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Bass Drum Of Death'
REDI-INN-0758xBass Drum Of Death
A perfect form of release - it heaps up mounds of
high tension, but in the most cathartic and enjoyable
possible way. - NPR
A punk-fired garage tinkerer handy with all the tools
one needs to jury-rig some tasty rock nuggets - SPIN
Original Rock n' Roll Swagger at its finest - Hypetrak
A pungent, effective collision of garage rock- bashing
and Ramones sneer
- NY Times
When Bass Drum of Death started touring the rock club circuit
outside Oxford, Mississippi, several years ago, there was a legitimate
concern that the band's appeal might be limited to fans of the
garage scene. With a seemingly never-ending series of tour dates,
BDoD nonetheless transformed rooms full of normally
too-cool-to-rock indie crowds into a mob of sweaty, stage-diving
maniacs. Meanwhile, Madison Avenue, eager to cash in on hip
cachet, took notice. Since the release of 2011's GB City, "Get Found"
has been featured in FOX promos for the NASCAR season. Rockstar
Games' megaseller Grand Theft Auto V helped to promote last
year's self-titled album. Gamers terrorized the freeways of Los
Santos, living out their cops-and-robbers fantasies, as "Crawling
After You" blasted through their car stereo speakers. Bass Drum of
Death are teetering on the brink of reaching a mainstream audience,
and Rip This is their attempt to record an unapologetic rock album
for people outside their normal fan base.
In the past, BDoD brainchild John Barrett wrote and recorded all the
material and toured with a revolving lineup of hired guns on drums
and guitar. This time around, drummer Len Clark joins Barrett as a
full-time member and collaborator. The duo began discussing plans
for a new record when touring with Unknown Mortal Orchestra in
2013. Barrett and Clark then convinced UMO bassist Jacob Portrait
to take on the role of producer when the band booked a session in
March at Prairie Sun Studios in Sonoma County, California. With a
few rough demos, Barrett, Clark, and Portrait hunkered down for two
weeks and cranked out the band's first proper studio album. Rip This
retains BDoD's trademark sorry-for-partyin' swagger while
scrapping the crackling hiss and lo-fi fuzz. The result is an record
that still relies on an obliterating attack of heavy guitars, danceable
hooks, and kinetic drumming, but will appeal as much to KISS fans
as the music freaks and geeks who worship Nuggets. Both a
challenge to music critics and a rock call-to-arms, the title says it all.
You're not going to hear many records this year that rip like this, so
shotgun a beer, tune in, and turn up.1. Electric
2. Left For Dead
3. For Blood
4. Everything's The Same
5. Sin Is In 10
6. Black Don't Glow
7. Burns My Eye
8. Lose My Mind
9. Better Days
10. Route 69 (Yeah)$19.99Vinyl LP - Sealed Buy Now
Bass Drum Of Death2013's self-titled Bass Drum of Death album is everything about 2011's debut GB City amplified, in every sense of the word. With nothing but his inspiration and his instruments, Barrett spent the fall of 2012 in his studio, smashing out punk rock. This time it was just him, lots of coffee, a Realistic reverb unit to give everything just a little of that stoned-in-outer-space and for the first time in Bass Drum of Death history, a bass that he used on every new track.1. I Wanna Be Forgotten
2. Fine Lies
3. Shattered Me
4. Such A Bore
5. No Demons
6. Bad Reputation
7. Faces of The Wind
8. Crawling After You
9. White Fright
10. Way Out
11. (You'll Never Be) So Wrong$17.99Vinyl LP - Sealed Buy Now
Death MagicHEALTH formed in 2006 around the noise/punk scene emerging from downtown LA club The Smell. The four-piece combines incredible musicality (vocals, drums, guitars, bass & keys) with visceral electronics to form a sound unlike anything in music today, forging heavy rock and experimental electronic elements. Fans include Trent Reznor (HEALTH toured with NIN), Adult Swim & Eric Wareheim, as well as press, NonComm radio and a truly global audience.1. Victim
3. Men Today
4. Flesh World (UK)
5. Courtship II
6. Dark Enough
9. New Coke
10. L.A. Looks
11. Hurt Yourself
12. Drugs Exist$21.99Vinyl LP - Sealed Buy Now
To The Death 84 (Awaiting Repress)Voivod originally formed in 1983, with a weird hybrid of thrash metal and punk, a sound that made them stand out as a unique band from the beginning. Still together after almost 30 years, having made more than a dozen albums and toured the world, the Canadian group reaches back to the beginning of their career for their first Alternative Tentacles release.
Voivod began as four friends who met in high school and decided to get together to play some heavy music. Growing up in Northern Quebec in an aluminum factory area called Saguenay (which they dubbed Morgoth Land), they shared a liking of Venom, Motörhead, Tank, Discharge and GBH, as well as obscure prog and krautrock bands like Van Der Graaf Generator, Faust and Can. They were scared of the threat of a nuclear war and Reagan-era concepts such as the Strategic Defense Initiative, and had a dystopian view of the future.
To the Death 84 is 70 minutes of loud, blistering metal/punk. Recorded live in the bands jam space in January of 1984 with an old tape recorder and a couple of microphones, it nonetheless sounds great and hits as hard today as it did back then. This demo tape was sent to all the fanzines the band knew of at the time, and has circulated among collectors for years. The lineup for these recordings was Snake (Denis BÉlanger) on lead vocals, Piggy (Denis DAmour) on guitar, Blacky (Jean-Yves ThÉriault) on bass and Away (Michel Langevin) on drums. The track listing includes songs from War and Pain, their debut album, and six others, including a Mercyful Fate cover and two Venom covers.1. Voivod
2. Condemned to the Gallows
3. Hell Driver
4. Live For Violence
5. War And Pain
7. Buried Alive/Suck Your Bone
9. Slaughter In A Grave
10. Nuclear War
11. Black City
12. Iron Gang
14. Bursting Out
15. Warriors Of Ice$16.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Sing Sing Death House (Awaiting Repress)The Distillers: Brody Armstrong (vocals, guitar); Casper (guitar, background vocals); Ryan (bass, background vocals); Andy Outbreak (drums). Engineers include: Kevin Guineri, Donnel Cameron, Brett Gurewitz. Principally recorded at Westlake Studios, Hollywood, California between May and June 2001. This authentic, damaged, street-kid punk outfit boasts the magnificent, mouth-full-of-marbles gutter-punk accent of Brody, wife of Rancid's Tim Armstrong. (Both slur their vocals in a similar fashion.)1. Sick of It All
2. I Am a Revenant
3. Seneca Falls
4. Young Crazed Peeling, The
5. Sing Sing Death House
6. Bullet & The Bullseye
7. City of Angels
8. Young Girl
9. Hate Me
11. I Understand
12. Lordy Lordy$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
WARB-WEA-1517xDeath From Above 1979
Outrage! Is NowThe merry merchants of muscular death dance discord - Sebastien Grainger (vocals, drums) and Jesse F. Keeler (bass, keys, synths) - made a collective decision to embrace their own penchant for perpetual motion while gleefully maintaining the car-wreck intensity of their punkified disco rock. Ultimately, Outrage! Is Now confidently kicks off a new chapter for Death From Above.
We are committed to evolution. This record is the sound of the two us pushing at the walls. We want there to be space, surprises and action!, says Sebastien. We both wanted to see how far we could take our sound as Death From Above. In a way, that has always been our objective, adds Jesse.
Outrage! Is Now is meant to be felt on both a visceral and emotional level, concludes Sebastien. We tried to make something that excites and surprises. Our journey is that of enlightenment and seeking truth. There's enough fiction and meaningless distractions in the world to make you totally shut off. We hope this record turns you on.1. Nomad
2. Freeze Me
3. Caught Up
4. Outrage! Is Now
5. Never Swim Alone
8. All I C Is U & Me
9. NVR 4EVR
10. Holy Books$21.99Vinyl LP - Sealed Buy Now
The Physical WorldProduced by D. Sardy (Red Hot Chili Peppers, LCD Soundsystem, Wolfmother, Oasis), The Physical World comes a full ten years after the release of the band's universally acclaimed debut album, You're A Woman, I'm A Machine, which made Jesse F. Keeler (bass, synths, backing vocals) and Sebastien Grainger (vocals and drums), an underground /over ground sensation.1. Cheap Talk
2. Right On, Frankenstein!
4. Always On
5. Crystal Ball
6. White Is Red
7. Trainwreck 1979
8. Nothin' Left
9. Government Trash
11. The Physical World$18.99Vinyl LP - Sealed Buy Now
Horrified (Awaiting Repress)Repulsion is the band that introduced the world to insane blasting drums, bone jarring distorted bass, and the most vile lyrics imaginable. Originally released in Europe in 1989 by members of Carcass on their Necrosis Records label, Horrified is a genre pioneering masterpiece that has influenced so many death acts, most notably Napalm Death, Carcass, Entombed and Cannibal Corpse.1. The Stench Of Burning Death
2. Eaten Alive
3. Acid Bath
4. Slaughter Of The Innocent
6. Radiation Sickness
7. Splattered Cadavers
8. Festering Boils
9. Pestilent Decay
11. Driven To Insanity
12. Six Feet Under
13. Bodily Dismemberment
15. The Lurking Fear
16. Black Breath
17. Maggots In Your Coffin
18. Horrified$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Songs In A&EWho would have thought that Jason Pierce's Spiritualized would have had any life in them after the rather uninspiring Amazing Grace in 2003? In the intervening five years, Pierce nearly died from double pneumonia. Near death experiences by their very nature are life-changing events. The music on Songs in A&E were recorded in that aftermath, but most of the album was written two years before he got sick; with so much of it about near death and survival, it feels like life imitating art. From the first notes of Sweet Talk, it's obvious that a very different Spiritualized is up and about; an acoustic guitar, a sparse drum kit, the voice quartet, a few horns, and a minimal bassline fuel it. Pierce sweetly croons to a loved one in waltz time; his words are
simultaneously appeasing and accusatory. The gospel chorus isn't as overblown as it was on Amazing Grace or Let It Come Down. They are in a support role, offering Pierce's reedy voice a fullness and authority it wouldn't have otherwise. The arrangement is lilting but powerful. How strange, then, the sounds of a ventilator that usher in the next track Death Take Your Fiddle: I think I'll drink myself into a coma/And I'll take every way out I can find/But morphine, codeine, Whisky, they won't alter/The way I feel/Now death is not around...Death take your fiddle/And play a song for me. Minor-key acoustic
guitar and ghostly bass frame Pierce singing a mutant folk-blues that evokes Gary Davis' Death Don't Have No Mercy. The backing vocals float
wordlessly like death angels, hovering around the vocalist and giving the tune an otherworldly quality.
But this isn't a song about dying; it's a song about coming close and cheating it; it's eerie. The proof? The next two tracks: I Gotta Fire, and Soul on
Fire. The former is a taut, Gimme Shelter-esque rocker, the latter, a lush, uptempo love song. Sitting on Fire is a beautifully orchestrated love song:
it's an admission of weakness and codependency but celebrates both of them at the same time: Baby, I'm sitting on fire/but the flames put a hole in my
heart/when we're together we stand so tall/But a part of me falls to the floor/Sets me free /I do believe it'll burn up in me for the rest of my life. Strings,
vibes, marimbas, and drums crash in to the center of the mix carrying the protagonist into oblivion. Yeah, Yeah is a scorching rocker that feels like the
Bad Seeds meeting the old Spacemen 3. You Lie You Cheat, crashes in Velvets style with acoustic guitar and screeching feedback. The chorus sings
atop a flailing drum kit, distorted strings, and wailing electric guitar. The marimbas and strings that power Baby, I'm Just a Fool, sweetly underscore a
very dark pop song, complete with da-do-da-do-dat det-det-do's. It descends into beautifully textured chaos led by a loopy violin solo over seven
minutes. Songs in A&E is the most consistent recording Spiritualized has issued since 1997's Ladies and Gentlemen We Are Floating in Space. It
contains the best elements of the band's signature sound, and paradoxically hedonistic yet utterly spiritual lyric themes. That said, newly focused energy,
willfully restrained arrangements, and taut compositions give the set a sheer emotional power that no Spiritualized recording has ever displayed before,
making it, quite possibly, their finest outing yet.
- Thomas Jurek (All Music)LP1
1. Harmony 1 (Mellotron)
2. Sweet Talk
3. Death Take Your Fiddle
4. I Gotta Fire
5. Soul on Fire
6. Harmony 2 (Piano)
7. Sitting on Fire
8. Yeah Yeah
9. You Lie You Cheat
1. Harmony 3 (Voice)
2. Baby I'm Just a Fool
3. Don't Hold Me Close
4. Harmony 4 (The Old Man )
5. The Waves Crash In
6. Harmony 5 (Accordion)
7. Borrowed Your Gun
8. Harmony 6 (Glockenspiel)
9. Goodnight Goodnight$24.99Vinyl LP - 2 LPs Sealed Buy Now
HumanureCattle Decapitation can be described as the bastard child of Cannibal Corpse and Carcass weaving a vicious blend of Gore-grind and Death Metal into complex structures with the end result being some of the most brutal and catchy songs written in the genre today. Cattle Decapitation takes a different approach to their song writing than most bands of the same sort that tend to focus mainly on fictional subject matter. The new album Humanure starts off where their debut album on Metal Blade To Serve Man left off, dealing with the rape of the earth, it's natural resources, and the unjust treatment of animals. Humanure will be the album that metalheads have been longing for; something as ferocious as Cannibal Corpse, something as gutturally disgusting as Carcass, something offensively disturbing as Autopsy, and something as politically charged as Napalm Death.
Hailing from San Diego, CA Cattle Decapitation originally formed in 1996. The lineup initially featured David Astor on bass and Gabe Serbian on drums, both of whom were then also members of the underground phenomena The Locust. Seeking a replacement for their original vocalist, the band turned to Travis Ryan, who had actually been playing drums for another San Diego metal band, Strangulation, in addition to serving as vocalist in a gore metal band called Anal Flatulence. With Ryan on board, Astor moved from bass to drums, and Serbian moved from drums to guitar. The 3-piece quickly released two albums, the Human Jerky LP (on the Nevada label Satan's Pimp) and the Homovore CD/LP. Next, they added a bassist, Troy Oftedal, with whom they recorded their third full-length, To Serve Man, released in the fall of 2002 on Metal Blade, a move that would expose them to more of a death metal-oriented audience (as opposed to the hardcore/grindcore one that they had mostly been playing to before). In 2002, the band added a second guitarist, Josh Elmore (formerly of 7000 Dying Rats), who eventually took over as the band's sole guitarist after Serbian left in order to devote himself more fully into the Locust.
Recorded with producer Bill Metoyer (Slayer, WASP, Six Feet Under) Humanure will feature the latest addition to the band, drummer Michael Laughlin. The band parted ways with drummer David Astor in May of 2003 due to inability to live up to the obligations of touring and regular necessities of the band. Michael, previously of CREATION IS CRUCIFIXION, is most definitely a fitting replacement. Humanure has guest appearances by ex-members of the band including Gabe Serbian and the rest of his band The Locust and the original vocalist, Scott Miller.1. Scatology Domine (intro)
3. Reduced To Paste
4. Bukkake Tsunami
5. Cloacula: The Anthropophagic Copromantik
7. Applied Human Defragmentation
8. The Earthling
10. Lips & Assholes
11. Men Before Swine (outro)$29.99Colored Vinyl LP - 2 LPs Sealed Buy Now
From Wisdom To BakedCANNABIS CORPSE was formed by MUNICIPAL WASTE bassist LandPhil Hall (bass/vocals) and his brother Josh Hallhammer Hall (drums) out of a mutual love of brutal Floridian death metal (CANNIBAL CORPSE, MORBID ANGEL, DEICIDE, OBITUARY) and weed. The band's earliest recordings (2006's Blunted At Birth and 2008's Tube of the Resinated) are primal homages to their influences; where relentless, jackhammer beats and sick, guttural vocals lay the foundation for twisted tales of crazed weed mayhem. Time has seen the band tour the world over, and grow into a more evolved harbinger of brutal US death. CANNABIS CORPSE' new album 'From Wisdom to Baked' will undoubtedly see the death metal powerhouse step to the forefront of the worldwide extreme scene.1. Baptized In Bud
2. Zero Weed Tolerance
3. Weedless Ones
4. Individual Pot Patterns
5. Pull The Carb
6. Considered Dank
7. Voice Of The Bowl
8. THC Crystal Mountain
9. With Their Hash He Will Create
10. From Wisdom To Baked
11. Medicinal Healing$19.99Vinyl LP - Sealed Buy Now
Songbird is a compilation album of songs by the late American singer Eva Cassidy, released in 1998, two years after her death in 1996.
Five tracks (Wade in the Water, Wayfaring Stranger, Songbird, Time is a Healer and I Know You by Heart) are from Cassidy's album, Eva by Heart. Four tracks (Fields Of Gold, Autumn Leaves, People Get Ready and Oh Had I a Golden Thread) are from her album, Live at Blues Alley. The remaining track, Over the Rainbow, is from the album The Other Side. The compilation album was certified Gold by the CRIA (50,000 units) in 2003. It was certified Gold by the RIAA in 2001 and Platinum in 2008 for shipments in excess of one million copies.
Eva Cassidy guitar, keyboards, vocals
Chris Biondo bass, guitar
Dan Cassidy violin
Hilton Felton organ
John Gillespie organ
Keith Grimes guitar
Raice McLeod drums
Larry Melton upright bass
Mike Stein violin
Chris Walker trumpet
Lenny Williams piano
Kent Wood organ1. Fields of Gold
2. Wade in the Water
3. Autumn Leaves
4. Wayfaring Stranger
6. Time Is A Healer
7. People Get Ready
8. I Know You By Heart
9. Oh, Had I A Golden Thread
10. Over the Rainbow$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
D'zzzAt times the album gives the impression of a kind of futureprimitive take on Trap; rusted and distorted 808 claps and bass drums collide with exotic percussion and mangled industrial clangs, reminiscent of more recent industrial takes on techno such as Pete Swanson's music. It's a thoroughly unique soundworld that stretches from the 4/4 kick of 'Dusco' to the Brazillian percussion meets trap triplets of 'Drizzle'. 'Dank' is made of exhausted and aggressively distorted hip hop, while 'Drowning' has an ambient feeling to it, leading into 'Dilute''s pockmarked abstraction. 'Death' is mercilessly overloaded and fever-sick, while 'D'Mmmm' works with just a looped sample and plodding processed 808s. following on are 'Demonoid' which stretches cymbals and drums into strange shimmering shapes and the brainwipe of 'Damiana's fierce oppressive squelch.1. Dusco
9. Damiana$8.99Vinyl LP - Sealed Buy Now
Modern Vampires Of The CityModern Vampires of the City is Vampire Weekend's third album, and it will be released on May 7th, 2013. The album is a bustling world of voices and visions - from the death of Henry Hudson to the Orthodox girl falling in love at an uptown falafel shop, from Hannah Hunt tearing up the New York
Times on a distant beach to the lethal chandelier of "Everlasting Arms", from the ardent yearning of "Don't Lie" to the harmonized voice of hope in "Young Lion".
For this album, Rostam Batmanglij and Ezra Koenig traveled to LA to collaborate with Rostam's longtime friend, and fellow producer, Ariel Rechtshaid. They brought with them writing and recording sessions from New York and Martha's Vineyard and began to stride towards realizing the finished album and were later joined by drummer Chris Tomson and bassist Chris Baio. Drums and bass were recorded to analog tape at Vox Studios. Built in the 1930's, it's one
of the oldest privately owned studios in Los Angeles. Those parts were then reintegrated with the sessions and further manipulated to create a synthesis of sound and tone, both old and new. Modern Vampires of the City has a grandeur and romanticism evocative of the city where it was conceived.1. Obvious Bicycle
4. diane Young
5. don't Lie
6. Hannah Hunt
7. Everlasting arms
8. Finger Back
9. worship You
10. Ya Hey
12. Young Lion$21.99Vinyl LP - Sealed Buy Now
Rollins Plays For Bird (Mono)1956's Rollins Plays For Bird was recorded within a year of Charlie Parker's death and features a 7-song, 27-minute medley of material associated with the jazz legend along with the independent numbers I've Grown Accustomed to Her Face and Kids Know. Accompanying Rollins on the session are Wade Legge (piano), George Morrow (bass), Max Roach (drums) and Kenny Dorham (trumpet).
This title is not eligible for discount.1. Medley: I Remember You/My Melancholy Baby/Old Folks/They Can't Take That Away From Me/Just Friends/My Little Suede Shoes/Star Eyes
2. I've Grown Accustomed to Her Face
3. Kids Know$34.99200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
More Parts Per MillionThe Thermals celebrate their 10-year anniversary by reissuing their three Sub Pop albums on vinyl. More Parts Per Million is the band's debut album, originally released by Sub Pop on March 4th, 2003. The Thermals were created in 2002 by singer Hutch Harris in his Portland-area kitchen. By that summer, they was a rock band in the flesh, with Kathy Foster on bass, Jordan Hudson on Drums and Kind of Like Spitting's Ben Barnett on the guitar. The Thermals play with a joyous frenzy not unlike the idiosyncratic guitar driven indie-punk of the Wedding Present, with lyrics spewed forth from the same oblique etherland as Guided By Voices. More Parts Per Million has sold over 12,000 copies, and the vinyl has been out of print for years. Chris Walla of Death Cab For Cutie mixed the album at The Hall of Justice studio in Seattle, WA.1. It's Trivia
2. Brace and Break
3. No Culture Icons
4. Goddamn the Light
5. Out of the Old and Thin
6. I Know the Pattern
7. Time to Lose
8. My Little Machine
9. Overgrown, Overblown!
10. A Passing Feeling
11. Back to Gray
12. Born Dead$15.99Vinyl LP - Sealed Buy Now
Persistence Of TimeIn 1990, while making Persistence of Time, the members of Anthrax looked up from their comic books, quit joking around, and realized they were going to die someday. But unlike its Big Four brethren (Slayer, Metallica, Megadeth), the Fourth Horseband of the Thrashpocalypse didn't celebrate the coming of the grim reaper. The aptly named Persistence of Time opens with the ticking of a clock and unleashes heart-pounding waves of existential dread, stylistic evolution, and white-hot anger at death itself.
Cut at Mobile Fidelity by engineer Krieg Wunderlich and afforded requisite groove space for the first time ever on a proper 2LP pressing that accommodates the band's longer songs, Anthrax's 1990 magnum opus sounds as genuine, forceful, and uncompromising as the songs' urgent lyrics and thematic struggles. Serious and complex, this definitive analog pressing of Persistence of Time-known by fans as POT-presents the vital music as a furious blend of dynamic speed and three-dimensional heaviness.
Seething anthems like Keep it in the Family and In My World give way to straight-ahead headbangers like H8 Red and a rapid-paced cover of Joe Jackson's Got the Time. Guitarists Scott Ian and Dan Spitz converse with mosquito whines and monster-truck thunder. Intro to Reality forms a prog-inspired cocoon with harmonizing twin guitars and contemplative resonance until Frank Bello's thundering bass hacks its way out and leads straight into the bare-knuckle Belly of the Beast." Throughout, Charlie Benante's virtuosic drumming accelerates and slows the crashing pulse of Anthrax's last album until 2011 to feature Joey Belladonna's riotous vocals.
The band's darkest affair, Persistence of Time shakes its fist at mortality, snarls at wasted life, and pits burgeoning maturity against livid, riff-driven metal. Tackling more grown-up motifs, extended arrangements, and slower time signatures than on albums past, the group manages to preserve its youthful energy while expanding beyond the borders of thrash.
Persistence of Time is timeless.1. Time
3. Keep It in the Family
4. In My World
6. Intro to Reality
7. Belly of the Beast
8. Got the Time
9. H8 Red
10. One Man Stands
11. Discharge$33.99Vinyl LP - 2 LPs Sealed Buy Now
Can You Please Crawl Out Your Window/Burning Of The Midnight LampTHE FIRST OF AN HISTORIC SERIES OF 7" SINGLES FEATURING UNIQUE AND HARD-TO-FIND VINTAGE PERFORMANCES BY JIMI HENDRIX!
In a historic alliance, Sundazed has partnered with Experience Hendrix, L.L.C. to release an eye-popping series of new 7" picture-sleeve vinyl singles featuring unique and hard-to-find vintage performances by Jimi Hendrix!
Both sides feature the classic original Jimi Hendrix Experience lineup of Hendrix on guitar and vocals, Noel Redding on bass and Mitch Mitchell on drums, and capture the band just as they were beginning to emerge as a major creative force on both sides of the Atlantic. As with every release in the series, it will feature a color picture sleeve, incorporating rare vintage Hendrix photos that capture the legendary artist's distinctive persona and pioneering spirit.
In a recording career that spanned only three and a half years prior to his tragic death in 1970 at the age of 27, Jimi Hendrix revolutionized the role of the electric guitar, and radically altered the face of contemporary music. He became rock's first guitar superstar with an effortless charisma that matched his visionary talent to an intensely original performing style.1. Can You Please Crawl Out Your Window?
2. Burning of the Midnight Lamp$9.997 Vinyl Single - Sealed Buy Now
Live At Third Man RecordsFucked Up is a rare band. They're a mutant strain of post-hardcore, arena punk super-talents capable of reworking the strange and the beautiful into something cohesive, but never at the expense of their signature, addictive, furious entropy. They are truly a blitzkrieg of song and lyric.
Is it work-shy and lazy to call a live record whose songs flow seamlessly into one another ''epic?'' What if every track is a battering ram of rabid guitar, fugitive vox, death match bass and roaring drums? No matter how you dice it one word won't ever be enough to explain a band like Fucked Up. All substitutions will pale in comparison to the experience itself. That goes for every blurb and every pixelated cell phone video out there. But our record does the show justice.
Fucked Up got their start as many often do, making the rounds on punk and DIY circuits in Toronto, around Canada and later into the USA. Punk is a genre known for its velocity, brevity, and politics, although here we have an almost complete inversion of those core traits: songs don't race the clock, mythology and storytelling weaving fully realized narratives, and a bipartisan set with a 100% approval rating.1. Year of the Rat
2. David Comes to Life
3. Son the Father
4. I Hate Summer
5. Year of the Ox
6. California Cold$14.99Vinyl LP - Sealed Buy Now
Come On (Let The Good Times Roll)Sundazed presents the second installment in its landmark Jimi Hendrix singles series, which honors the legendary guitar icon's singular musical genius by presenting it in the same medium in which it was originally experienced by fans: vinyl.
The series' latest release once again pairs two vintage Hendrix tracks, combining his visionary reading of Earl King's R&B classic "Come On (Let the Good Times Roll)" alongside the Hendrix original "Calling All the Devil's Children." The former track, which Hendrix recorded for his classic 1968 album Electric Ladyland, demonstrates Jimi's close ties to his blues and R&B roots. The latter demonstrates his skill with long-form improvisation, as well as his playful sense of humor.
Both tracks feature the classic Jimi Hendrix Experience lineup of Hendrix himself on guitar and vocals, Noel Redding on bass and Mitch Mitchell on drums. As with every release in the series, the new single features a color picture sleeve incorporating seldom seen Hendrix photos that capture the legendary artist's distinctive persona and pioneering spirit.
This new release is the second in Sundazed Music's historic partnership with Experience Hendrix, L.L.C., which launched in April 2012 with a single featuring two rare Hendrix performances from a pair of 1967 BBC sessions.
In a recording career that spanned only three and a half years prior to his tragic death in 1970 at the age of 27, Jimi Hendrix revolutionized the role of the electric guitar and radically altered the face of contemporary music. He became rock's first guitar superstar, with an effortless charisma that matched his visionary talent to an intensely original performing style. More than four decades after his passing, his influence upon contemporary music looms as large as ever.1. Come On (Let the Good Times Roll)
2. Calling All the Devil's Children$9.997 Vinyl Single Buy Now
Gentle Ben (45 RPM)That Rich, Humid, Giant Sax Tone Blooms Like On Few Other Webster Recordings
Mastered By Kevin Gray At Cohearent Audio
200-Gram Gatefold 45 RPM Double LP Pressed At Quality Record Pressings
...Webster's trademark sensual sound is on full display and, of course, he's backed by Montoliu, an outstanding Spanish piano veteran who accompanied all the great jazz artists passing through Europe...This is one of the first releases by Analogue Productions pressed at their new in-house pressing plant Quality Record Pressings, and the record bears a close resemblance in appearance to records from Pallas - beautiful looking and perfectly quiet...The superb 200-gram LP comes in a rice paper sleeve and jacket of heavy cardboard...Highest Recommendation. Recording = 10/10; Music = 8.5/10 - Dennis D. Davis, Hi-Fi+, Issue 81
This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with on another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.
There's no shortage of Webster's trademark breathy, fat tenor tone here. In fact, given the sparse arrangement, that rich, humid, giant sax blooms like on few other recordings. Highlights include Ben's Blues, Sweet Georgia Brown, The Man I Love and Don't Blame Me.
This title is not eligible for discount.LP 1
1. Ben's Blues
2. The Man I Love
3. My Nephew Bent
4. How Long This Has Been Going On
1. Sweet Georgia Brown
2. Don't Blame Me
3. Did You Call
4. Barcelona Shout$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
NightbringersAny band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."
Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."
Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."1. Widowmaker
2. Of God and Serpent, of Spectre and Snake
6. Kings of the Nightworld
7. Catacomb Hecatomb
8. As Good as Dead
9. The Lonely Deceased$25.99Vinyl LP - Sealed Buy Now
Comb The Feelings Through Your Hair
a revelation -- dynamic, hooky, energetic!
The '90s indie rock lashings of Grooms, add a
reminder to dust off your Polvo/SY LPs
...some of the most exciting new sounds the
Kings County has to offer."
Having lived, worked, and created in the ever evolving Williamsburg neighborhood of Brooklyn for over a
decade, native Texan Travis Johnson has felt the direct impact of the growth and dissolution that comes
with rapid gentrification. His band Grooms practiced, and recorded at Brooklyn's Death By Audio for
seven years (first as Muggabears, then as Grooms) before they were forced out of their spiritual and
literal home in November 2014 when DBA shut its doors. A little over a year before, with the band's
income not providing enough money to support any of its members, bass player and co-writer Emily
Ambruso went on hiatus from the band, leaving Johnson as the only original member. Despite these
unfortunate blows, Johnson soldiered on, soon recruiting Jay Heiselmann on bass, and actor/comedian
Steve Levine on drums.
After months of experimenting with sound collages, samples, and electronic beats, the band recorded an
obsessively detailed and melodically complex album, with a heavy focus on mood and texture. Unlike
their previous album Infinity Caller (which Speedy Ortiz's Sadie Dupuis called ...an exercise in explosion
and restraint hallmarked by sweeping guitars, stuttery drums, and cryptic, airy vocals...) many of the
songs on Comb... bring the band's rhythm section to the fore, and Johnson's trademark guitar stylings
often take a backseat to his psychedelic sample-collages and ambient electronics. Fortunately the new
approach works, balancing pop structures with masterful experimental production that shifts in tone and
color in harmony with Johnson's tales of acceptance, loneliness, and impotent violence.
On Comb..., that violence is most evident on Something Wild, a song about destroying the high-priced
waterfront condos that contribute to the rising cost of living in neighborhoods like Williamsburg and
Greenpoint, and then feeling conflicted about it. Love is the subject matter on Bed Version (a song
which Johnson describes as a fantasy about seeing the joy in my girlfriend's face as she realizes she's
not cosmically alone.), and the album becomes wistful on Cross Off (a remembrance and longing for
the good old days when Ambruso was still an active member of the band), but even on these songs
Levine's alternately Krautrock and Elvin Jones-inspired drums, and Heiselmann's propulsive bass help to
maintain the album's intense atmosphere. Album standouts like Comb the Feelings Through Your Hair
and Doctor M deliver head-bobbing pop hooks as Johnson ponders his long-term struggle with
addiction, while other songs, Savage Seminar, Will the Boys?, and Grenadine Scene from Inside,
explore the thoughts, and feelings of fictional characters in the films Magnolia, Lost Boys, and Steel
Whether singing from a fictional or personal perspective, Johnson's songs on Comb... are all loosely
about letting go of bitterness and resentment. Like the Brooklyn neighborhood where he lives and works,
his internal real estate is constantly being reevaluated, razed, and rebuilt. Fortunately his personal
growth has yielded an album that attentive listeners will find relatable and consistently rewarding.1. Bed Version
2. Comb The Feelings Through Your Hair
3. Cross Off
4. Something Wild
5. Doctor M
6. Half Cloud
7. Will the Boys?
8. Savage Seminar
9. Grenadine Scene From Inside
10. Foster Sister
11. Later A Dream$16.99Vinyl LP - Sealed Buy Now
Savages (Discontinued)Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.
Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.
"All of the things that make SOULFLY killer are combined in Savages," Max declares.
»Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.
"I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."
A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.
SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.
In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).
Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"
Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."
Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."
Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."
Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."
Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."
Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."
Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."
Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.
Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"
Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.LP 1
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now