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As I Lay Dying

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  • Return To Life Return To Life Quick View

    $15.99
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    Return To Life

    War Of Ages have re-signed with Facedown Records for the release of their fifth album Return To Life. With impressive sales of their back catalog and touring history alongside As I Lay Dying, Underoath, Demon Hunter, Between The Buried And Me, Soilwork and Norma Jean; War Of Ages have proven to be one of the hardest working bands in the metal scene. Return To Life was recorded with and engineered by Zeuss at Planet Z Studios who has worked with some of metal's top acts including Shadows Fall, Hatebreed, All That Remains and Chimaira.
    1. Immortal
    2. Redeemer
    3. Fallen Idol
    4. Silent Night
    5. M.E.B.
    6. Song of Solomon
    7. With Honor
    8. Psalms
    9. Final Act
    10. Unite
    War of Ages
    $15.99
    Vinyl LP - Sealed Buy Now
  • Omen Omen Quick View

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    Omen

    Colored Vinyl


    Natives of Westfield, Massachusetts, Within The Ruins is armed with a unique take on blending tech and metal together; writing music that sets their band apart from numerous other metal bands. The quintet has mastered their technique of bringing breakdowns, riffs, tempo and a dash of personality together in order to form one cohesive entity.


    They describe their sound as "loud, energetic, interesting and fresh" and cite bands like Metallica and As I Lay Dying as their early influences.


    Their 2011 EP, Omen, issued on Victory Records, follows that to a T with two new originals to go along with a cover of Metallica's "Fight Fire With Fire" and Kansas' "Carry On Wayward Son." Colored vinyl pressing from Victory Records!


     

    1. Controller

    2. Infamy

    3. Carry On Wayward Son (Kansas Cover)

    4. Fight Fire With Fire (Metallica Cover)
    Within The Ruins
    $12.99
    Colored Vinyl LP - Sealed Buy Now
  • Violence Violence Quick View

    $15.99
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    Violence


    Produced By Caleb Shomo (ATTACK ATTACK, MY TICKET HOME)


    Artwork Created By Dan Mumford (A DAY TO REMEMBER, PARKWAY DRIVE, GALLOWS)


    St. Louis, MO melodic metalcore up-and-comers TEAR OUT THE HEART have been building a loyal following in America's Heartland over the past several years and are now setting out to conquer the globe with the release of their debut full length album, Violence. After teaming up with Victory Records in August of 2012, TEAR OUT THE HEART recorded Violence with ATTACK ATTACK vocalist/producer Caleb Shomo in the fall of last year.


    Combining sinister vocals with elements of hardcore and metal, TEAR OUT THE HEART pair malicious guitar riffs and monstrous, bouncing breakdowns alongside gigantic, sing-a-long choruses guaranteed to hook listeners instantly. Violence is loaded with white-knuckled aggression and will captivate fans of A DAY TO REMEMBER, BRING ME THE HORIZON, and AS I LAY DYING. TEAR OUT THE HEART plan to spread the anthems from their highly-promising debut to fans everywhere with extensive touring throughout 2013.

    1. Dead By Dawn
    2. Infamous Last Words
    3. Crucified
    4. Undead Anthem (Featuring Caleb Shomo)
    5. Violence

    6. Coffin Eyes (Featuring Dan Marsala)

    7. Feed Me A Stray Cat

    8. Eternal Shadows

    9. Closure

    10. Only Posers Die

    11. Darker Tides
    Tear Out The Heart
    $15.99
    Vinyl LP - Sealed Buy Now
  • Restoring Force Restoring Force Quick View

    $14.99
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    Restoring Force

    After massive amounts of hype and anticipation, Of Mice & Men blew all expectations out of the water with their
    early 2010 self-titled debut, selling over 75,000 copies to date. They didn't skip a beat with their follow up album
    - The Flood, selling over 15,000 units in its rst week and another 9k in the rst week of the deluxe reissue
    version. The Flood has currently scanned over 130,000 units. They've spent the majority of the last few years
    supporting large artists such as A Day To Remember, August Burns Red, Bring Me The Horizon, As I Lay
    Dying and more. They've also headlined Warped Tour as well as sold out tours in the US, UK & Australia.

    Of
    Mice & Men went in the studio with producer David Bendeth (Paramore, Breaking Benjamin, Bring Me The
    Horizon) to record their 3rd full length, RESTORING FORCE. The album does exactly that, it restores the band
    as a massive force in the scene that they've thrived in for the past years, but beyond that it showcases the band's
    growth as both songwriters and performers. Frontman Austin Carlile returns and gives his most brutal and
    honest performance to date while clean singer, Aaron Pauley, who is making his Of Mice & Men debut, truly
    shines and will become a star in his own right. The band will hit the road immediately after the release, spending
    the entire spring on the road with Bring Me The Horizon and Issues as well as performing as a headliner on
    Warped Tour, etc. In making "Restoring Force" the band has created an album that will please the large
    hard-rock, mosh-happy fan base that they've accrued over the years, while also allowing them to continue
    growing and appealing to a wider and wider audience.

    1. Public Service Announcement
    2. Feels Like Forever
    3. Bones Exposed
    4. Would You Still Be There
    5. Glass Hearts
    6. Another You
    7. Break Free
    8. You Make Me Sick
    9. Identity Disorder
    10. You're Not Alone
    11. Space Enough To Grow
    Of Mice & Men
    $14.99
    Colored Vinyl LP - Sealed Buy Now
  • Blood // Sugar // Secs // Traffic Blood // Sugar // Secs // Traffic Quick View

    $17.99
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    Blood // Sugar // Secs // Traffic

    Hey, what's this? Well that, my friend, is the newest album from The
    Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second
    full-length LP and their first for Sub Pop. Whoa, whoa, please slow down.
    I'm already completely lost. What you just said sounded like a stream of
    complete gibberish. Okay, I'll lay it out for you and if you have any
    questions could you yell them at me? SOUNDS GOOD. The Gotobeds
    formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock
    music that is often filed under punk, indie rock, or 99-cent discount bin.
    WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if
    the knuckle is the part of the human body that contains the brains. Much
    like their previous releases on underground stalwart labels like Mind Cure
    and 12XU, this new album artfully slips intelligence and experimentation
    into a dying art form. It's a harder feat than you'd think.


    And sure, their live shows have often been compared to an all night party
    where I feared for my life and the lives of everybody in the five block
    radius, and their recorded output is akin to the sonic manifestos of four
    men deprived of human love and raised on beer and Swell Maps, Mission
    of Burma, and old Fall records. But what you get with The Gotobeds,
    delivered in spades on this album, is smart, noisy rock with just the right
    amount of stupid.


    FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts
    over several months of 2015 in their friend My War Matt's basement in
    Pittsburgh. Unlike previously, the songs were conceived and recorded in
    blocks, which resulted in a more experimental feel. But this is no chin
    stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO.
    WHO DOESN'T? You're in luck, because this album is carpeted with em,
    thanks to Eli Kasan and TFP. On a song like 'Bodies,' it sounds as if
    you've walked into the biggest Guitar Center, but, you know, not terrible.
    Keeping it all locked down is the rhythm section of drummer, Cary Belback
    and bassist, Gavin Jensen. They allow the downright prettiness of a song
    like Red Alphabet to shine, and the lyrics on the anti-sexism thrash of
    Crisis Time to punch through.


    THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED
    TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm,
    Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as
    guest vocalists on Rope and Why'd You, respectively. Also, I'd be remiss
    to not mention the fact that the band's live show is a testament to the
    cathartic nature of speed, skill, repetition, noise, and red stage lights. If
    you don't believe me, ask the bands they have played with, like Total
    Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than
    anyone possibly could and come off better for it...which is saying
    something.


    I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE
    GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now
    please stop yelling. -Joe Casey, Protomartyr

    1. Real Maths/Too Much
    2. "Bodies"
    3. Brass Not Rash
    4. Rope
    5. Why'd You
    6. Red Alphabet
    7. Cold Gold (LA's Alright)
    8. Crises Time
    9. Manifest
    10. Glass House
    11. Amazing Supermarkets
    The Gotobeds
    $17.99
    Vinyl LP - Sealed Buy Now
  • Ceremony Ceremony Quick View

    $18.99
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    Ceremony

    It 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
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Wild The Wild Quick View

    $19.99
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    The Wild

    Late in 2016, the trio of Nils Edenloff, Paul Banwatt, and Robin Hatch hit the road for a unique set of shows in some of their favorite venues across North America and Europe. They had been hard at work writing their next album and wanted to work out the new material the way they love best: by bringing it to their fans in person. As Nils put it, "I've never been good about focusing on a theme or having a specific plan at the outset of a new record. For me, writing music tends to be more of a constantly evolving process, like following one strange trail after another until a song has come to its general conclusion. This time around, we're following that natural writing process more and inviting the fans to come along those trails with us." Over the ensuing months, they took the lessons of the road into the studio, laying ten new tracks to tape. Earlier this year, fans had their first chance to hear the results with the release of singles "White Lights" and "Beacon Hill." Now, the full fruit of their efforts can be found on The Wild, which will be released via Saddle Creek and Paper Bag. The Rural Alberta Advantage's percussive folk songs about hometowns and heartbreak, and relentless tradition of touring have taken the trio from humble recognition amongst indie rock die-hards as Canada's best unsigned band to sold-out tours and devoted fans around the world with featured coverage from Spin Magazine, Pitchfork, The New York Times and Rolling Stone all taking note. The band has been nominated for two 2012 Juno Awards (Best New Group and Video of the Year for their song "Stamp"), long listed for the 2011 Polaris Award, and awarded the CBC Music Prize for Best Independent Artist in 2014.
    1. Beacon Hill
    2. Bad Luck Again
    3. Dead / Alive
    4. Brother
    5. Toughen Up
    6. White Lights
    7. Alright
    8. Selfish Dreams
    9. Wild Grin
    10. Letting Go
    The Rural Alberta Advantage
    $19.99
    Vinyl LP - Sealed Buy Now
  • Awakened (Out Of Stock) Awakened (Out Of Stock) Quick View

    $19.99
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    Awakened (Out Of Stock)

    Grey/Black Colored Vinyl


    The brand new album, AWAKENED, from San Diego, CA's devastating metal act AS I LAY DYING will be a gatefold release with colored vinyl featuring a half & half split with half the album grey and the other half black.


    AS I LAY DYING continued to chart worldwide with AWAKENED coming in at #58 on Billboard's Top 200, #24 on the Rock Albums chart, #11 on the Independent Albums chart, and #3 on the Hard Rock Albums chart while landing at #49 on Canada's Top 200 Current Album chart, #5 on the Hard Music chart, and #64 on the Top Digital albums chart in the album's second week. AWAKENED also landed at #55 in its second week on the German Top 100 Albums Charts, #52 in Austria, and #72 for the album's third week in the German Media Markt / Saturn Charts.

    1. Cauterize
    2. A Greater Foundation
    3. Resilience
    4. Wasted Words
    5. Whispering Silence
    6. Overcome
    7. No Lungs to Breathe
    8. Defender
    9. Washed Away
    10. My Only Home
    11. Tear Out My Eyes
    As I Lay Dying
    $19.99
    Colored Vinyl LP - Sealed Temporarily out of stock
  • Nonagon Infinity (Out Of Stock) Nonagon Infinity (Out Of Stock) Quick View

    $19.99
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    Nonagon Infinity (Out Of Stock)

    Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)


    "Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.


    The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."


    "We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."


    To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.


    "We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."


    Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.


    "I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."


    "Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.


    "That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."


    To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.


    "In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."


    'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

    1. Robot Stop
    2. Big Fig Wasp
    3. Gamma Knife
    4. People-Vulture
    5. Mr. Beat
    6. Evil Death Roll
    7. Invisible Face
    8. Wah Wah
    9. Road Train
    King Gizzard & The Lizard Wizard
    $19.99
    Colored Vinyl LP - Sealed Temporarily out of stock
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