with the Kaiju, colossal monsters which have emerged from an interdimensional portal on the bottom of the Pacific Ocean. To combat the monsters, humanity unites to create the Jaegers, gigantic humanoid mechas each controlled by at least two pilots, whose minds are joined by a neural bridge. Focusing on the war's later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori as part of a last-ditch effort to defeat the Kaiju. The movie was highly successful in many territories, earning more than $411 million.
The film's score was composed by Ramin Djawadi, with guest musicians Tom Morello (Rage Against The Machine, Audioslave) and Priscilla Ahn. Ramin Djawadi is best known for his scores for the movies Warcraft, Iron Man, Prison Break and for HBO's hit series Game of Thrones.LP 1
1. Pacific Rim (feat. Tom Morello)
2. Gipsy Danger
3. Canceling The Apocalypse
4. Just A Memory
5. 2500 Tons Of Awesome
6. The Shatterdome
7. Mako (feat. Priscilla Ahn)
8. Call Me Newt
9. Jaeger Tech (feat. Tom Morello)
10. To Fight Monsters We Created Monsters
11. Better Than New
1. We Are The Resistance
2. Double Event
3. Striker Eureka
4. Physical Compatibility
5. Category 5
7. Go Big Or Go Extinct (feat. Tom Morello)
8. Hannibal Chau
9. For My Family
10. No Pulse (feat. Tom Morello)
11. Kaiju Groupie
12. Deep Beneath The Pacific
13. The Breach
14. We Need A New Weapon$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Limited, Numbered Edition Of 1,500 Copies
Pressed On Audiophile-grade 180 Gram Vinyl At
Pallas Group In Germany
Mastered From Original Analog Tapes By Bernie
Features Jim Hall On Guitar And Connie Kay On
Everyone wanted Desmond to come up with a sequel to the monster
hit "Take Five"; and so he did, reworking the tune and playfully
designating the meter as 10/8. Hence "Take Ten," a worthy sequel with
a solo that has a Middle-Eastern feeling akin to Desmond's famous
extemporaneous excursion with Brubeck in "Le Souk" back in 1954.
It was here that Desmond also unveiled a spin-off of the then-red-hot
bossa nova groove that he called "bossa antigua" (a sardonic play-on-words meaning "old thing"), which laid the ground for Desmond's
next album and a few more later in the decade. Jim Hall now gets
plenty of room to stretch out, supported by Connie Kay's gently
dropped bombs, and he is the perfect understated swinging foil for
the wistful altoist. There is not a single track here that isn't loaded with
ingeniously worked out, always melodic ideas. Now Take Ten finally
gets the audiophile treatment it deserves, with this 180gram reissue,
mastered from original analog tapes by Bernie Grundman. Each copy
of this limited edition release is numbered with a gold foil stamp.1. Take Ten
2. El Prince
3. Alone Together
5. Theme From Black Orpheus
7. Samba De Orpheu
8. The One I Love (Belongs To Somebody Else)$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Rated OWith Rated O, Oneida has delivered a monster which happens to be the crowning achievement of their storied creative lives. By producing this colossus they have also created the necessity of its destruction, which within the confines of this tremendous accomplishment, they do so handily and with utter fluency. Perhaps Rated O represents the encyclopedic representation of Oneida music, creativity and insatiability. The music contained within the covers of Rated O must be seen as a gifted wilderness that when traversed will grant the traveler both a fractured mirror and a demolished and worried pathway deeper into the abyss. This album is an attempt to contain the entirety of Oneida and thus it points the way to infinite rebirth and boundless creativity. It is a finite map and the suggestion of unknown worlds.
Oneida has been releasing genre-defying music since 1997. They have nine full-length albums (one as double album, and now one as triple album) and various EPs and singles to their name. The list of great musicians and artists that Oneida have performed or collaborated with is far too extensive to briefly summarize here. They are critical darlings, they have become ambassadors for Jagjaguwar, and they are paying it forward with a label of their own called Brah Records (distributed by Jagjaguwar). For the reductivist in you, consider Oneida the bastard offspring of a Can/Suicide marriage, a band who is not afraid to pluck, tap, bend, synth or crash their way to the various extremes of rock, pop, folk and the avant-garde, and who brilliantly do so without alienating the respective fans of any of these so-called genres.
This triple LP version comes in a beautiful triple pocket gatefold jacket and contains a digital download coupon for free MP3s of all three platters.
1. Whats Up, Jackal?
2. 10:30 at the Oasis
3. Story of O
4. The Human Factor
5. The River
6. I Will Haunt You
7. The Life You Preferred
8. Ghost in the Room
10. It Was a Wall
11. Luxury Travel
13. End of Time
14. Folk Wisdom$29.99Vinyl LP - 3 LPs Sealed Buy Now
PrimariesWIN WIN is the Brooklyn production trio of Alex Epton (producer XXX¢hange), Chris Devlin, and Ryan Sciaino (DJ/video artist Ghostdad). A band that at every step further defies classification, WIN WIN conjures its most transportive work to date with Primaries: an elastic and hyper-modern album of seductive pop permanence. Moving away from sampling as instrument and inspiration, Primaries is firmly in the realm of the analog and psychedelic: anthropomorphic and cybernetic: a blueprint for a sound that's simultaneously classic and futuristic. Couch Paranoia blows in on a wind of living, breathing synthesizers, disembodied arpeggios and call-and-response robotics. Album centrepiece Been So Long (penned with TV On The Radio's Jahphet Landis) crystallizes in perfect chorus, while the vintage sun-kissed surf jam Waster certifies WIN WIN as 'pure hedonistic pleasure-center music' (Stereogum). Newly signed to Arts & Crafts, following WIN WIN (2011) and Double Vision (2012) on Vice Records, WIN WIN has made an absolute monster of an artwork with the zeitgeist of 2015 as its source. With Primaries, the WIN WIN three have honed their most imaginative statement yet. The possibilities are endless when matching human to machine: this is the new chromatic sheen.1. It's Karma Too
2. Been So Long
3. Couch Paranoia
7. Don't Freak Out
8. Holly Body
9. Wash 'N' Repeat$22.99Vinyl LP - Sealed Buy Now
Monolith Of PhobosTwo worlds have collided, and what glorious and odd worlds they are. After Primus and The Ghost of a Saber Tooth Tiger completed a successful summer tour, Les Claypool and Sean Lennon decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the full-length release Monolith of Phobos.
Released via ATO records, the album takes listeners on a stimulating psychedelic journey through the cosmos.
"Sean is a musical mutant after my own heart," said Claypool. "He definitely reflects his genetics-not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew."
Over the course of six weeks or so, the two wrote and recorded a total of ten songs with both of them sharing various vocal and instrumental responsibilities, going beyond their core instruments of bass and guitar.
Claypool explained, "Usually I play the drums and percussion on my records but Sean has such a different feel than I do, it just made more sense for him to man the kit on most of the tunes on this project. I took the helm at my old vintage API console and let him bang away. His drumming is like a cross between Ringo and Nick Mason. But I think folks will be most surprised by what a monster guitar player he is, especially when you prod him a bit."
In astronomical terms, the Monolith of Phobos is a large rock on Mars's Phobos moon. As the phrase implies, this album is an old-school approach to a psychedelic space rock record.1. The Monolith Of Phobos
2. Cricket and the Genie - Movement I, The Delirium
3. Cricket and the Genie - Movement II, Oratorio Di Cricket
4. Mr. Wright
5. Boomerang Baby
6. Breath of a Salesman
7. Captain Lariat
9. Oxycontin Girl
10. Bubbles Burst
11. There's No Underwear In Space$21.99Vinyl LP - 2 LPs Sealed Buy Now
All N All (Pre-Order)40th Anniversary Limited Edition
180 Gram Translucent Gold Vinyl With Gatefold Cover
In 1977, the hit making machine of Maurice White, Verdine White, Phillip Bailey, Ralph Johnson and Co. drove the EWF brand into new stratospheric heights. With the help of a collection of amazing songs that reached new boundaries, netting the funk and soul superstars multi- platinum heights with their multiple Grammy Award winning All 'N All.
All 'N All leads off with the unbelievable funk groove smash Serpentine Fire featuring the voice and stellar persona of the late great Maurice White. Further smashes drove the album to the top of the charts with monster hits like Fantasy and I'll Write A Song For You, both featuring the super vocals of Phillip Bailey, plus the Grammy Award winning instrumental Runnin' and the great Maurice White smash hits Love's Holiday and Be Ever Wonderful. This masterpiece included enough hits to be called a greatest hits album in its own right, making this multi-platinum LP one of the most revered in their long lasting and huge catalog of EWF recordings.
For this 40th Anniversary Limited Edition, the LP is mastered impeccably by Joe Reagoso (Donny Hathaway/ Aretha Franklin/Chic) for the first time on audiophile translucent gold vinyl, the All 'N All LP will truly become one of the most important and historical 180 Gram Audiophile Vinyl titles in quite some time.
We further enhance this limited edition smash with the original stunning gatefold cover featuring the original LP sized artwork elements for the first time in decades, as well featuring a double sided 12 X 24 poster, featuring photos of the band, lyrics and a new quote from the late great Maurice White for this special anniversary Friday Music release.1. Serpentine Fire
3. In The Market Place (Interlude)
5. Love's Holiday
6. Brazilian Rhyme (Interlude)
7. I'll Write A Song For You
8. Magic Mind
10. Brazilian Rhyme (Interlude)
11. Be Ever Wonderful$32.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Quicksilver AnthologyMastered by Joe Reagoso from the Original Capitol Records Tapes w/ Ron McMaster
Along with fellow superstars Jefferson Airplane, Steve Miller Band and The Grateful Dead, Quicksilver Messenger Service were one of the first Bay Area rock acts that helped usher in the progressive rock/acid rock movement during the height of the Summer Of Love in San Francisco. With its core line-up of David Freiberg, Dino Valenti, Greg Elmore, Gary Duncan, Nicky Hopkins and John Cipollina, this amazing band truly delivered many fine recordings during their successful reign at Capitol Records.
Anthems of the era still resonate today with society issues and world problems as Quicksilver foretold with their classic signature tunes like Fresh Air, What About Me, Hope and Pride Of Man. With the superstar talents that made up this band over the years, it was not uncommon to hear radio stations play entire sides of their revolutionary albums during the dawn of FM and underground radio.
Capitol Records awarded Quicksilver and their huge fan base with a very extensive and amazing Greatest Hits package called Anthology back in 1973. Right from the start you get a healthy three track serving from their first monster release Quicksilver Messenger Service, along with more solid tunes from other fine albums like Happy Trails, Shady Grove, Just For Love, What About Me and others classics.
Out of print for many years, Friday Music has announced the first time 180 Gram Audiophile Vinyl release of their classic Capitol Records release Quicksilvers Anthology on Friday Music. This amazing album features 16 of their most important songs from their legendary albums from 1967 through 1973. From the early acid rock sounds of Dinos Song and the 12 minute epic The Fool, to later day hits like the aforementioned Fresh Air, What About Me and Just For Love, this album truly shows the relevance and importance of this sorely missed iconic band.
Mastered impeccably from the original Capitol Records tapes by Joe Reagoso and Ron McMaster, this super limited edition album also boasts the original gatefold cover album art, including the silver on black embossed Quicksilver logo. The two HQ vinyl LPs are also protected by poly lined sleeves, as well as a poly bag to help keep the album cover and albums in great condition.LP 1
1. Pride of Man (1967) [from Quicksilver Messenger Service]
2. Dino's Song (1967) [from Quicksilver Messenger Service]
3. The Fool (1967) [from Quicksilver Messenger Service]
4. Bears (1968) [45 RPM only single release]
5. Mona (1969) [from Happy Trails]
6. Edward, the Mad Shirt Grinder (1969) [from Shady Grove]
1. Three or Four Feet from Home (1969) [from Shady Grove]
2. Fresh Air (1970) [from Just For Love]
3. Just for Love (1970) [from Just For Love]
4. Spindrifter (1970) [from What About Me]
5. Local Color (1970) [from What About Me]
6. What About Me (1970) [from What About Me]
7. Don't Cry My Lady Love (1971) [from Quicksilver]
8. Hope (1971) [from Quicksilver]
9. Fire Brothers (1971) [from Quicksilver]
10. I Found Love (1971) [from Quicksilver]$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Golden Butter: The Best Of The Paul Butterfield Blues Band
The First Time Audiophile Vinyl 40th Anniversary Presentation Of Their Legendary Elektra Recordings
Mastered Impeccably From The Original Elektra Records Tapes by Joe Reagoso at Friday Music Studios & At Capitol Records With Ron McMaster
Features The Original Gatefold Cover Album Art & Essay by Tony Glover
Along with fellow superstars Jefferson Airplane, Steve Miller Band and The Grateful Dead, The Paul Butterfield Blues Band was one of the first powerhouse rock acts of the sixties. With their phenomenal brand of Chicago blues music unlike any band before or after them, they helped to usher in the progressive underground rock movement.
With its core line-up of Paul Butterfield (harmonica/lead vocalist), Mike Bloomfield (guitar), Elvin Bishop (guitar), Sam Lay(drums), Mark Nataflin (keyboards) and Jerome Arnold (bass), this amazing band truly delivered many legendary blues and rock recordings during their successful reign at Elektra Records.
Blues masterpieces of the era still resonate today as Paul Butterfield and Co. foretold with their classic signature tunes like Born In Chicago, Look Over Yonders Wall, Mellow Down Easy and the mammoth blues prog-rocker East West. With the superstar talents that made up this band over the years, it was not uncommon to hear radio stations play entire sides of their revolutionary albums during the dawn of FM and underground radio.
Later albums would reveal even further extensions of the blues rock genre with classic renditions like Marvin Gaye's One More Heartache, Michael Nesmith's Mary Mary, plus more of their own prolific standards like Last Hope's Gone, Morning Blues and of course their Woodstock 1969 anthem Love March.
Elektra awarded The Paul Butterfield Blues Band and their huge fan base with a very extensive and amazing "Greatest Hits" package called Golden Butter back in 1972. Right from the start you get a healthy serving from their first monster release The Paul Butterfield Blues along with more solid tunes from other fine albums like East West, The Resurrection of Pigboy Crabshaw, In My Own Dream, Live and Keep On Movin'.
Out of print on vinyl for many years, it is with great pride and honor to announce the first time 180 Gram Audiophile Vinyl release of The Paul Butterfield Blues Band classic Golden Butter - The Best Of The Paul Butterfield Blues Band on Friday Music.
As a first installment in the Paul Butterfield/Friday Music 180 Gram Audiophile Vinyl Series, this amazing album features 18 of their most important songs from their legendary albums from1965 through 1973. From the early blues rock sounds of Shake Your Money-Maker and the lengthy live epic Driftin' and Driftin' to later day album radio favorites like Blind Leading the Blind, One More Mile and the pivotal Willie Dixon favorite Spoonful, this album truly shows the relevance and importance of this sorely missed iconic band.
Mastered impeccably from the original Elektra Records tapes by Joe Reagoso at Friday Music Studios and at Capitol Records with Ron McMaster, this super limited edition album also boasts the original gatefold cover album art and wonderful essay by Tony Glover, not seen in years!
The two HQ vinyl LP's are also protected by polylined sleeves as well as a polybag to help keep the album cover and albums in great condition for your blues collection.
The Paul Butterfield Band Golden Butter First Time 180 Gram Audiophile Vinyl Sounding blusier than ever Nothin' But Some Of The Finest Blues Ever From Chicago exclusively from your friends at Friday Music! In My Own DreamLP 1
1. Born In Chicago
2. Shake Your Money-Maker
3. Mellow Down Easy
4. Our Love Is Drifting
5. Mystery Train
6. Look Over Yonders Wall
8. Walkin' Blues
9. Get Out of My Life, Woman
10. Mary, Mary
2. One More Mile
3. One More Heartache
4. Last Hope's Gone
5. In My Own Dream
6. Love March
7. Driftin' and Driftin'
8. Blind Leading the Blind$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Reaching Into InfinityPressed On 2x Colored Vinyl
Long running Grammy-nominated extreme melodic power metal band DragonForce are set to release their seventh album, 'Reaching Into Infinity.' Once again recorded with Jens Bogren (Opeth, Katatonia, Soilwork), the producer extraordinaire who helmed the UK-based group's now three-year-old previous record 'Maximum Overload,' it will be available via Metal Blade Records in the United States.
'Reaching Into Infinity' introduces Italian drummer Gee Anzalone, who joined the band for their first ever 'best-of' collection, 'Killer Elite: The Hits, The Highs, The Vids', released in 2016. It's the third DragonForce album to feature frontman Marc Hudson, whose reign at the mic now enters its sixth year.
Musically speaking, 'Reaching Into Infinity' continues where DragonForce left off with 'Maximum Overload', the band's faster material becoming even faster still, while the melodic parts head even further in that particular direction. The band offers no apologies for the inclusion of a 1980s rock-style ballad entitled 'Silence' and, at the other end of the spectrum, there's even an 11-minute multi-tempoed monster called 'The Edge Of The World'.
"'The Edge Of The World' is DragonForce's longest ever song," says Li proudly. "In some ways, this album is more epic than anything we've done before."'The Edge Of The World' is extremely ambitious, channeling growled vocals from Hudson and fusing them with a stunning arrangement that twists and turns like the proverbial dragon's tail. The 'Force go prog-rock, anyone?
"Why not?" Li responds. "Marc's favorite style of music is prog, and I'm a massive fan of Dream Theater, so there's an element of that going on. With each album that we make, the band reveals more and more if its influences, constantly adding to what we can do."
"We have proven that playing fast is something we were good at, so this time I wanted to bring even more diversity into our music," Fred elaborates. "It's great to challenge ourselves instead of staying in a comfort zone, and I really wanted to experiment with Marc's vocals. I think people are going to be surprised at his brutality."
The title corresponds with the album's highly impressive sleeve art, which features a dragon bursting through a wormhole into a hi-tech, futuristic cityscape.
"The dragon represents us - DragonForce - and a form of music that's been around for a very long time, emerging into an outside world that's infinitely more crazy and chaotic than it was ten years ago," Li explains, using considerable understatement. "Everyone is saying that there's no future and there's a lot of fear and uncertainty, especially for younger people, but our music is an escape from it all."
The bulk of the album was laid down at Fascination Street Studios in Sweden, though additional parts were cut in studios around the UK and in California. They had to be - "Since 'Killer Elite' it's been non-stop for us," Li comments.
Adds Leclercq: "We flew out, played a festival, headed back into the studio, then went back out again. It was very intense and tiring. I obviously played bass but also a lot of rhythm guitar, electric and acoustic, and lost my temper a few times - I think we all did at some point because we wanted to deliver nothing but the best."
Expect many of these songs to become firm live favorites, particularly the super-fast 'Midnight Madness' (feted as the album's second video track), when DragonForce hit the road again. As usual, their itinerary will take them to the four corners of the world.LP 1
1. Reaching into Infinity
2. Ashes of the Dawn
3. Judgement Day
4. Astral Empire
5. Curse of Darkness
7. Midnight Madness
2. Land of Shattered Dreams
3. The Edge of the World
4. Our Final Stand
5. Hatred and Revenge (Bonus Track)
6. Evil Dead (Bonus Track)$33.99Colored Vinyl LP -2 LPs Sealed Buy Now
Manley Jumbo Shrimp Pre-Amplifier
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.
Handcrafted in the USA
The JUMBO SHRIMP shares key outward features found in many of its counterparts both past and present. It is a twochannel single-ended line level control preamplifier with five sets of stereo inputs, and two sets of paralleled stereo line outputs. A five-position input selector switch routes the chosen signal directly to the first amplifier tube's control grid. Amplified signals, boosted about 4 times [11.8 dB] are then fed through a dedicated White-Follower stage (using 5670 triodes) to effortlessly drive the (motorized!) high quality ALPS stereo variable attenuator, known for its stability, long life, ease of servicing and good inter-channel level tracking characteristics. This is followed by a similarly appealing, center-detented ALPS stereo balance potentiometer.
The attenuator network output is then fed to a special White-follower output stage. This output circuit has been a favorite of ours for many years mainly due to the stage's inherently low output impedance, simplicity, wide bandwidth, ease of drive, modest feedback requirements and graceful overload characteristics. Ordinarily, the typical JUMBO SHRIMP user would not ever begin to approach the limits of this output stage under normal line and loading circumstances.
High quality polypropylene dielectric film-and-foil capacitors have been employed at all signal-coupling points in the circuit along with two extravagant 30 microfarad metalized monsters coupling the output stage signals to the output RCA jacks. These are all MultiCaps made by our buddy Bas Lim at Rel Cap. We know you would rather listen to superior capacitors such as these over some cheap electrolytic capacitors like you might find in other gear.
But the JUMBO SHRIMP's cardinal feature is its uncomplex non-inverting signal path. This minimal signal path approach is designed to bring unbalanced RCA-type line inputs up to levels suitable for proper drive of downstream power amplifiers in the simplest and most direct way possible. This is accomplished by using only three active stages, as described above, through the judicious use of vacuum tubes, whose purpose-designed application in audio amplifcation is, as always, pressed to full advantage. By so doing, the endeavor here is to provide the most direct, uncolored, quiet and wide-band signal path possible so that the native character of the chosen source material may be heard with out encumbrances from a set of imposed limitations brought on by the preamp. In this spirit, there are no provisions for balanced inputs or outputs. Since the whole guts of the Jumbo Shrimp are inherently single-ended, adding balanced I/O would require additional circuitry, transformers, or IC's which would inevitably color the sound.
Lastly, we would be remiss if we did not mention the clever REMORA REMOTE CONTROL that comes standard with every Jumbo Shrimp. This little box commands the motorized ALPS volume control via radio frequency signals, so it works through doors, walls, cabinets, you name it!$3,850.00Manley Jumbo Shrimp Preamplifier Buy Now
A New Career In A New Town (1977-1982) (Box Set)
DAVID BOWIE 'A NEW CAREER IN A NEW TOWN (1977 - 1982)' is the third in a series of box sets spanning his career from 1969 and the follow-up to the awarding winning and critically acclaimed DAVID BOWIE 'FIVE YEARS (1969 - 1973)' and DAVID BOWIE 'WHO CAN I BE NOW? (1974 - 1976)'.
This 13 LP, 180g audiophile vinyl box set features all of the material officially released by David Bowie between 1977 and 1982 including all four studio albums, his 1978 live album 'STAGE' in both original and expanded tracklistings, the newly compiled HEROES E.P., collecting together both the German and French long and single versions of Heroes, and the exclusive new compilation of single versions, non-album singles and B-sides, 'RE:CALL 3'. Also included exclusively is a brand new remix of the 1979 album 'LODGER' by long time Bowie producer/collaborator Tony Visconti.
- 84 Page hardback book
- Low (remastered) (1 LP)
- Heroes (remastered) (1LP)
- Heroes E.P. (remastered) (12 Single)*
- Stage (remastered) (2 LP Yellow Vinyl) *
- Stage (2017) (remastered) (3 LP)
- Lodger (remastered) (1 LP)
- Lodger (Tony Visconti 2017 Mix) (1 LP)*
- Scary Monsters (And Super Creeps) (1 LP)
- Re:Call 3 (single versions, non-album singles and B-sides) (remastered) (2LP)*
The box set's accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Anton Corbijn, Helmut Newton, Andrew Kent, Steve Schapiro, Duffy and many others as well as historical press reviews and technical notes about the albums from producer Tony Visconti.Low (remastered) (1 LP)
1. Speed Of Life
2. Breaking Glass
3. What In The World
4. Sound And Vision
5. Always Crashing In The Same Car
6. Be My Wife
7. A New Career In A New Town
9. Art Decade
10. Weeping Wall
"Heroes" (remastered) (1 LP)
1. Beauty And The Beast
2. Joe The Lion
4. Sons Of The Silent Age
6. V-2 Schneider
7. Sense Of Doubt
8. Moss Garden
10. The Secret Life Of Arabia
"Heroes" E.P. (remastered) (12" Single)
1. "Heroes"/"Helden" (German album version)
2. "Helden" (German single version)
3. "Heroes"/"HÉros" (French album version)
4. "HÉros" (French single version)
Stage (remastered) (2 LP Yellow Vinyl)
1. Hang On To Yourself
2. Ziggy Stardust
3. Five Years
4. Soul Love
6. Station To Station
8. TVC 15
2. Speed Of Life
3. Art Decade
4. Sense Of Doubt
5. Breaking Glass
7. What In The World
9. Beauty And The Beast
Stage (2017) (remastered) (3 LP)
3. What In The World
4. Be My Wife
5. The Jean Genie *
7. Sense Of Doubt
1. Speed Of Life
2. Breaking Glass
3. Beauty And The Beast
1. Five Years
2. Soul Love
4. Hang On To Yourself
5. Ziggy Stardust
6. Suffragette City *
1. Art Decade
2. Alabama Song
3. Station To Station
5. TVC 15
* Previously unreleased
Lodger (remastered) (1 LP)
LODGER (2017 Tony Visconti mix)
1. Fantastic Voyage
2. African Night Flight
3. Move On
4. Yassassin (Turkish for: Long Live)
5. Red Sails
7. Look Back In Anger
8. Boys Keep Swinging
10. Red Money
Scary Monsters (And Super Creeps) (1 LP)
1. It's No Game (Part 1)
2. Up The Hill Backwards
3. Scary Monsters (And Super Creeps)
4. Ashes To Ashes
6. Teenage Wildlife
7. Scream Like A Baby
8. Kingdom Come
9. Because You're Young
10. It's No Game (Part 2)
Re:Call 3 (non-album singles, single versions and b-sides) (remastered) (2 LP)
1. "Heroes" (single version)
2. Beauty And The Beast (extended version)
3. Breaking Glass (Australian single version)
4. Yassassin (single version)
5. D.J. (single version)
6. Alabama Song
7. Space Oddity (1979 version)
8. Ashes To Ashes (single version)
9. Fashion (single version)
10. Scary Monsters (And Super Creeps) (single version)
1. Crystal Japan
2. Under Pressure (single version) - Queen and David Bowie
3. Cat People (Putting Out Fire) (soundtrack album version)
4. Peace On Earth/Little Drummer Boy * - David Bowie and Bing Crosby * mono
Bertolt Brecht's Baal
5. Baal's Hymn
6. Remembering Marie A.
7. Ballad Of The Adventurers
8. The Drowned Girl
9. The Dirty Song$249.99180 Gram Audiophile Virgin Vinyl LP Box Set - 13 LPs Sealed Buy Now
Klipsch Subwoofer KW-120-THX
12 THX Ultra2 Certified Passive Subwoofer
The world's finest theaters choose Klipsch cinema systems because they deliver the full power of the most intense action movie soundtracks without losing musical definition. When designing the KW-120-THX subwoofer, Klipsch applied its theater experience to bring the same powerful, deep-driving bass to the comforts of home.
To achieve intense, deep-bass output in large rooms, this high-performance subwoofer that is part of the THX® Ultra2 family features a 12-inch, long-throw Cerametallic™ driver and front-firing port. It includes a 15 lb motor structure and a 20-ft Monster® THX Ultra cable with Neutrik Speakon® connectors. The subwoofer is driven by an external 1-kilowatt amplifier (KA-1000-THX) tailored to its characteristics for maximum output and reliability with incredibly low distortion.
The subwoofer's enclosure has the dado and rabbet construction used in Klipsch professional speakers to maintain structural integrity.
Finished in Galaxy black with an aluminum fascia, the KW-120-THX also includes top-of-the-line internal wiring so that every roar or explosion is heard with complete clarity.
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.$1,499.00Subwoofer KW-120-THX Buy Now
Upside Down MountainThough only 34, Conor Oberst has been a recording artist for more than two decades, starting with raw, acoustic guitar-based bedroom tracks he cut as a young teenager and initially released on cassette. After his early Omaha-based band Commander Venus broke up, Oberst recast himself as Bright Eyes, an umbrella name for Oberst, producer-keyboardist Mike Mogis and multi-instrumentalist/arranger Nathaniel Wolcott, and a shifting group of collaborators. By the time he released Lifted or The Story is in the Soil, Keep Your Ear to the Ground on Saddle Creek, the label he helped found with friends in Omaha, Oberst was a word-of-mouth success, with an avid young audience that helped to sell out his tours. The critics soon followed. Rolling Stone called him "a true American original: the ghost of Walt Whitman setting up shop in the wraith-white, rail-thin frame of an acoustic-strumming Nebraska Cure fan." The 2005 simultaneous release of two markedly different Bright Eyes albums-the more singer-songwriter-oriented I'm Wide Awake, It's Morning and the darker, computerized Digital Ash in a Digital Urn-displayed the breadth of his talent. Time Magazine listed I'm Wide Awake among its top 10 albums of the year. Since then, Bright Eyes has continued to evolve, its lineup morphing with each successive tour. While supporting his 2007 Cassadaga album, Oberst took over New York City's Town Hall for a week of sold-out shows, with his large, string-augmented ensemble outfitted spectacularly in white suits. He's also recorded and toured with Mogis, Jim James, and M. Ward as Monsters of Folk as well as with his own Mystic Valley Band. For the first leg of his summer 2014 tour, he's bringing along Wilson's other pals, the Southern Californian quartet Dawes as his support act and backing band.
"I feel lucky that I have been able to do this for as longs as I have," declares Oberst. "I've seen so many talented friends come and go, for a lot of different reasons. Sometimes they stop making music because they can't pay the bills or they lose the passion for it. At this point it is my life. I don't know another way to live. There is something fundamental in myself; I have to be this way. It completes what I am."
Upside Down Mountain features many other friends of Oberst's, including producer Jonathan Wilson, engineer Andy LeMaster, bassist Macey Taylor, multi-instrumentalist Blake Mills, and the Swedish sibling folk-rock vocal duo First Aid Kit. What started as exploratory demos with producer-musician Jonathan Wilson at his Fivestar Studios in the Echo Park neighborhood of Los Angeles, in a home Wilson rents from Oberst, became the first de facto album sessions. Returning to his native Omaha, Nebraska, Oberst kept rolling with the help of frequent collaborator, engineer, and friend Andy LeMaster at his own ARC Studios. Even more tracking followed in Omaha last November and December. Then Oberst and Wilson moved south to Blackbird Studio in Nashville.
"This is a return to an earlier way I wrote," Oberst says of the songs on Upside Down Mountain. "It's more intimate or personal, if you will. Even if all my songs come from the same place, you make different aesthetic decisions along the way. For me, language is a huge part of why I make music. I'm not the greatest guitar player or piano player-I'm not the greatest singer, either-but I feel if I can come up with melodies I like that are fused with poetry I'm proud of, then that's what I bring to the table. That's why I'm able to do this."1. Time Forgot
2. Zigzagging Toward the Light
3. Hundreds of Ways
4. Artifact #1
5. Lonely at the Top
6. Enola Gay
7. Double Life
9. Night at Lake Unknown
10. You Are Your Mother's Child
11. Governor's Ball
12. Desert Island Questionnaire
13. Common Knowledge$32.99Vinyl LP + CD - 2 LPs Sealed Buy Now