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  • Alone & Acoustic Alone & Acoustic Quick View

    $20.99
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    Alone & Acoustic

    An acoustic blues tour-de-force from two of the biggest names in electric Chicago blues. Junior Wells passed away in 1998, but Buddy Guy reigns as the modern day King of the Chicago Blues. Alone & Acoustic has never been available on vinyl in the U.S.
    1. Give Me My Coat And Shoes
    2. Big Boat (Buddy And Junior's Thing)
    3. Sweet Black Girl
    4. Diggin' My Potatoes
    5. Don't Leave Me
    6. High Heel Sneakers
    7. Wrong Doing Woman
    8. Cut You Loose
    9. Sally Mae
    10. Catfish Blues
    11. My Home's In The Delta
    12. Boogie Chillen
    Buddy Guy & Junior Wells
    $20.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions Quick View

    $29.99
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    Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions

    13 Previously Unissued Solo Acoustic Demos


    Remastered From The Original Analog Tapes And Acetate


    Booklet Includes In-Depth Interview With Buckley's Lyricist Larry Beckett


    In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music-the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & Hello.


    Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim's songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it.


    Available here for the first time are these newly discovered master tapes, recorded by Goodbye & Hello's producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett's possession.


    Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim's death (albeit, much different recordings than what you have here) but with little fanfare.


    So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley.


    Several rarities releases in the 1980s and '90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew-until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!

    1. Sixface
    2. Contact
    3. Lady, Give Me Your Key
    4. Once Upon A Time
    5. Once I Was
    6. I Never Asked To Be Your Mountain
    7. Pleasant Street
    8. Knight-Errant
    9. Marigold
    10. Carnival Song
    11. No Man Can Find The War
    12. I Can't Leave You Lovin' Me
    13. She's Back Again
    Tim Buckley
    $29.99
    Vinyl LP - Sealed Buy Now
  • Pink Moon Pink Moon Quick View

    $24.99
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    Pink Moon

    Ranked 320/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    40th Anniversary Edition Remastered from the Original Master Tapes


    180 Gram Vinyl in a Gatefold Jacket with a Printed Inner Sleeve


    After two albums of tastefully orchestrated folk-pop, albeit some of the least demonstrative and most affecting around, Drake chose a radical change for what turned out to be his final album. Not even half-an-hour long, with 11 short songs and no more -- he famously remarked at the time that he simply had no more to record -- Pink Moon more than anything else is the record that made Drake the cult figure he remains. Specifically, Pink Moon is the bleakest of them all; that the likes of Belle and Sebastian are fans of Drake may be clear enough, but it's doubtful they could ever achieve the calm, focused anguish of this album, as harrowing as it is attractive. No side musicians or outside performers help this time around -- it's simply Drake and Drake alone on vocals, acoustic guitar, and a bit of piano, recorded by regular producer Joe Boyd but otherwise untouched by anyone else.

    -All Music

    1. Pink Moon
    2. Place To Be
    3. Road
    4. Which Will
    5. Horn
    6. Things Behind The Sun
    7. Know
    8. Parasite
    9. Free Ride
    10. Harvest Breed
    11. From The Morning
    Nick Drake
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Quick View

    $19.99
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    Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A.

    2014 marks the 30th anniversary of Bruce Springsteen's 'Born In The U.S.A.'
    Although it would become his biggest selling album with seven top 10 singles
    on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars
    says "any of those songs could be played with acoustic guitar alone and
    still be great." Taking this idea as its premise, 'Dead Man's Town: A Tribute to
    Born in the U.S.A' strips the album's twelve indelible originals to the core, with
    contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin
    Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced
    cover of "Born In The U.S.A," saying these artists are "reimagining 'Born in
    the U.S.A.'... with a reduced approach more influenced by that of the acoustic
    'Nebraska.


    Isbell says of his cover, ""Born In The U.S.A." is one of my favorites
    because so many people have seemingly misunderstood the lyrical content
    and the song's overall tone. When you listen to the demo, the dark, minor key
    arrangement makes it clear that this is not strictly a song of celebration.
    We wanted to stay true to that version." Amanda Shires adds, "I love that
    the song paints a picture of struggle in the face of the American dream, and
    the irony in the chorus is delivered with such force that it nearly
    transcends irony altogether."

    1. Born In The U.S.A. - Jason Isbell & Amanda Shires
    2. Cover Me - The Apache Relay
    3. Darlington Country - Quaker City Nighthawks
    4. Working On The Highway - Blitzen Trapper
    5. Downbound Train - Joe Pug
    6. I'm On Fire - Low
    7. No Surrender - Holly Williams
    8. Bobby Jean - Ryan Culwell
    9. I'm Goin' Down - Trampled By Turtles
    10. Glory Days - Justin Townes Earle
    11. Dancing In The Dark - Nicole Atkins
    12. My Hometown - North Mississippi Allstars
    Various Artists
    $19.99
    Vinyl LP Buy Now
  • God Luck And Good Speed (Awaiting Repress) God Luck And Good Speed (Awaiting Repress) Quick View

    $21.99
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    God Luck And Good Speed (Awaiting Repress)

    Nearly five years after their second CD, the underrated Sixteen Tons, was seemingly flushed like so much unwanted bong water down the toilet of stoner rock's decline in popularity, the members of North Carolina's Weedeater found the strength to roll up a new one after hooking up with the Southern Lord label, and duly re-emerged with a hell of a comeback album. In fact, it's' a good bet that their invariably baked fan contingent would likely bestow 2007's God Luck and Good Speed with the highest possible honor of calling it really good shit, full-to-bursting with coarse, crusty, stoner sludgecore of the highest market value. This becomes immediately apparent on the album's impressive opening triple threat -- the earth-shaking grooves of the title track, the uproarious speed-blast of Wizard Fight, and the groove-driven laughs of For Evan's Sake -- all of which surf on surging waves of feedback, their tendrils forming dirty electric causeways for an extended, uninterrupted buzz. Then suddenly, all is quiet for the one-off austerity of Alone, featuring only a banjo, an acoustic bass, and vocalist Dixie Dave Collins replacing his trademark croak with a drunken baritone à la Tom Waits, stinking drunk out on the bayou. (Curiously, this track alone was recorded by Corrosion of Conformity's Mike Dean, while the rest of the album was produced by indie rock staple Steve Albini.) Punishing, viscous volume and distortion are resumed by subsequent aural bulldozers like the instrumental $20 Peanut, the doomy but somewhat dull Dirt Merchant, and the oddly named epic Weed Monkey (all interlocked by even more feedback, naturally). And to emphasize their sub-Mason Dixon line allegiance, Weedeater deliver an aptly sludge-encrusted cover of Lynyrd Skynyrd's Gimme Back My Bullets as sung by Swamp Thing. Final verdict? The wait was worth it: God Luck and Good Speed is definitely some of Weedeater's strongest stuff yet.

    - Eduardo Rivadavia (All Music)
    1. God Luck & Good Speed
    2. Wizard Fight
    3. For Evans Sake
    4. Alone
    5. $20 Peanut
    6. It Is What It Is
    7. Gimme Back My Bullets
    8. Weed Monkey
    9. Willow
    Weedeater
    $21.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Wildwood Wildwood Quick View

    $17.99
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    Wildwood

    On Wildwood, the North Carolina acoustic band's fifth studio release and the first they've self-produced, Chatham County Line is putting themselves out there like never before. Following the creative and critical catharsis of their fourth album IV and now fully comfortable in their musical skin, CCL's classically American songwriting shines like never before. Songs like the instant classic sing-a-long Crop Comes In, title-track Wildwood and ballad Alone in New York are some of the best songs in the band's estimable canon.

    1. Wildwood
    2. Alone in New York
    3. Saturdays & Sundays
    4. Crop Comes In
    5. Porcelain Doll
    6. Out of the Running
    7. Heart Attack
    8. Ghost of Woody Guthrie
    9. Honeymoon
    10. Ringing in my Ears
    11. Blue Jay Way
    12. End of the Line
    Chatham County Line
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Southern Trendkill The Great Southern Trendkill Quick View

    $24.99
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    The Great Southern Trendkill

    The 8th studio album by Pantera, originally released in 1996, reached number 4 on the Billboard 200 chart. Due to tension among the bandmembers, Phil Anselmo recorded the vocals alone at Trent Reznor's Nothing Studios in New Orleans while the rest of the group recorded at Chasin Jason Studios in Dallas, Texas.



    The Great Southern Trendkill features some of the fastest tempos and most down-tuned guitars that the band ever recorded. It also has a more experimental nature to its songs, such as the acoustic guitar and keyboard-laden Suicide Note Pt. I.



    Unlike Pantera's first three major label albums, the vocals are often double tracked and layered to create a more demonic effect. An example of this can be heard in the chorus of 13 Steps to Nowhere, when Phil Anselmo's singing voice is backed up by high pitched screaming, done by Seth Putnam.

    1. The Great Southern Trendkill
    2. War Nerve
    3. Drag the Waters
    4. 10's
    5. 13 Steps to Nowhere
    6. Suicide Note Pt. I
    7. Suicide Note Pt. II
    8. Living Through Me (Hell's Wrath)
    9. Floods
    10. The Underground In America
    11. (Reprise) Sandblasted Skin
    Pantera
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blue Skies Broken Hearts: Next 12 Exits Blue Skies Broken Hearts: Next 12 Exits Quick View

    $19.99
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    Blue Skies Broken Hearts: Next 12 Exits

    Possibly the most country-sounding record title in punk rock history, Blue Skies, Broken Hearts...Next 12 Exits proved to be the breakout disc for Santa Barbara punkers the Ataris. Sporting fine production thanks to Lagwagon's Joey Cape, this follow-up to the band's surprising debut solidified the Ataris' position among the leaders of late-'90s pop-punk. The tempos settle down a little on this 1999 release, giving songs like I Won't Spend Another Night Alone more of an alt-rock feel, but the tight compositions never stray too far from the group's post-revivalist, almost emo punk. When Cape takes a chance by adding a melodic cello line to the acoustic My Hotel Year, the Ataris almost dare the punk community to question their integrity but, with its one-and-a-half-minute running time and furious guitar strumming, the track maintains the record's intensity and never panders to the listenership of complaint-saturated soft rock, which somehow became known as alternative in the mid-'90s. True to form, the Ataris give solid performances of first-rate pop-punk material on this, perhaps their best release.


    - Vincent Jeffries (All Music Guide)

    1. Losing Streak
    2. 1/15/96
    3. San Dimas High School Football Rules
    4. Your Boyfriend Sucks
    5. I Won't Spend Another Night Alone
    6. Broken Promise Ring
    7. Angry Nerd Rock
    8. The Last Song I Will Ever Write About A Girl
    9. Choices
    10. Better Way
    11. My Hotel Year
    12. Life Makes No Sense
    13. Answer:
    14. In Spite Of The World
    The Ataris
    $19.99
    Vinyl LP - Sealed Buy Now
  • Enter The Slasher House Enter The Slasher House Quick View

    $21.99
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    Enter The Slasher House


    Double LP Includes Two 180g Heavyweight Vinyl With Two Printed Inner Card Stock Sleeves


    Domino is proud to announce the debut album Enter The Slasher House from Avey Tare's Slasher Flicks.


    Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even
    remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from
    LA, say leather masked guitar-wielding Avey Tare (of Animal Collective), knife-wielding keyboard player
    Angel Deradoorian (of Dirty Projectors, Deradoorian), and the cannibal chief drummer and decaying
    grandfather Jeremy Hyman (of Ponytail, Dan Deacon).


    Having composed the bones of these eight songs on acoustic guitar, Avey Tare invited Deradoorian, to
    create melodic lines to flesh them out. Inspired by Ken Burns' Jazz history documentary, they needed
    a drummer who could play "free but structured"; enter Hyman. The group produced and recorded the
    songs live at the Lair studio using only minimal overdubs; the live sound being key to Slasher Flicks'
    spooky dynamism.

    1. A Sender
    2. Duplex Trip
    3. Blind Babe
    4. Little Fang
    5. Catchy (Was Contagious)
    6. That It Won't Grow
    7. The Outlaw
    8. Roses On The Window
    9. Modern Days E
    10. Strange Colores
    11. Your Card
    Avey Tare's Slasher Flicks
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • All the Things That I Did and All the Things That I Didn't Do All the Things That I Did and All the Things That I Didn't Do Quick View

    $21.99
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    All the Things That I Did and All the Things That I Didn't Do

    The Milk Carton Kids' fifth album, All the Things That I Did and All the Things That I Didn't Do is set for release via ANTI- Records. The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pattengale have brought a band into the studio with them. "We wanted to do something new," Pattengale says. "We had been going around the country yet another time to do the duo show, going to the places we'd been before. There arose some sort of need for change." "Musically we knew we were going to make the record with a big- ger sonic palette," says Ryan. "It was liberating to know we didn't have to be able to carry every song with just our two guitars."


    "Sometimes in singing, we'll switch parts for a beat or a bar or a note," Ryan says. "And things start to obscure what is the melody and what is the supporting part." A third presence rises out of their combined voices. "There are only so many things you can do alone that allow you to transcend your sense of self for even a short period," Pattengale says. "I'm the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it."

    LP 1
    1. Just Look at Us Now
    2. Nothing Is Real
    3. Younger Years
    4. Mourning in America
    5. You Break My Heart
    6. Blindness
    7. One More for the Road
    8. Big Time


    LP 2
    1. A Sea of Roses
    2. Unwinnable War
    3. I've Been Loving You
    4. All the Things...

    The Milk Carton Kids
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Woven Music Woven Music Quick View

    $16.99
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    Woven Music

    Categories cannot contain Shinji Masuko. Hes the founder of DMBQ, one of Japans greatest modern psychedelic bands, a respected music and comic reviewer, an astonishing guitarist and a master guitar builder. Hes also been a member of the Boredoms since 2004, having designed and built their notorious seven neck guitar (the Sevena) while acting as the bands principle guitarist.


    The idea for Woven Music, Masukos first solo work, was born during preparations for a series of Boredoms concerts in 2009 when Shinji played Kid Millions (of Oneida and Brah Records) some backing tracks hed created for the Boredoms current concert piece, Boadrum. For a short section of the live performance an incredible mass of multi-tracked droning guitars is mixed into the pounding chaos of the 9 person, multi-drummer ensemble. Shiji played Kid Millions this unadorned recording while they were between rehearsals at Shinjis home in Osaka and Kid was astounded, convinced that this music needed to be heard on its own.


    Masuko thus inspired, spent the next year carefully crafting these pieces into stand alone works. Woven Music for Blue Steppe is a mass of mostly acoustic instruments while Woven Music for Silver Ocean explores the sound of a throng of electric guitars.


    In the last twenty-plus years Masuko has created an astounding body of work with DMBQ and the Boredoms, but hes never released music of such singular beauty and depth. These are meditative, swirling pieces which suggest the resonances of their titles: grand and eternal natural vistas. These are immersive works and completely singular in their scope, Brah is proud to present these unheard compositions to a broader audience.

    1. Woven Music for Blue Steppe

    2. Woven Music For Silver Ocean

    Shinji Masuko
    $16.99
    Vinyl LP - Sealed Buy Now
  • New Multitudes New Multitudes Quick View

    $21.99
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    New Multitudes

    New Multitudes is an intimate interpretation of American icon and musical legend Woody Guthries previously unrecorded lyrics from a dream team of Americana torchbearers: Jay Farrar (Son Volt), Will Johnson (Centro-matic), Anders Parker (Varnaline) and Jim James (My Morning Jacket). What makes this album such a rarity in todays music world is the allowance of the songs infectious simplicity to stand alone in all their glory. In doing so, Farrar, Johnson, Parker and James, pay the greatest compliment to Woody Guthrie and the collaborative spirit he so greatly embodied. This is an album which seamlessly converges the sepia-toned essence of the time honored past with the risks needed to forge the future.


    Under the invitation of Nora Guthrie, Woody's daughter, to tour the Guthrie archives, each of the four songwriters were offered the chance to plumb and mine the plethora of notebooks, scratch pads, napkins, etc. for anything that might inspire them to lend their voices and give the words new life.


    These guys worked on an amazing group of lyrics says Nora. Much of it was culled from Woody's times in L.A. Lyric wise, it's a part of the story that is still mostly unknown. From Woody's experiences on L.A.'s skid row to his later years in Topanga Canyon, they are uniquely intimate, and relate two distinctly emotional periods in his life.


    Musically, it is the sense of collaboration that makes New Multitudes not just another trite and traditional acoustic regurgitation of back porch blues. From the ragged jangle of its opening track, Hoping Machine, the loping lilt of Fly High, the floorboard stomp of No Fear, to the lush warmth and sudden sonic gut punch of My Revolutionary Mind, the cohorts deliver a lesson in discovering a song's sweet spot time and time again. It's the function and preparedness of each artist's dogged work ethic gleaned the old-fashion way; veracious songs, road weary odometers and sweat stained live shows, all attributes of the man they are honoring.

    1. Hoping Machine
    2. Fly High
    3. My Revolutionary Mind
    4. VD City
    5. Old L.A.
    6. Talking Empty Bed Blues
    7. Chorine
    8. Careless Reckless Love
    9. Angel's Blues
    10. No Fear
    11. Changing World
    12. New Multitudes
    Farrar, James, Johnson, & Parker
    $21.99
    Vinyl LP - Sealed Buy Now
  • Stranger Stranger Quick View

    $21.99
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    Stranger

    On Stranger Balmorhea continues the cosmic dialog they began with their eponymous debut in 2007. Though the spirit of Texas' early inhabitants and the weight of the night sky inspired previous albums All is Wild, All is Silent (2009) and Constellations (2010), Stranger shifts the focus from the celestial to the terrestrial, or more accurately, it begins to explore the celestial resonance in all things terrestrial.


    Balmorhea's music has always been guided by the experience of living in Texas, but with Stranger the band moves beyond contemplative reverence for the land and the history of their home state. The most forward-leaning of their catalog, Stranger presents worlds of tenderness, aggression, estrangement, and freedom using an expanded sonic palette including guitar loops, vibes, synthesizers, ukulele, and steel pan drums. In addition to these new sounds, electric guitars and percussion take the stage once occupied by piano and acoustic guitars.


    Stranger explores the kinetic rhythms that dictate our day-to-day lives, fascinated by the wanderlust that drove the itinerant hearts of our earliest settlers and that continues to pulse in the kids roaming Texas' suburban sprawl. Unsettled, but patient, these songs embrace everyday sensuality, youthful discovery, and nomadic reverie awe-struck by the divine energy that permeates all of our earthly fauna and flora.


    Refined over many months, and in one case years, the band took care to ensure every note on Stranger feels essential, vivid, and confident. During the writing process, Rob Lowe was living in Alpine, Texas, just down the road from Marfa, and Michael Muller had relocated to Brooklyn. Absorbing their new environments, and filtering them through uniquely Texan lenses, the band has created an album that stands defiantly alone in the sea of modern independent music. Opening with the electric guitar loops, synths, and steel drums of Days, the band invites us to move forward with them as they explore without pretense or expectation. Pilgrim provides the perfect ending, blurring alpha and omega...a concluding gesture taking us back to our beginnings.

    1. Days
    2. Masollan
    3. Fake Fealty
    4. Dived
    5. Jubi
    6. Artifact
    7. Shore
    8. Pyrakantha
    9. Islet
    10. Pilgrim
    Balmorhea
    $21.99
    Vinyl LP - Sealed Buy Now
  • Bringing It All Back Home (Awaiting Repress) Bringing It All Back Home (Awaiting Repress) Quick View

    $49.99
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    Bringing It All Back Home (Awaiting Repress)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Numbered, Limited Edition


    Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?


    More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Jerry Garcia And David Grisman Jerry Garcia And David Grisman Quick View

    $49.99
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    Jerry Garcia And David Grisman


    Numbered Limited Edition 180g 2LP from Mobile Fidelity


    Contemporary Interest in Roots Music Kick-Started by Stellar Grammy-Nominated 1991 Collaboration


    Recording Now As Realistic, Natural, Close-Up, Intimate, and Enveloping as Any Acoustic Record Released: 1st Time-Ever on LP


    Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More


    Jerry Garcia achieved monumental accomplishments over a prolific career, yet the guitarist never sounded better than on his first official collaboration with longtime friend and fellow instrumental maestro David Grisman. Indeed, contemporary interest in roots music can be directly traced to this stellar Grammy-nominated 1991 collaboration. Putting distinctive rustic spins on pop standards, blues classics, and folk staples, the kindred musical spirits' earnest authenticity and relaxed intimacy are matched only by virtuosic playing and superb production. As realistic, warm, close-up, and immersive as any acoustic album, Mobile Fidelity's reissue raises the bar on the meaning of reference-standard.


    Mastered from the original master tapes, Mobile Fidelity's 180g 2LP of Garcia/Grisman takes a record forever renowned for breathtaking sonics to another level. Originally released on Grisman's fabled Acoustic Disc label and recorded at his plush studios, the album now sounds even more realistic-with distinctive tones, palpable air, smooth vocals, three-dimensional soundstaging, balanced imaging, and timbral extension that mirror the feeling and experience of hearing live music in a small space.


    Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Mobile Fidelity's meticulous pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.


    Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.


    Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia"-complete with a section based on a Cuban fold theme-is alone enough worth the price of admission to this sensational session. But there's so much more.


    The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavors ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.


    This title is not eligible for discount.

    1. The Thrill Is Gone
    2. Grateful Dawg
    3. Two Soldiers
    4. Friend of the Devil
    5. Russian Lullaby
    6. Dawg's Waltz
    7. Walkin' Boss
    8. Rockin' Chair
    9. Arabia
    Jerry Garcia And David Grisman
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Nashville Skyline Nashville Skyline Quick View

    $49.99
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    Nashville Skyline

    Relaxed 1969 Album Soothes With Country Sounds and Amicable Simplicity


    Hyper-Detailed 45RPM Version Allows You to Experience Dylan's All-Time Cleanest Vocal Performances Like Never Before: Soft, Smooth Croon a Dramatic Change from His Past


    Songs Reflect Rustic Charm, Cozy Retreat, Idyllic Satisfaction


    Includes Duet With Johnny Cash, Plus Lay Lady Lay and Tonight I'll Be Staying Here With You


    For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.


    "Is it rolling, Bob?," Dylan famously queries producer Bob Johnson at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album-arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.


    This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.


    Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.


    As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.


    This title is not eligible for discount.

    1. Girl From the North Country
    2. Nashville Skyline Rag
    3. To Be Alone With You
    4. I Threw It All Away
    5. Peggy Day
    6. Lay Lady Lay
    7. One More Night
    8. Tell Me That It Isn't True
    9. Country Pie
    10. Tonight I'll Be Staying Here With You
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Falling Faster Than You Can Run Falling Faster Than You Can Run Quick View

    $18.99
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    Falling Faster Than You Can Run

    Well, it doesn't take long for Falling Faster Than You Can Run to reveal that Nathaniel Rateliff isn't in a very good place. His deep funk is revealed very quickly on the opening track 'Still Trying': "If you roll in it long enough/your shit won't even smell" sings Rateliff, in between crying out, unaccompanied, "I don't know/I don't know/a god damned thing".


    And that's the feeling that sticks throughout this, often very fine, new record from Denver, Colorado's Missouri-born Rateliff. On his second full-length album (dropping the & the Wheel from his name) loneliness is writ large: not the kind of loneliness from actually being along, but the kind that comes from being constantly surrounded by people yet unable to shake the feeling of complete isolation. Rateliff has toured with many, many acts over the past few years and most recently has spent time with Dr Dog and fellow Denver act (and friends) The Lumineers. Thankfully, Rateliff rarely sounds like his friends (you might say I'm not a fan) and instead writes and plays music with a lot of heart and soul. It's often his voice that's the star of the show thanks to the subtly-arranged instrumentation: part matured Kurt Wagner burr and part throat-ravaged bluesman ( a bit The Tallest Man on Earth) it's a voice you could listen to all day. But good voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.


    "Still Trying" is an arresting opener; while Rateliff's heart-wrenching roars are the highlight, the backing isn't too shabby either - acoustic guitar and bass drum battle for the spotlight on a ragged country song, and it sounds authentic, like Rateliff has lived what he's singing. And things get better quickly: "I Am" is mostly just Rateliff and his guitar, as broaches his isolation singing: "you'll never know what's buried there / less you dig around". The music swells as he sings the title over and over, following a similar pattern to the album opener. But before things get too familiar, Rateliff picks up the pace with a couple of full band numbers that could almost be considered jaunty, if we were to ignore the lyrics. "Don't Get Too Close" is fine enough and ticks over nicely like a quickstep, but "Laborman" is even better. Like Wilco at their poppiest, it flies off on crunchy and bright electric guitars which belies the lyrical content: "I got a feelin' / a sleepin' depression / that somebody's gonna get hurt", sings Rateliff, followed by "you got the harness/so where you gonna drag me now?" You can see a pattern developing here; Rateliff's stuck somewhere he doesn't want to be, lonely, but how does he get out of it? Take another look at that album cover too - a couple share a bed, an arm reaches out yet it doesn't touch the other person. It's basically a visual encapsulation of what's being sung about.


    The epic electric storm of "Forgetting Is Believing" leads a trio of great closing tracks, ending with the Lambchop-murmur of the title track. Rateliff's baritone is exposed and dusty as he sings "leave me alone/you can see me fall/faster than you can run", ending as he started the record - alone and isolated.


    Falling Faster Than You Can Run feels, through the dirt, the shit and the whisky, and despite the loneliness, like a hard-earned triumph for Nathaniel Rateliff.


    - Andrew Hannah (The Line Of Best Fit)

    1. Still Trying
    2. I Am
    3. Don't Get Too Close
    4. Laborman
    5. How To Win
    6. Nothing To Show For
    7. Right On
    8. Three Fingers
    9. Forgetting Is Believing
    10. When Do You See
    11. Falling Faster Than You Can Run
    Nathaniel Rateliff
    $18.99
    Vinyl LP - Sealed Buy Now
  • Pushing My Luck Pushing My Luck Quick View

    $16.99
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    Pushing My Luck

    Robert Belfour's sophomore effort for Fat Possum -- at 63, he is one of the youngest artists on the roster and is by far the most polished, if the Delta blues can ever really be called that -- proves his debut was indeed only a beginning.


    In stark contrast to his labelmates, Belfour strictly plays acoustic blues, but he plays them with the same dark, trancelike feel of Junior Kimbrough, haunting spookiness of Fred McDowell, rhythmic intensity of John Lee Hooker, and sprawling drawl of Lightnin' Hopkins. Ted Gainey aids Belfour on a drum kit.


    While the first album was all of a piece, and everything but the vocal seemed to be recorded at the same level (and even then, Belfour couldn't always be understood among the ringing guitars and shuffling drums), Pushin' My Luck is nervier, a bit more edgy. Belfour's truly nearly unbelievable singing is a bit more in the foreground, enough to add to the hypnotic repetition in his music, while the drums -- played no more elaborately than Meg White's in the White Stripes -- are mixed just a tad higher, bringing it extremely close to the punch this stuff has when played in front of a live audience.


    Fans of Kimbrough's guitar playing -- or Ali Farka Toure's, for that matter -- will be instantly drawn to the polyrhythmic, droning chords and ambling, elegantly raw, slippery fills that Belfour plays, whether it's on Hill Stomp, the title track, I Got My Eyes on You, Sweet Brown Sugar, or I'm Gonna Leave, which closes the set. The vibe is the same everywhere; this is deep, hot Mississippi blues full of a slow, steamy, writhing sexual vibe; twisted soul; and a sense of foreboding mystery that cannot be mentioned, let alone explained.


    This is the first great blues record of 2003 and if it isn't nominated for the W.C. Handy Award, the damned foundation should be disbanded on the basis of deafness. I hope this guy lives to be a 100 and makes a record every year he's on this planet. Forget everything you just read: This record is amazing; just buy it.


    - Thom Jurek (All Music Guide)

    1. Hill Stomp

    2. Breaking My Heart

    3. Pushin' My Luck

    4. Go Ahead On

    5. You Got Me Crying

    6. I Got My Eyes On You

    7. Sweet Brown Sugar

    8. Stayed Awake

    9. Crazy Ways

    10. I'm Gonna Leave You

    Robert Belfour
    $16.99
    Vinyl LP - Sealed Buy Now
  • Abandoned City Abandoned City Quick View

    $19.99
    Buy Now
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    Abandoned City

    "It's a joy to listen to, and one of the
    brightest, most invigorating records
    I've heard all year." - Pitchfork


    "It's as infectious and disarming as it
    is genre-defying." - Mojo


    Hauschka is a composer, songwriter and experimental musician who
    has brought an exciting new perspective to the prepared piano - a
    technique for getting new sounds from the acoustic keyboard by
    resting pieces of paper or drumsticks on the strings of the instrument.


    Abandoned City was recorded in Hauschka's home studio in a burst
    of creative energy following the birth of his first son. The songs were
    recorded using nine microphones. Six recorded the sounds coming
    from the piano strings through an analogue console feeding directly
    into a computer to preserve the instrument's full, warm sound. Three
    others passed the tones through a mixer full of effects - delay,
    distortion, echo - that can be triggered separately or used
    simultaneously. Hauschka creates the music and the arrangements
    as he goes, trusting the music to take him in the proper direction.
    "Most of the songs were played on one piano; I was mixing as I
    played. If I needed more piano, I overdubbed with another twiddling of
    effects. All the sounds - harp, balafon, Melodica, drums - are
    produced by the keyboard," Hauschka explains. The compositions on
    Abandoned City awaken the loneliness and unattainable romance of
    timeless, unfamiliar places, with cinematic melodies full of resonant
    overtones, bright cheerful keyboard patterns and dark percussive
    touches. The tracks all bear the names of actual vacant cities.


    Hauschka chose Abandoned City as the title of the album to convey
    the sense of hope and sadness that consumes him when he's sitting
    alone at the keyboard. "I was interested in finding a metaphor for the
    inner tension I feel when I'm composing music, a state of mind where
    I'm lonely and happy at the same time," Hauschka professes. "When I
    saw photos of abandoned cities, I felt it was perfect. People once lived
    there, but they left in a rush and now nature has taken over in a
    beautiful way, things are growing up from the sidewalk and the
    seasons are changing colors. The music is dark, but in a quiet,
    uplifting way. The piano is singing the melody but, because of the
    effects, you can't hear it directly. It's like the sound of a choir under the
    earth, something you feel without realizing it."

    1. Elizabeth Bay
    2. Pripyat
    3. Thames Town
    4. Who Lived Here?
    5. Agdam
    6. Sanzhi Pod City
    7. Craco
    8. Barkersville
    9. Stromness
    Hauschka
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dali Kubik Free Speakers -  Black Dali Kubik Free Speakers - Black Quick View

    $995.00
    Buy Now
    x

    Dali Kubik Free Speakers - Black


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


    The essence of the DALI KUBIK FREE is connectivity. This elegantly designed active speaker enables you to enjoy music from a wide variety of sources and can be connected via Bluetooth, USB, Optical or Analog inputs.


    Connectivity

    Bluetooth and Optical input is just two of the seven possible connection types that the KUBIK system offers. The broad range of connectors ensure that any device will connect to the KUBIK system at the best possible quality. To improve ease of use even more, the KUBIK system offers IR learning that enables the use of an existing remote control to navigate the KUBIK system.


    The DALI DNA

    By working with many of DALI's well-known speaker technologies like the soft dome tweeter, wood fibre cones, low-loss rubber surrounds and a glass reinforced polymer basket, the KUBIK system is clearly a true DALI speaker at its core. Adding a 4 channel stereo Class D amplifier into the mix only underlines the development team's dedication to making the KUBIK system a real Hi-Fi speaker.


    The KUBIK system consists of two elements the KUBIK FREE and the KUBIK XTRA. The two components can be setup in three different ways. Using the KUBIK FREE alone as a standalone system, using the KUBIK FREE and the KUBIK XTRA together in a stereo system or using the KUBIK FREE and KUBIK XTRA together in a two room standalone system.


    Build quality

    The main housing is based on one piece of extruded aluminium. This serves to strengthen the entire product giving it a solid feel and ensures that all components can be fitted tightly onto the structure eliminating vibrations. The back plate also acts as heat transfer for the amplifier and power supply. The top of the KUBIK is crafted from the same aluminium and reveals the solid build of the KUBIK FREE.


    Amplifier

    The 100 Watts Class D amplifier is a true active solution offering a fully digital crossover, direct handling of digital sources, and a high quality AD converter. The four channel stereo amplifier (4 x 25 Watts) controls the audio signal to the woofer and the tweeter module individually.


    This is a major part of the high quality performance of the KUBIK system since it makes it possible to control and optimize the audio stream perfectly for the drivers used in the KUBIK system. Having that level of control lets the acoustic engineers transform every bit of information into driver movement. This truly is a combination where two plus two equals 5.


    Dali Speakers
    $995.00
    Dali Kubik Free - Black Buy Now
  • Dali Kubik Free Speakers - Red Dali Kubik Free Speakers - Red Quick View

    $995.00
    Buy Now
    x

    Dali Kubik Free Speakers - Red


    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.


    The essence of the DALI KUBIK FREE is connectivity. This elegantly designed active speaker enables you to enjoy music from a wide variety of sources and can be connected via Bluetooth, USB, Optical or Analog inputs.


    Connectivity

    Bluetooth and Optical input is just two of the seven possible connection types that the KUBIK system offers. The broad range of connectors ensure that any device will connect to the KUBIK system at the best possible quality. To improve ease of use even more, the KUBIK system offers IR learning that enables the use of an existing remote control to navigate the KUBIK system.


    The DALI DNA

    By working with many of DALI's well-known speaker technologies like the soft dome tweeter, wood fibre cones, low-loss rubber surrounds and a glass reinforced polymer basket, the KUBIK system is clearly a true DALI speaker at its core. Adding a 4 channel stereo Class D amplifier into the mix only underlines the development team's dedication to making the KUBIK system a real Hi-Fi speaker.


    The KUBIK system consists of two elements the KUBIK FREE and the KUBIK XTRA. The two components can be setup in three different ways. Using the KUBIK FREE alone as a standalone system, using the KUBIK FREE and the KUBIK XTRA together in a stereo system or using the KUBIK FREE and KUBIK XTRA together in a two room standalone system.


    Build quality

    The main housing is based on one piece of extruded aluminium. This serves to strengthen the entire product giving it a solid feel and ensures that all components can be fitted tightly onto the structure eliminating vibrations. The back plate also acts as heat transfer for the amplifier and power supply. The top of the KUBIK is crafted from the same aluminium and reveals the solid build of the KUBIK FREE.


    Amplifier

    The 100 Watts Class D amplifier is a true active solution offering a fully digital crossover, direct handling of digital sources, and a high quality AD converter. The four channel stereo amplifier (4 x 25 Watts) controls the audio signal to the woofer and the tweeter module individually.


    This is a major part of the high quality performance of the KUBIK system since it makes it possible to control and optimize the audio stream perfectly for the drivers used in the KUBIK system. Having that level of control lets the acoustic engineers transform every bit of information into driver movement. This truly is a combination where two plus two equals 5.


    Dali Speakers
    $995.00
    Dali Kubik Free - Red Buy Now
  • Dali Kubik Free Speakers - White Dali Kubik Free Speakers - White Quick View

    $995.00
    Buy Now
    x

    Dali Kubik Free Speakers - White


    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.


    The essence of the DALI KUBIK FREE is connectivity. This elegantly designed active speaker enables you to enjoy music from a wide variety of sources and can be connected via Bluetooth, USB, Optical or Analog inputs.


    Connectivity

    Bluetooth and Optical input is just two of the seven possible connection types that the KUBIK system offers. The broad range of connectors ensure that any device will connect to the KUBIK system at the best possible quality. To improve ease of use even more, the KUBIK system offers IR learning that enables the use of an existing remote control to navigate the KUBIK system.


    The DALI DNA

    By working with many of DALI's well-known speaker technologies like the soft dome tweeter, wood fibre cones, low-loss rubber surrounds and a glass reinforced polymer basket, the KUBIK system is clearly a true DALI speaker at its core. Adding a 4 channel stereo Class D amplifier into the mix only underlines the development team's dedication to making the KUBIK system a real Hi-Fi speaker.


    The KUBIK system consists of two elements the KUBIK FREE and the KUBIK XTRA. The two components can be setup in three different ways. Using the KUBIK FREE alone as a standalone system, using the KUBIK FREE and the KUBIK XTRA together in a stereo system or using the KUBIK FREE and KUBIK XTRA together in a two room standalone system.


    Build quality

    The main housing is based on one piece of extruded aluminium. This serves to strengthen the entire product giving it a solid feel and ensures that all components can be fitted tightly onto the structure eliminating vibrations. The back plate also acts as heat transfer for the amplifier and power supply. The top of the KUBIK is crafted from the same aluminium and reveals the solid build of the KUBIK FREE.


    Amplifier

    The 100 Watts Class D amplifier is a true active solution offering a fully digital crossover, direct handling of digital sources, and a high quality AD converter. The four channel stereo amplifier (4 x 25 Watts) controls the audio signal to the woofer and the tweeter module individually.


    This is a major part of the high quality performance of the KUBIK system since it makes it possible to control and optimize the audio stream perfectly for the drivers used in the KUBIK system. Having that level of control lets the acoustic engineers transform every bit of information into driver movement. This truly is a combination where two plus two equals 5.


    Dali Speakers
    $995.00
    Dali Kubik Free - White Buy Now
  • Apocalypse Fetish Apocalypse Fetish Quick View

    $16.99
    Buy Now
    x

    Apocalypse Fetish

    Pressed On Clear Vinyl


    Apocalypse Fetish is a 5 song extended play release from me, Lou Barlow. The cover features a newborn child peering warily over the edge of her mother's sling into 2016, the year that conspiracy theorists became experts and anger went (even more) mainstream. The song Apocalypse Fetish proposes that, perhaps, many of us have been disappointed that the end of the world has taken too long to come after we've spent most of our lives predicting it. And, perhaps, we've decided to take matters in our own hands and bring it on because, if it doesn't come soon, then didn't we all seem foolish talking about it all. the. time.


    There are 4 other songs on the EP, none of which are political in nature but are similarly fired up. The melodic inspirations for the record came from my day in the back stairways and basement of the enormous Eagles Ballroom in Milwaukee, Wisconsin (Dinosaur Jr. were there opening for Primus in August 2015). I was alone and playing my ukulele in the cavernous spaces and tiled showers there. The unique reverberations brought the beginnings of these songs. The hall is reputed to be haunted and I'm not so sure it isn't.


    I wasn't able to fully draw the songs out until I recorded, once again, with Justin Pizzoferrato at Sonelab in Easthampton Massachusetts (May 2016). I recorded my last full-length record (Brace the Wave) there in 2015. I'm happy to consider this EP a follow-up to that album, though, this time, every song is played on ukulele (strung with heavy strings and tuned much lower than a standard uke). Actually, it sounds nothing like a ukulele. For all intents and purposes, it is a 4-string acoustic guitar utilizing the strumming styles and lower toned soundscapes I've been pursuing since my first released ukulele recording: Poledo (on Dinosaur Jr.'s 2nd LP You're Living All Over Me). Yes, I've been doing this for a long time. I'd be proud to have Apocalypse Fetish be my final record. Check it out.

    1. The Breeze
    2. Apocalypse Fetish
    3. Anniversary Song
    4. Pour Reward
    5. Try 2 B
    Lou Barlow
    $16.99
    Colored 10 Vinyl EP - Sealed Buy Now
  • Skyscraper Skyscraper Quick View

    $31.99
    Buy Now
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    Skyscraper

    Skyscraper was issued shortly after the commercially and critically successful Eat 'em and Smile World Tour of 1986-1987. Skyscraper hit #6 on the Billboard Top 200 U.S. album chart during February 1988, en route to selling two million copies in the U.S. alone. The album features one of Roth's most popular, international hit singles, Just Like Paradise, which reached #6 on the U.S. Billboard Hot 100 chart. Additionally, it features the acoustic ballad Damn Good, which reached #1 on the U.S. Billboard Rock chart.
    1. Knucklebones
    2. Just Like Paradise
    3. The Bottom Line
    4. Skyscraper
    5. Damn Good
    6. Hot Dog and a Shake
    7. Stand Up
    8. Hina
    9. Perfect Timing
    10. Two Fools a Minute
    David Lee Roth
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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