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All Them Witches'
Sleeping Through The WarProduced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons)
and mixed/engineered by UK-bred young-gun Eddie Spear, All Them Witches'
"Sleeping Through The War" is the quartet's most bold and well-crafted record
to date. The album's creation marks the f irst time in the band's history that
a record was written before entering the studio. This process allowed for an
alignment of the band's art, desire and time. Convening in Nashville for only
six days after a year of relentlessly touring their New West Records debut
"Dying Surfer Meets Their Maker," the band's spirit coalesced in a rhythm of
statement and melody that simply needs to be heard...repeatedly.
With the guidance of Cobb and Spear, "Sleeping Through The War" captures the
truest energy of the group, full blast, fun and contemplative. The record was
made with volume in mind. "Sleeping Through The War" is meant to be played
loud, cranked up and without reservation. Feel it live through your stereo
system or listen to it speak in tongues through your headphones.
The sounds are nothing without the songs and the songs are nothing without
the lyrics. This record is a result of constant touring, world travel,
overstimulated/divided humanity, and a learning of awareness and compassion.
"They are the real deal - psychedelic blues-rock warriors who pray at the
altar of Black Sabbath, space out like Pink Floyd and shred away their
bummers like Blue Cheer." - Spin1. Bulls
2. Don't Bring Me Coffee
3. Bruce Lee
5. Am I Going Up?
7. Cowboy Kirk
8. Internet$20.99Vinyl LP - Sealed Buy Now
Witches' Brew on 200-gram vinyl from Analogue Productions!
Renowned woofer Wower Remastered By Willem Makkee From The Original Tapes
Plated And Pressed By Quality Record Pressings / Tip-on Jacket By Stoughton Printing
This famous Alexander Gibson/New Symphony Orchestra of London collection from 1958 debuted at the dawn of the RCA Living Stereo era. It became one of the most sought-after Living Stereos with music by Arnold, Liszt and Mussorgsky amongst others, all with a spooky, witchy theme. The performances remain today as characterful and incisive as they were then.
We've taken this classic and given it the full Analogue Productions reissue treatment, featuring a remaster by Germany's Willem Makkee from the original analog tapes, and plating and 200-gram pressing by Quality Record Pressings. Topping it off is a thick cardboard Stoughton Printing tip-on jacket.
If such music didn't cast the right sort of spell, so many listeners wouldn't be returning to it on so many occasions, somehow feeling constantly refreshed.
This title is not eligible for discount.1. Overture To "Tam O' Shanter", Op. 52
2. Gnomus (from "Pictures at an Exhibition")
3. A Night On Bare Mountain
4. Danse Macabre, Op. 40
5. Witches' Rise (from "Hansel and Gretel")
6. Mephisto Waltz$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Burning WitchThis beast has been in the works for over 3 years and now the wait is finally over! Although Burning Witch only actually existed for a short period of time (19951998) the absolutely crushing impact they left is immense! This box compiles every authorized recording the band ever made on a 4LP set with a 40 page book and a bonus DVD of live Burning Witch performances thrown in for good measure.
Towers was recorded by Steve Albini during the vernal equinox in 1996 at Robert Lang Studios, Seattle. Originally released as a demo tape in 1996 then released by Slap-A-Ham on vinyl in 1998. Southern Lord released a CD version (including Rift.Canyon.Dreams) in 1998. Remastered from the original 1/2 master tape (lost until this version) by Mell Dettmer.
Rift.Canyon.Dreams was recorded by Aaron Evil during the autumnal equinox in 1997 at Robert Lang Studios, Seattle. Originally released by Merciless Records on LP in 1998. Not only is this LP super rare, the covers were very flimsy so most existing copies have a lot of cover damage! Southern Lord released a CD version (including Towers) in 1998.
Bleeder b/w Rift.Canyon.Dreams. Bleeder was an unreleased track from the Towers Albini session. It originally came out on the split CD with Goatsnake on Hydra Head in 2000, now out of print. This song has never been released on vinyl (although test pressings for the Goatsnake split were made, finished vinyl was never produced). The Rift.Canyon.Dreams track was an unfinished outtake from the Rift.Canyon.Dreams session. It was mixed/completed by Dahlquist & Randall Dunn circa 2003 and then released on a split with ASVA (BW bassists Stuart Dahlquists then new project). The track was remixed by OMalley and Dunn in 2007 and released on the Crippled Lucifer 2CD reissue via SLR and is the version presented here.
Live at the China Club 1996. Raw, grim live evocation is the only Witch recording ever released with original 2nd guitarist Greg Anderson. This incantation was captured in Ballard, WA at the China Club (previously known as the Red Dragon) in 1996. The Witch was opening for At The Gates and Napalm Death. Anderson played 2 shows with Burning Witch, this being the second (and last!) This is the first time this is available on vinyl.
All LPs are pressed on 180g virgin black vinyl and are housed in high quality Stoughton printed tip-on and direct to board jackets. Also included in the set is a perfect bound 40 page 12 x 12 book. An aggressive visual documentation of the history of Burning Witch featuring many never before seen photos plus graphics specifically chosen for this release and some liner notes from Aaron Turner (Hydra Head Records/ISIS) and Chris Dodge (SPAZZ, Slap-a-Ham Records).
Included bound into the book is a DVD of never before released Burning Witch performances. First is video of the bands first ever live show from the Pioneer Square Theater in Seattle, May of 1996. This is the lineup with Greg Anderson on 2nd guitar. The second is the infamous Burning Witch performance on Public Access television from 27 Live in Seattle, February of 1997. The DVD was edited by Alan Dubin (Khanate) and includes a menu and full credits.LP1 - Towers
1. Sacred Predictions
2. Country Doctor
3. Tower Place
4. Sea Hag
LP2 - Rift.Canyon.Dreams
1. Warning Signs
3. History of Hell (Crippled Lucifer)
LP3 - Bleeder
1. The Bleeder
LP4 - Live at the China Club, Ballard 1996
1. The Sea Hag
2. Country Doctor
- Live show from the Pioneer Square Theater in Seattle, May 1996
- Live performance on Seattle Public Access Television, February 1997$125.99180 Gram Audiophile Virgin Vinyl LP Box Set + DVD + Book - 4 LPs Sealed Buy Now
The Cave Singers spend a good deal of time beyond the darkened edges of Seattle, in the mist and mystic, among the wolves and redwoods. And their songs, at least on record, have always been like beautiful, faded grayscale photos of this hinterland. Now, these photos are injected with hot blood and technicolor, a ferocity and bite weve yet to see from the band.
By all accounts, No Witch is The Cave Singers rock record. Laid to tape with dark wizard producer Randall Dunn (Black Mountain, Sunn O))), Boris), No Witch is grander and more lush than The Cave Singers previous efforts. Its also a nervier, scrappier affair: greasy guitars buck and rear up; Eastern-influenced blues snake through songs; gospel choirs rise up like tidal waves.
There are big, grinning nods to Beggars Banquet-era Stones, the best of Mellencamp (Clever Creatures) and the juke joint legends of Mississippi like Junior Kimbrough and R.L. Burnside (Black Leaf and No Prosecution If We Bail). Of course, its all filtered through that particular, magical Cave Singers formula: Pete Quirks reedy, behind-the-beat delivery and existential wordplay, Derek Fudescos lyrical guitar runs and drummer Marty Lunds no nonsense rhythms.1.Gifts and the Raft
7.All Land Crabs and Divinity
13.No Prosecution If We Bail
$16.99Vinyl LP - Sealed Buy Now
RIP IIIMichael Stasis is a songwriter and artist living in Los Angeles. Since the age of thirteen, he has written and recorded music in tiny homemade studios. As a child, Michael and his father would make toys and go for heady night walks through the rolling hills and lonely mansions of Bryn Athyn, Pennsylvania. With its own American folklore of wealthy industrialists, witches and dog-people, Michael's youth danced with an oil-to-water hatred of homework and beige pragmatism. Convinced that imagination and faith in the unknown are keys to the good life, he left home to study art at Cooper Union in Manhattan. For his first release on Arbutus, RIP III is the third in a greatest hits series. Largely self-recorded, his restless output (over two hundred songs) has jumped sonically and stylistically, leaving some listeners to wonder if it's the same artist at all. Stasis calls it playlist mentality, a fractured approach borrowed from current listening patterns and dwindling attention spans. This intuitive tactic, he hopes, will keep people interested, rather than lamenting a bygone era of classic anything.1. Venus Of Soap
2. Brown Cow
4. All The Ways
5. Land Of The Goths
6. Little Devil
8. Surface Area
9. The Dairy Queen
12. Smokey$17.99Vinyl LP - Sealed Buy Now
Black Moon SpellKing Tuff's new record is called Black Moon Spell.
It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California,
in the hot winter of 2014.
No one involved was prepared to make a record, but an invisible hand pushed them
to do it. Perhaps it was God or that special someone we all know and love called The
God and The Devil actually have very similar interests. They both love electric guitars
and they both want you to listen to Black Moon Spell and freak the fuck out.
There were many strange occurrences during the recording session- Dracula landlords,
flashes of mysterious light, haunted microphones, songs that mixed themselves,
demonic vortexes swirling in coffee cups, etc.
Under the Black Moon Spell you may experience euphoria, demented visions, wet
dreams, bouts of backwards laughter, and dazed confusion resulting in primordial
Fire played a very important role in the making of this album. King Tuff loves fire.
For some reason, no one can really explain how the Black Moon Spell came to be.
It just appeared one day and demanded heavy rock music and meatball subs.
Backwards messages may be found on this record.
Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered
its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip
shat itself when it heard all these guitar solos.
Can you feel the Black Moon Spell creeping up the back of yr neck yet?
King Tuff would prefer not to tell you the full story of making this record because
its long and crazy and you wouldn't believe him anyway. Also, I am King Tuff.
Magic Jake, who played bass and is beautiful like sunshine, would like to take this
moment to give you a hug and invite you to a tanning party on a beach of your choice.
Old Gary, who plays drums and has the most glorious cackle, would like to take this
moment to crack a cold one with you and invite you to watch the old ballgame with
Old Gary was out watching the old ballgame, so a wild critter named Ty Segall played
drums on the song "Black Moon Spell". Ty enjoys speaking in a goblin voice in his
Night fell on Studio B. A Tarot card leapt from the deck and said, "No human
judgement is of any value here." King Tuff agreed.
Sub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically
a shit hut made of moss, mud, and glimmering stones hidden near the graveyard,
and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats.
Punx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters,
Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies,
Moms, Dads, Truck Drivers, and Witches will all love this record.
Every song on Black Moon Spell was written without giving a shining fuck about
Listen to Black Moon Spell, turn yr volume knob up to 666, put yr lover in a 69,
and let yr inner grinagog rear it's wicked, unwashed, smiling snake head.
Listen to Black Moon Spell and give yr ears what they've been begging for all year;
a heavily weird, heavenly dark, hysterically magical Rock & Roll Sexperience.
ps. the only part of this story that isn't true is the part about the shit hut. I actually
was living at my parents' house when I was discovered. Love, KT1. Black Moon Spell
2. Sick Mind
3. Rainbow's Run
5. Beautiful Thing
6. I Love You Ugly
7. Magic Mirror
9. Demon From Hell
10. Black Holes in Stereo
12. Eyes of the Muse
13. Staircase of Diamonds
14. Eddie's Song$18.99Vinyl LP - Sealed Buy Now
Citizen Kane: Classic Film Scores For Bernard Herrmann (Pre-Order)Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!
Numbered Deluxe Laminated Gatefold Jackets!
Only 2500 Numbered Limited Edition Copies Worldwide!
Charles Gerhardt conducts the London Symphony Orchestra. Recorded by the legendary Kenneth Wilkinson at Kingsway Hall in London.
Citizen Kane: Classic Film Scores for Bernard Herrmann contains music from his many acclaimed film scores including Citizen Kane, On Dangerous Ground, Beneath The 12-Mile Reef, Hangover Square, and White Witch Doctor.
A series of original orchestral film scores by various greats from the Golden Age of orchestral soundtracks - Bernstein, Herrmann, Tiomkin, Waxman, etc. These may well be the best sounding recordings of orchestral music ever made. Stupendous bass, soundstage, dynamics, low level detail and imaging.
Newly remastered by Bernie Grundman on his completely upgraded all analogue mastering system and reissued on audiophile 45rpm LP for the first time!
Numbered Deluxe Laminated Double Gatefold Jackets
Only 2500 Numbered Limited Edition Copies Worldwide!
Audiophile 180g, 45rpm Vinyl Double LP
Pressed at RTI
Mastered by Bernie Grundman from the Original Analog Master Tapes!
Kiri Te Kanawa, soprano (4)
London Symphony Orchestra
Charles Gerhardt, conductor
This title is not eligible for discount.$54.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
The Noise Made By PeopleBroadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.
After being mired in the studio for nearly three years, Broadcast returned with their first proper full-length album, The Noise Made by People, a collection of more shimmering, weightless pop that is nostalgic for yesterday's visions of the future but remains on the cutting edge of contemporary music. Where their early singles (collected on 1997's Work and Non-Work) painted small, quaint portraits of their retro-futurism, The Noise Made by People delivers their sound in widescreen, filmic grandeur. Richly layered yet airy pieces like the album bookends, Long Was the Year and Dead the Long Year, seamlessly blend symphonic, electronic, and pop elements into smoky, evocative epics, while synth-based interludes such as Minus One and The Tower of Our Tuning present Broadcast's more detached, scientific side. Likewise, Trish Keenan's air-conditioned vocals sometime suggest a robotized Sandie Shaw or Cilla Black, but her humanity peeks out on Come on Let's Go and Papercuts. Echo's Answer and Until Then are two of the other highlights from the album, which despite all of its chilly unearthliness, is a noise made by (very talented) people.1. Long Was The Year
2. Unchanging Window
3. Minus One
4. Come On Let's Go
5. Echo's Answer
6. Tower Of Our Tuning
8. You Can Fall
9. Look Outside
10. Until Then
11. City In Progress
12. Dead The Long Year$24.99Vinyl LP - Sealed Buy Now
Over There That WayHeliotropes combine sludgy metal guitar tones, introspective shoegaze
interludes, psychedelic drone, and atmospheric harmonies to create a sound
that's as equally hard to pin down as it is alluring, earning them the title of
Village Voice's Best Garage Band Of 2014.
Heliotropes is comprised of founding member/songwriter/vocalist Jessica
Numsuwankijkul, along with a rotating cast of collaborators, including
drummer Cici Harrison, bassist Richard Thomas, and guitarist Ricci Swift,
who are all featured on the band's upcoming album.
The band's first recorded offering came with 2012's Ribbons 7", followed the
next year by their debut LP entitled A Constant Sea, which was named by
Mother Jones as one of the 10 Best Albums Of 2013. Since then, the band
has performed on the road with Esben And The Witch and toured nationally
with stops at South By Southwest, Firefly and Culture Collide, sharing the
stage with a far-reaching variety of bands including Thurston Moore, The
Geto Boys, Matt and Kim, Kurt Vile, Parquet Courts, The Black Angels and
The Raveonettes.1. Normandy
2. Wherever Live
3. War Isn't Over
5. Over There That Way
6. Dardanelles Part I
7. Dardanelles Part II
8. My Only Friend
9. I Can't Remember
10. Goodnight Soldier$18.99Vinyl LP - Sealed Buy Now
Future CrayonBroadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.
Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.
- Heather Phares (All Music)LP1
2. Still Feels Like Tears
3. Small Song IV
4. Where Youth and Laughter Go
5. One Hour Empire
6. Distant Call
7. Poem of a Dead Song
8. Hammer Without a Master
10. Chord Simple
1. Dave's Dream
3. Test Area
4. Unchanging Window / Chord Simple
5. A Man for Atlantis
6. Minus Two
7. Violent Playground
8. Belly Dance$24.99Vinyl LP - 2 LPs Sealed Buy Now
Super Session (Speakers Corner)The musicians are aiming high with their desire for a "Super Session", for it's not something that can be planned. Only when the time, place, and audience play along, when one's lucky star is shining brightly, and the musicians have a good day, then one of music's great moments might be captured on tape. Not forgetting the recording technicians who also have to be in the mood!
In 1968 this all happened to be the case with the majority of the nine numbers on the Columbia LP: Season Of The Witch (written by Donovan) in its present version is one of them, as well as You Don't Love Me and the Dylan classic It Takes A Lot To Laugh, It Takes A Train To Cry. All in all, one must consider the numbers with Steve Stills as most successful in the sense of a session because here each musician inspires the others. In the super session with Kooper and Bloomfield, the guitarist stands in the limelight while the other musicians back him up.
Very often the three soloists even surpass the greatest moments of their own groups (Al Kooper's Blood, Sweat & Tears; Mike Bloomfield's Electric Flag; Steven Stills's Buffalo Springfield). In 1968 the magazine Rolling Stone judged this album to be one of the best releases of the year: an accolade which is completely justified and is still valid to this day. What better reason to get your copy of this "highly recommended" album without delay.
- Mike Bloomfield
- Steven Stills (electric guitar)
- Al Kooper (piano, organ, vocals, guitar, electric guitar)
- Barry Goldberg (electric piano)
- Harvey Brooks (bass)
- Eddie Hoh (drums)
Production: Al Kooper
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.
This title is not eligible for discount.Albert's Shuffle
His Holy Modal Majesty
It Takes A Lot To Laugh, It Takes A Train To Cry
Season Of The Witch
You Don't Love Me
Harvey's Tune$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Garden Of Unearthly DelightsMighty Doom icons CATHEDRAL from Coventry, England for sure are one of the most unique and unpredictable acts around. These legendary merchants of slow-motion sound could care less about redundant genre restrictions and have so far incorporated everything from Doom, Psych, Folk up to Funk in their works. With their eighth album The Garden Of Unearthly Delights CATHEDRAL have achieved much more than simply living up to that reputation - the guys created timeless songs that couldn`t be farther away from standardisation, stagnation and convention.
Produced by Warren Ryker (DOWN, CROWBAR), The Garden Of Unearthly Delights is probably the most varied effort of the band so far. While a song like 'North Berwick Witch Trials' will bring back memories of such immortal riffs`n`groove as in 'Hopkins' or 'Ride', 'Tree Of Life And Death' simply tears everything to pieces with its ultra-heavy guitar sound and fierce vocals courtesy of Lee Dorrian.
The centerpiece of it all certainly is the 27-minute-long mammoth epos 'The Garden' that almost bursts with such a wealth of ideas and changes in atmosphere that other bands probably couldn`t come up with on a whole album. Using every stylistic device from female vocals up to violins and embedding it all in that typical CATHEDRAL brand of Doom, The Garden Of Unearthly Delights is a treat for every fan of the band, old and new alike.
Starting with quite sinister and ultra-slow songs on the 1990 EP In Memorium and the full-length album Forest Of Equilibrium, CATHEDRAL quickly gained cult status. The 1992 follow-up EP Soul Sacrifice brought changes soundwise and saw the band mixing traditional Doom with 70s - Hardrock and showed a first glimpse of the trademarks CATHEDRAL still represent nowadays.
After having previously toured with MORBID ANGEL and SAINT VITUS, the band embarked on the legendary Gods Of Grind - Tour with ENTOMBED, CARCASS and CONFESSOR. „The Ethereal Mirror" featured alltime faves like 'Ride' and 'Midnight Mountain' and suddenly gave CATHEDRAL the reputation as „the next big thing in Metal".
Struggling with this label, the band started to experiment on the EP Statik Majik and probably tried out every single instrument they could lay their hands on to churn out a 20-minute-track like 'Voyage Of The Homeless Sapien'. After touring with BLACK SABBATH, the guys went on to record the landmark „The Carnival Bizarre" in 1996 that brought us immortal tunes such as 'Hopkins (The Witchfinder General)' and 'Utopian Blaster' - the latter featuring Tony Iommi on guitar. Supernatural Birth Machine was released in 1996 after touring in South America, Europe and Japan amongst others. The catchy songwriting on that album echoed on Caravan Beyond Redemption in 1998, but with a heavier twist to it. The next serious change in style occurred on the gloomy and sludgy Endtyme that went almost completely without sound experiments and concentrated on ultra-grim riffing. 2002`s The VIIth Coming combined catchiness with heaviness to form a well-balanced mixture between old and new CATHEDRAL.
Now that the English fourpiece has returned with The Garden Of Unearthly Delights it`s time to follow them for new adventures in sound1. Dearth AD
2. Tree of Life & Death
3. North Berwick Witch Trials
4. Upon Azrael's Wings
6. Fields of Zagara
7. Oro the Manslayer
8. Beneath a Funereal Sun
9. The Garden$24.99Vinyl 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
Desperate Souls of Tortured TimesWelcome to the Taurean Empire; a decaying land where disease, war and corruption is rife. A wretched place of man and beast, where deception, fear and despair fills every dank alleyway and the stench of suffering drifts across endless, sun-scorched plains. As way of ensuring safe passage through this hellish hour, let us introduce your guides for the journey; four road-hardened mortals, brought together by luck, power and coincidence. Ladies and Gentlemen, take up arms and go safely as Age of Taurus show you a world inhabited by the Desperate Souls of Tortured Times....UK based Age of Taurus make no frills Doom-laden heavy metal, with an emphasis on HEAVY. Produced by Jaime Gomez Arellano (Angel Witch, Hexvessel, Ghost), 'Desperate Souls of Tortured Times' is a 42 minute collection of material written during their transition over the past three years. It's an unashamedly heavy voyage down a road less travelled, where each of the seven songs acts as a chapter from an altogether longer tale. Monstrous, mountain-shaking riffs are order of the day in the Empire, stepping aside only for Riddell's searing leads to take hold, whilst the lock-tight Bruce/Claydon rhythm section underpins all. Heading the charge from centre stage, Wright's lyrics act as a vivid narrative, painting pictures of ancient ritual and sprawling landscapes, somewhat reminiscent of Manilla Road and Brocas Helm in their prime. Some might assume that DSOTT is a concept album, however in reality, Age of Taurus is more like a 'concept band', intent on delivering undiluted and intriguing heavy metal to all that will listen.1. A Rush of Power
2. Sinking City
3. Always in the Eye
4. Walk With Me, My Queen
5. Desperate Souls
6. Embrace the Stone
7. The Bull and the Bear$34.99Vinyl LP - Sealed Buy Now
REDD-FAT-3321xAnna Von Hausswolff
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now
Several Shades Of WhyIn the quarter century since he founded Dinosaur Jr., J Mascis has created some of the era's signature songs, albums and styles. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands such as Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple and he has also guested on innumerable sessions. But Several Shades of Why, recorded at Amherst, Massachusetts' Bisquiteen Studios, is J's first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.
Nearly all acoustic, Several Shades of Why was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees).
Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriters. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure.1. Listen To Me
2. Several Shades Of Why
3. Not Enough
4. Very Nervous and Love
5. Is It Done
6. Make It Right
7. Where Are You
8. Too Deep
9. Can I
10. What Happened$17.99Vinyl LP - Sealed Buy Now
Get BackIt's doubtful that Stephen McBean set out to make The Great Rock 'N' Roll Primer when he started conjuring the
songs that would come to be Pink Mountaintops' Get Back.
The record's beginnings were reasonably straightforward: McBean had moved to Los Angeles, taken a long hiatus
from Black Mountain and an even longer one from Pink Mountaintops when he met producer Joe Cardamone, lead
singer of Icarus Line at Valley Recording Company in Burbank,CA.The two bonded quickly over Flying Nun bands,
Television Personalities, Roxy Music, Johnny Thunders, and Born Against. Joe was excited to meet someone he
actually liked. Stephen was excited to work with someone who said Sing it like you would've sung it when you were
21. Simple enough,right?
But ask him to set the scene and you'll hear about a motorcycle shop owned by Michael Barragan, former member
of Los Angeles noise rock band Plexi. You'll hear about an endless supply of rock 'n' roll video documentation for
last minute inspiration or de-evolution in the living room.Ask who's on the record and you'll get a constellation of
greats:J Mascis(DinosaurJr &Witch),Rob Barbato (Darker My Love,The Fall & Cass McCombs), Steve Kille (Dead
Meadow), Daniel Allaire (Brian Jonestown Massacre, Cass McCombs & Darker My Love), Annie Hardy (Giant
Drag), Jon Wahl(Clawhammer), and Gregg Foreman (Cat Power & Delta 72).Randal Dunn (Sunn O))),Earth, Sun
City Girls, Boris) mixed Get Back at Avast! Studios (Bikini Kill, Mudhoney, Christ On A Crutch, Soundgarden) in
Seattle. Howie Weinburg (Nirvana, Beastie Boys, Danzig, Ramones, Slayer) mastered it in Laurel Canyon.
Ask about the record itself and McBean will tell you about Alleys, curbs, walls, and cigarette stained gig flyers.An
island on the Pacific coast. Fake British towns. Slayer posters.The beauty of youth.It's about listening to Driver's Seat
and 'Guns of Brixton' and hotboxing The Duster. And suddenly it becomes clear: when the aliens do touch down
and they don't know rock 'n'roll, you can play them Get Back start to finish, and that'll be all they need.
Get Back comes out swinging with Ambulance City, a head-trip of a song with a chugging, insistent, oddly timeless
guitar riff sitting front and center.The Second Summer of Love needs almost no explanation; it dives into 80s VHS
saturation and never comes up for air. Sell Your Soul is a deep sigh and a motorcycle ride, a roll in the grass
lamenting summertime blues with a little grit and a little harmony. And North Hollywood Microwaves is
downright obscene. But what better way to start Side B than this? You can listen at hushed volumes so your parents
don't hear, you can crank it in a dorm room, you can smirk to yourself from the safety of rock 'n'roll's old age.You
start to wonder- why don't all Side Bs start with a song like this one
The number of platitudes in music hit critical mass years ago, and among those tropes is that annoying, inescapable
mantra:rock 'n'roll is undefinable.And yeah,sure, that's true. It's different things to different people. It starts with
guitars, maybe, and ends with a stage-dive, or spit, or feedback. Rock 'n'roll is drugs, is rebellion, is youth, is sex, is
cosmic. It's wanting more than you have.Rock 'n'roll is butts and cigarette butts.And Pink Mountaintops might not
be the best-known band ever to make rock 'n' roll, but in Get Back they just might have written its scripture -- an
exploration and celebration of what, exactly,rock 'n'roll can be.1. Ambulance City
2. The Second Summer of Love
3. Through All The Worry
5. Sell Your Soul
6. North Hollywood Microwaves
8. New Teenage Mutilation
10. The Last Dance$17.99Vinyl LP - Sealed Buy Now
The Unquiet SkySince the early 80's when bands like Cathedral and Saint Vitus pioneered the doom genre of metal, the style has continuously evolved and spread, despite being far less recognized and appreciated than most other forms of more traditional heavy metal. Bands like Eyehategod and Crowbar melded elements of doom into sludge and stoner metal, gaining modest success in the more mainstream metal community, but doom is beginning to enjoy a new wave of popularity, thanks largely to the more progressive experimental work of artists like Stephen O'Malley (Sunn0))), Burning Witch). Indian is a Chicago-based trio whose brand of doom is more akin to that of Eyehategod than the earliest or latest incarnations of the genre, and their distinctively black metal vocals immediately set them apart from the pack.
First things first: The Unquiet Sky is everything a doom record should be. The bass tone is so perfect and intense that it could shake your body through a pair of headphones. The guitars bring Black Sabbath-esque fuzz down enough notches to kill a horse. The percussion is sparse when it needs to be (Ration) and energetic when it's allowed (Tied and Gagged). Dylan O'Toole's vocals give Indian the extra edge over many of the other bands who have perfected this formula by complementing the melancholy created by the music with a demonic voice of evil. There is even an extended track of terrifyingly psychedelic feedback, perfectly placed to scare the crap out of you when you're high. In fact, the only thing that fails to be suitably doom-y and evil about this record is the cover illustration of a Christ-like baboon which, despite being evil enough in spirit, looks a bit too much like it was drawn in a junior high art class.
This record is an easy recommend for fans of the doom genre, but what about anyone unacquainted with the genre I personally don't consider myself a huge aficionado of the style, but loved this record. The only things required to enjoy The Unquiet Sky are an attention span and a love of all things metal. This record generally moves slowly, as does most doom, but it is far less droning and repetitive than many recent examples of the genre. As the name of the style suggests, doom is, by its very nature, dark, oppressive music. As such, Indian is definitely better suited to being digested over an extended period of time at high volumes, rather than short bursts in your car or through headphones.
Bottom Line: If you're searching for the latest, greatest doom record to add to your collection, look no further than Indian's The Unquiet Sky. Fans of Neurosis, Eyehategod and Godflesh should also definitely pick this up. It's a solid record from beginning to end from an up-and-coming trio of doom virtuosos.
- Cory (Lambgoat)1. No Able Fires
3. Dead Weight
4. Los Nietos
6. Tied and Gagged
7. God of Panic, Lord of Decay
8. Loophole Noose
10. We Can Build You
11. Worshiper of Sores$24.99Vinyl LP - Sealed Buy Now
Burning Bridges To Nowhere (Out Of Stock)Philadelphia's Witch Hunt have joined the ranks of the Bat and offered up their 3rd & finest full-length yet! Formed in 2001 as a New Jersey trio, Witch Hunt soon moved their brand of aggressive punk to Philadelphia where they expanded their lineup to a four-piece and continued to evolve their sound as abilities caught up to ideas. That evolution is evident in their AT debut, Burning Bridges to Nowhere, which blends the primal rage of hardcore, the melodic-sense of Husker Du, and the moodiness of UK peace-punk into an album that will leave genre-purists scratching their heads and (hopefully) have ALL fans of hardcore-punk walking and/or rocking together a little more often!
Fans of AT's BlackNoise imprint and groups like I OBJECT and NAUSEA and even DISASTER STRIKES will love this, but anyone into melodic punk with screaming female vocals will also dig this! The LP has an insert & a printed inside dust jacket, and the CD is a handsome multipanel digipack!1. Blind Eyes Blind Lives
3. Counting Down the Days
4. Septa Death
7. Sick Industry
8. A Slow Decay
9. Plastic Dream
11. Treadmill March
12. Burning Bridges To Nowhere$13.99Vinyl LP - Sealed Temporarily out of stock
Tolling 13 Knell (Out of Stock)Cult band Mortuary Drape was formed in Italy in 1986 as a trio, including the now long-standing & sole-remaining member, Wildness Perversion. Highly inspired by the dark arts & combining early influences from bands such as Mercyful Fate & Celtic Frost, Mortuary Drape developed their own unique style, defining themselves as black occult metal & releasing the demo 'Necromancy' in 1987 which spread their name throughout the underground; though it was not until 1992 that their first official release surfaced, with 'Into the Drape'. This was followed by the debut full-length album, the classic 'All the Witches Dance' in 1994.
'Tolling 13 Knell', Mortuary Drape's third full-length album was originally released in 2000 on Avantgarde Music. Often regarded as one of the band's strongest works, the album delivers an eerie concoction of evil metal riffing & dark occult atmosphere to unnerving effect.
'Tolling 13 Knell' has now been fully remastered especially for this release, with the process overseen by the band. This reissue also contains extra tracks in the form of re-recorded versions of the infamous 'Doom Return' demo songs. These new versions were recorded during the 'Tolling 13 Knell' sessions.
Mortuary Drape have recently been busy recording their latest album, as well as performing some high profile shows.LP1
1. Dreadful Discovery
2. Liar Jubileum
4. Not Still Born (The Unborn Plane)
6. Winged Priestess
7. The Last Supper
1. Birth's End
4. Pentagram (Bonus track)
5. Undead Revenge (Bonus track)
6. Obscure World (Bonus track)
7. Soul in Sorrow (Bonus track)$29.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
The Oath (Out Of Stock)To master the dark and wring compelling creativity from its densest shadows requires vision, belief and, perhaps most importantly, a dash of synchronicity. These are all qualities that ooze from every pore of the debut album by The Oath. A band forged around the fizzing, feral chemistry between Swedish guitarist Linnea Olsson and German vocalist Johanna Sadonis, The Oath represent the wild magic that erupts when two blazing souls collide and fate is sent veering off course by sheer strength of the human will. This is heavy metal at its most mercurial and intuitive.
"I had grown tired with the metal scene in Stockholm, and I wanted to experience something new and get out of my comfort zone," Linnea Olson recalls. "This resulted in me going to Berlin, a city where I had no friends, and just exploring everything that makes it so magical the creative energy, the sense of freedom, and the notoriously dark and debauched nightlife. I played my guitar as usual at home, and riffs started to pile up. By the time summer came, I felt the time was right to start a new band. My best friend Henke put me in touch with Johanna. On her end, she had been looking for a guitarist for a band that she wanted to call The Oath. We had an instant connection. And we looked almost identical."
Having found each other and discovered that their obsessions, desires and musical urges were utterly compatible and swiftly and irrevocably interwoven, Linnea and Johanna set about devising an artistic masterplan. The results of that plan are now primed to emerge, fully-formed and thrumming with primal energy and pristine passion, in the shape of The Oath: a nine-song clarion call that simultaneously recalls the hallowed greats of heavy rock, punk and metal - from Sabbath, Trouble and Angel Witch through to the Stooges and Poison Idea, and further to Mercyful Fate and Danzig - while revelling in new ways to express the spirit of those revered archetypes. Recorded in ten days at Studio Cobra in Stockholm with producer Konie Ehrencrona at the controls and the raging rhythm section of Simon Bouteloup (bass, Kadavar/ex-Aqua Nebula Oscillator) and Andrew Prestidge (Angel Witch/Winters) underpinning Linnea and Johanna's otherworldly hymns to the black, The Oath is a triumph for soul and sonic ceremony, with conviction and integrity bursting from every artfully-crafted riff and ethereal melodic motif.
"We had a die-hard dedication right from the beginning - if not, what's the point?" states Linnea. "As for the master plan, there was none. If things fall into place naturally, you don't need one. We felt that this was our shot, and we needed to go for it. We wanted this album to be primitive and minimalistic in the sense that the sound is fairly raw, and we kept overdubs to a minimal - most of what you hear on the album are live takes. But we also wanted to bring out the melody and richness that is within the songs. And these are all strong songs, which is very important to us."
Veering from the strident grooves and shimmering menace of opener All Must Die to the breakneck, Luciferian clatter of Black Rainbow and on to the spine-tingling grandeur and grime of epic closer Psalm 7, The Oath is anything but just another addition to the modern pseudo-occult rock canon. Instead, it is an extraordinary glimpse into its creators' overpowering charisma and chemistry and a thrillingly, hyper-nourishing dose of authentic, 21st century heavy metal sorcery. With input from In Solitude's Henke Palm - who contributes some "improvised Voivod-style solos", according to Linnea - and logo designed courtesy of Watain's Erik Danielson, this is an album that exudes ageless style and irresistible substance: a potent antidote to the flimsy fripperies of the modern age.
"This album represents Johanna and me and our dedication to our music," Linnea avows. "Everything about this band is about me and her - our relationship to each other, our differences as people and musicians, and the unity that we are in The Oath. She possesses strengths that I lack and the other way around. Musically, my riffs are the dirt and her vocals, the diamonds. I have a friend who cleverly put that the world is made up by two kinds of people: the werewolves and the vampires. By that standard, I am a werewolf and Johanna is a vampire. You can interpret that as you like."
And now, this new ritual begins. The Oath has been sworn, the dice have been thrown. All that remains is the propagation of the divine but unholy art that these sisters-in-sound have wrenched from the depths of their harmonised psyches. The future belongs to those who believe
"There are a lot of hopes, plans and ambitions," Linnea concludes. "But what's even more important is that there is only now and that now is forever."
- Dom Lawson, January 20141. All Must Die
2. Silk Road
3. Night Child
4. Leaving Together
5. Black Rainbow
6. Silver and Dust
7. Death Delight
8. In Dream
9. Psalm 7$16.99Vinyl LP - Sealed Temporarily out of stock