- Lowest Price
- Highest Price
From out of the wreckage of the American Civil War, the great state of Nevada came into being on October 31st, 1864. Its creation immediately helped to secure the re-election of Abraham Lincoln, the passage of the Thirteenth Amendment and, ultimately, the future of the union. Today, that proud but painful history is enshrined in the two words emblazoned on the upper left-hand corner of the state flag: Battle Born.
That phrase has always resonated with Brandon Flowers. It's what The Killers named their studio in Las Vegas, and when the band reconvened last May to start work on the follow-up to 2008's Day & Age, it became first a song title, then a thematic touchstone, and eventually the name of the album itself. But not all battles are blood and thunder: after a yearlong hiatus that saw three of the four Killers launch solo careers, they quickly discovered that timing and circumstance can be daunting adversaries in their own right.
Safe to say, Battle Born's title was well-earned. "It's the hardest thing I've ever done, no question," says Brandon. "It's the longest we've ever taken to make a record, and the longest I've ever spent on the lyrics. We thought we had enough songs, but then we realized that we didn't, and so we had to pound away and grind it out until we were certain that we were ready."
A small-town drama of epic-scale proportions, "Runaways" is everything you could wish for from a Killers comeback single; an unmistakably American expression of romance and optimism that heralds their return with cyclonic, Who-esque guitars and a chorus big enough to be bellowed from one end of the Mojave to the other.
One of the album's oldest songs, the bare bones were written in 2009 on the Day & Age tour, but, says Brandon, "We never knew what to do with it. Day & Age was us trying to be more of a pop group, but Runaways was rootsy and American, and it threw me for a curve. I knew it was a powerful song. But when it came time to make the album, there was an understanding the four of us had that we were gonna do what we're good at. The Killers write a specific kind of song, and we're not gonna shy away from it. So 'Runaways' became a kind of launching pad."
More songs followed: the title track, a musical 'brother' to its lead single; "Here With Me," the album's heartstring-tugging emotional gravity-centre; the stadia-quaking electro-rock of "Flesh & Bone." By the time the band had satisfactorily refined that body of songs, however, none of the producers on their shortlist could commit to making a whole album, necessitating a process whereby they recorded in fits and starts with a stellar roll-call of names that included Daniel Lanois, Steve Lillywhite, Damian Taylor, Stuart Price and Brendan O'Brien.
And therein lies Battle Born's real triumph. Recorded almost entirely at the studio that shares its name, it incorporates elements from each of the records that came before it; Hot Fuss' storytelling eye for detail; the yearning, mythic Americana of Sam's Town; the gratuitous hooks and pop nous of Day & Age; without sounding overtly like any one in particular. It's the sound of a band recognizing, and celebrating, their own identity. To borrow Brandon's maxim, Battle Born is The Killers "Doing what we do best."1. Flesh And Bone
3. The Way It Was
4. Here With Me
5. A Matter Of Time
6. Deadlines And Commitments
7. Miss Atomic Bomb
8. The Rising Tide
9. Heart Of A Girl
10. From Here On Out
11. Be Still
12. Battle Born$34.99Vinyl LP - 2 LPs Sealed Buy Now
Born And Raised (Awaiting Repress)Columbia Records is pleased to announce the release of Born and Raised, the fifth full-length album from Grammy Award-winning singer, songwriter and musician John Mayer. Mayer produced the 12-song set with the much in demand Don Was, who's worked on albums for acts such as the Rolling Stones, B.B. King and Bonnie Raitt among others.
Rock legends David Crosby and Graham Nash provide vocals on the album's title song. Additional musicians joining Mayer on the album and on the road include highly-regarded keyboardist/pianist Chuck Leavell, who has worked with the Rolling Stones, Eric Clapton and The Allman Brothers Band, as well as previous collaborators Sean Hurley on bass and Aaron Sterling on drums. Jim Keltner makes a special appearance on drums on Something Like Olivia. Born And Raised will be preceded by the country-tinged lead single Shadow Days.
Mayer's previous albums Room for Squares (2001), Heavier Things (2003), Continuum (2006) and Battle Studies (2009) have sold more than 12 million copies combined. He has been honored with seven Grammy Awards and an additional 11 nominations. He has also been included in Time Magazine's annual 'Time 100' list of the most influential contemporary thinkers, leaders, artists and entertainers, and twice been featured on the cover of Rolling Stone Magazine's annual 'Guitar' issue.1. Queen of California
2. The Age of Worry
3. Shadow Days
4. Speak for Me
5. Something Like Olivia
6. Born & Raised
7. If I Ever Get Around To Living
8. Love is a Verb
9. Walt Grace's Submarine Test, January 1967
10. Whiskey, Whiskey, Whiskey
11. A Face To Call Home
12. Born & Raised (Reprise)$39.99180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed AWAITING REPRESS Buy Now
The Desired EffectAlmost five years since the release of his critically acclaimed solo debut, Flamingo, Flowers' solo return follows a time of continued huge success with his band The Killers, who released the global chart-topping album Battle Born in 2012, as well as the greatest hits collection Direct Hits in 2013, selling out the likes of Wembley Stadium and Madison Square Garden while continuing to headline major festivals around the world.1. Dreams Come True
2. Can't Deny My Love
3. I Can Change
4. Still Want You
5. Between Me And You
6. Lonely Town
7. Diggin' Up The Heart
8. Never Get You Right
9. Untangled Love
10. The Way It's Always Been$18.99Vinyl LP - Sealed Buy Now
Big TalkRecorded at The Killers Battle Born studios in Las Vegas with producer Joe Chicharelli (The Strokes, My Morning Jacket), and mixed in London by star mixer Alan Moulder (U2, The Killers, Foo Fighters), Big Talk sees the Killers drummer Ronnie Vannucci step out from behind the kit. As a member of one of the biggest bands of the past ten years, Vannucci has collaborated on many Killers songs, so it will come as no surprise to find that Vannucci has a way with a genius hook of his own. But Vannucci is more: a true multi-instrumentalist, superb vocalist, who has produced what is sure to be the rock soundtrack to the summer.1. Katzenjammer
3. Under Water
4. The Next One Living
6. No Whiskey
7. Girl At Sunrise
8. White Dove
9. Living In Pictures
10. Hunting Season
11. A Fine Time To Need Me
12. Big Eye$21.9945 RPM Vinyl LP - 2 LPs Sealed Buy Now
Wonderful WonderfulWonderful Wonderful is The Killers' fifth studio album and features the top 10 Alternative hit The Man.
Brandon Flowers revealed in May 2015 that he and guitarist Dave Keuning were exchanging ideas for The Killers' fifth studio album. The four members reconvened in October 2015, a few months earlier than originally planned. The band began work on the album at their own Battle Born Studios and also rented houses in Joshua Tree National Park and San Diego. They briefly recorded with Ryan Tedder and other producers in Los Angeles before beginning work with Jacknife Lee, who had been recommended to them by U2 frontman Bono. Lee worked with the band between September 2016 and May 2017 at his home studio in Topanga, California, and at National SouthWestern Recording studios in Las Vegas, Nevada. Lee produced all tracks on the album alongside The Killers, with Additional Production by Erol Alkan on The Man and Stuart Price on Out Of My Mind.
The Killers enlisted Mark Knopfler (of Dire Straits) for a guitar part on Have All the Songs Been Written?. Additionally, Flowers wrote the lyrics for Some Kind of Love over music by Brian Eno. Australian artist Alex Cameron contributed lyrics to the track Run for Cover, which was originally written for the band's third studio album, Day & Age.1. Wonderful Wonderful
2. The Man
4. Life To Come
5. Run For Cover
6. Tyson vs Douglas
7. Some Kind Of Love
8. Out Of My Mind
9. The Calling
10. Have All The Songs Been Written?$25.99Vinyl LP - Sealed Buy Now
$179.99$159.99Save $20.00 (11%)
Career Vinyl Box (On Sale)
Box Set Features 7x Albums Across 10x 180-Gram Vinyl
Includes The First Vinyl Pressing Of Live From The Royal Albert Hall, Recorded Live At The Historic Venue In July Of 2009 As A Box Set Exclusive
Includes A Slip Mat Featuring The "K" From The Band's Logo And Inspired By The Vintage Lights Of The Las Vegas Strip
No other band has soundtracked the 2000s more than Vegas rockers The Killers and now their nearly 15 years-long discography will be celebrated in one place with a seven-volume Killers Career Vinyl Box through Island/UMe.
The career-spanning collection will be available on 180-gram black vinyl and include a slip mat featuring the "K" from the band's logo and inspired by the vintage lights of the Las Vegas Strip
This career retrospective vinyl box marks the first time that all seven of the band's albums have been collected in one complete box set including: Hot Fuss, Sam's Town, Sawdust, Day & Age, Battle Born, Wonderful Wonderful and for the first time on vinyl, Live From The Royal Albert Hall.
Originally released in November 2009 as a live DVD, this double live album captures the kinetic energy of their historic lives shows at the Royal Hall in 2009 and is now available as a double LP and is exclusive to the Career Vinyl Box. It also includes their mid-career compilation album, Sawdust, which contains B-sides, covers and remixes, as well as an outtake from Sam's Town, and 'Tranquilize', featuring a guest appearance by Lou Reed.
As arguably the biggest indie-pop stars on the planet, their indie days are well behind them, selling out stadiums and playing tributes at the Rock and Roll Hall of Fame. And yet it seems just like yesterday that every 20-something in skinny jeans was blaring the indie disco staple 'Mr Brightside' from The Killers' three-times-platinum 2004 debut album, Hot Fuss. Even 14 years later, the band's most enduring single remains firmly in the charts, having just its 200th week in the Billboard top 100.
After Hot Fuss ushered in their signature post-New Wave sound with massive hooks, they continued on their course of amassing hit after hit of transcendent anthems from 'All These Things That I've Done' and to the Springsteen-eque singalong 'When You Were Young' off their sophomore album Sam's Town.
With his stylish swagger and crooning tenor, frontman Brandon Flowers could turn his sardonic streak on songs like "Smile Like You Mean It," and 'Somebody Told Me' into chart gold. With each album, the group flexed their versatility, from the garage rock-pop of Hot Fuss to electro-clash energy of Day & Age to the stadium rocker of Battle Born and most recently 2017's funk-infused Wonderful Wonderful, which snagged the No. 1 spot on the Billboard 200.
This title is not eligible for further discount.Hot Fuss
1. Jenny Was A Friend Of Mine
2. Mr. Brightside
3. Smile Like You Mean It
4. Somebody Told Me
5. All These Things That I've Done
6. Andy, You're A Star
7. On Top
8. Change Your Mind
9. Believe Me Natalie
10. Midnight Show
11. Everything Will Be Alright
1. Sam's Town
3. When You Were Young
4. Bling (Confession Of A King)
5. For Reasons Unknown
6. Read My Mind
7. Uncle Jonny
9. My List
10. This River Is Wild
11. Why Do I Keep Counting?
LP 3: Sawdust
1. Tranquilize (feat. Lou Reed)
3. All The Pretty Faces
4. Leave The Bourbon On The Shelf
5. Sweet Talk
6. Under The Gun
7. Where The White Boys Dance
8. Show You How
9. Move Away
1. Glamorous Indie Rock And Roll
2. Who Let You Go?
3. The Ballad of Michael Valentine
4. Ruby, Don't Take Your Love To Town
5. Daddy's Eyes
6. Sam's Town (Live From Abbey Road / 2006)
7. Romeo And Juliet
8. Mr. Brightside (Jacques Lu Cont's Thin White Duke Remix)
Day & Age
1. Losing Touch
4. Joy Ride
5. A Dustland Fairytale
6. This Is Your Life
7. I Can't Stay
8. Neon Tiger
9. The World We Live In
10. Goodnight, Travel Well
Live From The Royal Albert Hall
2. This Is Your Life
3. Somebody Told Me
4. The World We Live In
5. I Can't Stay
6. Bling (Confession Of A King)
8. Smile Like You Mean It
9. Losing Touch
2. A Dustland Fairytale
3. Sam's Town
4. Read My Mind
5. Mr. Brightside
6. All These Things That I've Done
7. Jenny Was A Friend Of Mine
8. When You Were Young
1. Flesh And Bone
3. The Way It Was
4. Here With Me
5. A Matter Of Time
6. Deadlines And Commitments
1. Miss Atomic Bomb
2. The Rising Tide
3. Heart Of A Girl
4. From Here On Out
5. Be Still
6. Battle Born
1. Wonderful Wonderful
2. The Man
4. Life To Come
5. Run For Cover
6. Tyson Vs. Douglas
7. Some Kind Of Love
8. Out Of My Mind
9. The Calling
10. Have All The Songs Been Written?$179.99 $159.99 Save $20.00 (11%)180 Gram Audiophile Virgin Vinyl LP Box Set - 10 LPs Sealed Buy Now
Darkness On The Edge Of Town (Awaiting Repress)Ranked 150/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time
Mastered By Bob Ludwig Working Under The Supervision Of Springsteen & Engineer Toby Scott
Coming three years and one extended court battle after Born to Run, Darkness on the Edge of Town was highly anticipated. Some attributed the album's embattled tone to Bruce Springsteen's legal troubles, but it carried on from Born to Run, in which Springsteen had first begun to view his colorful cast of characters as losers. On Darkness, he began to see them as the working class: his characters, some of whom he inhabited and sang for in the first person, had little and were in danger of losing even that. Their only hope for redemption lay in working harder, and their only escape lay in driving. Springsteen presented these hard truths in hard rock settings, the tracks paced by powerful drumming and searing guitar solos. Though not as heavily produced as Born to Run, Darkness was given a full-bodied sound; Springsteen's stories were becoming less heroic, but his musical style remained grand; the sound, and the conviction in his singing, added weight to songs like Racing in the Street and the title track, transforming the pathetic into the tragic. But despite the rock & roll fervor, Darkness was no easy listen, and it served notice that Springsteen was already willing to risk his popularity for his principles.
-William Ruhlmann (All Music)1. Badlands
2. Adam Raised A Cain
3. Something In The Night
4. Candy's Room
5. Racing In The Street
6. The Promised Land
8. Streets Of Fire
9. Prove It All Night
10. Darkness On The Edge Of Town$24.99180 Gram Audiophile Virgin Vinyl - Sealed AWAITING REPRESS Buy Now
Unholy SaviorHailing from the southern edge of Finland, BATTLE BEAST were founded in 2008 and soon established themselves with their trademark of pure crunching riffs, high screams, blistering solos and strong choruses. Taking the best elements of traditional heavy metal, the sextet is never afraid to add its own flavour to the recipe. After winning the 2010 Wacken Open Air "Metal Battle", and shortly after Finland's "Radio Rock Starba" competition, BATTLE BEAST soon caught the attention of Nuclear Blast. The worldwide release of the highly acclaimed debut album "Steel" in January of 2012 and a successful support tour with fellow Finns and label mates NIGHTWISH followed. September 2012 saw the original singer, Nitte Valo, leaving the band, to be replaced by a beautiful new front beast Noora Louhimo as they embarked on a tour with SONATA ARCTICA. With the refreshed line-up and an ever-growing hunger, BATTLE BEAST continued their march of success with their eponymous sophomore release in May 2013.
Following the success of "Battle Beast", charting at an amazing #5 in their native Finland and cracking the German Top 100, the band embarked on an extended European tour alongside German metal band POWERWOLF in late 2013 and then hit the road in Sweden and Norway opening for German metal institution U.D.O. Having spent the year playing headlining shows in their native Finland, as well as invading some of the biggest festivals in 2014 (among them the renowned Loud Park in Japan, German Metalfest and Sabaton Open Air in Falun, Sweden), plus supporting their German labelmates ACCEPT during their Finland tour in September, BATTLE BEAST now return to what they do best: to take it to the next level! "I thirst to go further as a human being and the music on this album represents a part of the ongoing spiritual journey - that's what I tend to I call it - which is my road onward. Music-wise the songs have been expanded to a wider area as an effort to call out emotions close to those I myself had during the times of birth of these songs," commented guitarist & vocalist Anton Kabanen about the upcoming new BATTLE BEAST album. "Unholy Savior" has been influenced by everything the band has been facing during the past months and clearly displays their increased hunger to succeed as a band.
Trying to explain the topics of the third BATTLE BEAST record, one will have to go deeper as the songs lyrics were born through an emotionally violent and bloody struggle, that main composer Anton Kabanen was going through at the time: Questioning his whole existence step by step, wondering if his dream had betrayed him. "Unholy Savior" reeks of death, agony, pain, hate, confusion, fear and insecurity, but it speaks of deep gratitude, longing, consolation and love. "The album had to be done this way - through emotional hell. Having transferred these things and emotions into songs I feel that I'm ready to move on. But like always, I wrote songs about the series Berserk, as well, and the reason behind writing songs about that particular series is that I can strongly relate to that, especially to certain characters and to their way of thinking and feeling," Anton adds. While with their previous album the young Finns did all the recording, producing and mixing themselves, "Unholy Savior" was produced by Anton Kabanen and co-produced by keyboardist Janne Björkroth and mixed by Matias Kupiainen at 5by5 Studios. Mastering was once again done by Mika Jussila at Finnvox Studios and the actual recordings took place at Sound Quest Studio and JKB Studios. "Unholy Savior" will be released on January 09, 2015. On the very same day BATTLE BEAST will return to the European roads, along with the band that has been supporting them since day one. Swedish metal heroes SABATON did not only invite the band to play at their very own Sabaton Open Air, but also featured a cover version of BATTLE BEAST's 'Out Of Control' as a bonus track on their current charting success "Heroes". Prepare yourselves for the return of the beast!1. Lionheart
2. Unholy Savior
3. I Want The World And Everything In It
5. Sea Of Dreams
6. Speed And Danger
7. Touch In The Night
8. The Black Swordsman
9. Hero's Quest
10. Far Far Away
11. Angel Cry$26.99Vinyl LP - Sealed Buy Now
Kenny Dennis IIIThis is the second Kenny Dennis LP, and the third installment of Serengeti's
foray into the guise of Kenny Dennis. It furthers Serengeti's hilarious, absurdist, and
subtly humane saga of a Chicago-born man with a Mike Ditka mustache,
whose lovable delusions and diehard loyalty fall somewhere between
Homer Simpson and a Bill Swerski Superfan.
"Kenny's rapping the only way that he knows how. He's not really
current with what's happening in the game. This is his take on rap and
everything that influences him on his day-to-day life schedule,"
Serengeti says. "He's a man rapping because he loves to rap and he
cares for people, wants to spread wisdom. He's not preaching; he's
just calling it the way he sees it.
Kenny Dennis might be "normal," but Serengeti's creativity is
unrivaled. As bizarre as it is brilliant, it's like the deranged comic
vision of an imaginary super group comprised of Andy Kauffman, Mellow
Gold-era Beck, and MF Doom.
Interspersed with the songs is the narrative between Kenny and Ders,
who he met around 1988 at the Sharper Image on Michigan Ave. While
futilely attempting to return a non-fogging shaving mirror, Kenny
noticed the young Ders and generously bestowed him with a shower radio
("a good piece of merchandise.") Kenny Dennis III takes a few tracks to
chronicle the duo's attempt to start a rap group called Perfecto. Though they
tour the midwest playing malls and winning battle of the band contests
things eventually fall apart.LP 1
1. No Beginner
2. Off / On
4. Win Big
6. On The Road
7. @ The Mall
8. Buddy Guy
9. Tanya T
10. Damn DZ
1. Big Betty
2. DZ Goes On
3. Mr. Drummond
4. Ain't No Joke
5. Get Back To Rap
7. Lose Big
8. Need Clarity
9. Tickled Pink$18.99Vinyl LP - 2 LPs Sealed Buy Now
Poltergeist (Colored Vinyl)Limited Edition Of 750 Numbered Copies On Red & Black Mixed Vinyl
Poltergeist is a 2015 American supernatural horror film directed by Gil Kenan, written by David Lindsay-Abaire and produced by Sam Raimi. A remake of the 1982 film of the same name, the film stars Sam Rockwell, Rosemarie DeWitt, Jared Harris, and Jane Adams.
In the film all seems well for Eric Bowen (Sam Rockwell), wife Amy (Rosemarie DeWitt) and their three children as they move into their new house in the suburbs of Illinois. Soon, youngest daughter Maddy (Kennedi Clements) begins talking to an imaginary friend, or so the family thinks. It's not long before sinister spirits wreak havoc in the home, holding Maddy captive and forcing the parents to consult a team of parapsychologists who engage the supernatural entities in a battle for the girl's freedom.
The German film music composer Marc Streitenfeld is known for his collaborations with director Ridley Scott. Born in Munich, Germany, Streitenfeld relocated to Los Angeles at the age of 19, first working briefly as a musical assistant for composer Hans Zimmer, then independently as a music editor and supervisor on several blockbusters.1. Poltergeist Opening
2. They're Here
3. Angry Spirits
4. Electronics Awakening
5. They're Not Pretend, Mommy
6. The Storm Is Coming
7. Clown Attack
8. Into The Closet
9. Maddy Is On TV
10. You Have To Get My Sister Back
11. A Poltergeist Intrusion
12. Home Improvements
13. Somebody Is With Her
14. Take A Peek
15. I Feel A Little Braver
16. Into The Portal
17. The Other Side
19. Let Her Go
20. Home Free$33.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Blood Of Gods (Pink Vinyl)Pressed On Pink Colored Vinyl
The story of GWAR is carved across the history of this barren and hopeless planet, but GWAR themselves are not of this world Their story begins in the deepest reaches of outer space. Long ago, the beings who would become the rock band GWAR were part of an elite fighting force, the Scumdogs of the Universe. For eons, they served as thralls to a supreme being known only as the Master. But one by one, each future member of the band earned a glaring reputation for being an intergalactic fuck-up. And so, they were banished, sent away on a fool's errand to conquer an insignificant shitball floating in a dark corner of the universe: the planet Earth. Once here, GWAR shaped the face of the globe, destroying and rebuilding the natural world, and giving rise to all of human history. Aliens to some, gods and demons to others, our erstwhile Scumdogs fucked apes to create the human race, and this fateful unplanned pregnancy would prove to be truly disastrous!
Their new album, The Blood of Gods, is nothing less than a sacred text chronicling the rise of humanity against their makers, and the massive battle between GWAR and the forces of all that is uptight and wrong with the world. Along the way, the band challenges the sins of their great mistake, from politics, pollution, and organized religion, to fast food, and factory farming. Humans are shown as what they are: a parasitical disease that must be eradicated before they suck the planet dry. Meanwhile, Sleazy P. Martini, the crooked entrepreneur who discovered the Scumdogs, and has always envisioned them as a sort of horrific boy band, finally managed to convince the group to write a hit song called "I'll Be Your Monster." If all goes according to plan, it may be just stupid enough to work!
Of course, The Blood of Gods is the first GWAR album without the band's fallen leader, Oderus Urungus. The title of the album refers to the loss of Oderus, and the struggles and triumphs that produced the new sound of the band. Born of adversity, The Blood of Gods is a sonic scar a question asked and answered Death cannot kill GWAR. Nothing can. GWAR LIVES MOTHERFUCKERS!1. War on GWAR
2. Viking Death Machine
3. El Presidente
4. I'll Be Your Monster
7. The Sordid Soliloquy of Sawborg Destructo
8. Death to Dickie Duncan
9. Crushed by the Cross
10. Fuck This Place
11. Phantom Limb
12. If You Want Blood (You Got It)$35.99Colored Vinyl LP - 2 LPsSealed Buy Now
His Hand In Mine (Pre-Order)Release Date: August 3, 2018*
Celebrating 6 Decades Of Elvis' Country Soul & Gospel Masterwork
First Time 180-Gram Audiophile White & Silver Swirl Vinyl
First Time Gatefold Cover Art & 24 x 24 Striking Poster Insert
Mastered Impeccably By Joe Reagoso At Friday Music Studios & Capitol Mastering
Pressed At R.T.I.
Contains The Huge Hits Crying In The Chapel, I Believe In The Man In The Sky, & Milky White Way
Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, Elvis cut some demos as a gift for his beloved mother Gladys. The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly signed the legend to a long-term deal, and his first RCA single Heartbreak Hotel forever etched "The King Of Rock And Roll" trademark to his name. He would eventually become the most successful solo artist of all time!
As 1960 was coming to a close, Elvis returned to the studios of RCA Nashville and would go on to record his first smash gospel album His Hand In Mine. Ever proving that he was indeed on top of his game, the amazing album featured a dozen of his most soulful works ever captured on wax like the hit single Crying In The Chapel and more stellar fare such as I Believe In The Man In The Sky, Joshua Fit The Battle and of course the definitive classic title track His Hand In Mine. The Lp soon went on to achieve gold and platinum status and become one of the most memorable titles in his huge arsenal of masterful albums.
Thanks to his great soulful country workouts on Known Only To Him and the wonderful Milky White Way, this collection of Elvis Presley's gospel hits were just what the fans were yearning for, as the entire album was built around his love for gospel and old-time religious church music.
In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the first time limited Anniversary Edition 180 Gram Audiophile Vinyl release of the RCA Victor classic His Hand In Mine by Elvis Presley.
As another groundbreaking installment in our exciting Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its 1960 stereophonic glory.
Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured for a very limited time at R.T.I. on first time translucent white and silver swirl vinyl, Elvis' His Hand In Mine will be a much anticipated first-time audiophile dream release for Elvis fans everywhere!
For a limited time only, we are also including a rare first-time gatefold artwork presentation including the original 1960 artwork elements, plus a dynamic 24 x 24 poster of the front cover art, truly enhancing your Elvis Presley listening hours.
As usual, we are also enclosing a poly bag to protect your album cover and poly sleeve to help keep your Elvis vinyl in mint shape. Elvis Presley's His Hand In Mine A history-making country gospel soul album from a historic legend, an original stereophonic first-time audiophile dream release first-time gatefold cover including a striking 24 x 24 poster is now an audiophile vinyl dream come true From your friends at Friday Music
*Please note that release dates are subject to change.1. His Hand In Mine
2. I'm Gonna Walk Dem Golden Stairs
3. In My Father's House (Are Many Mansions)
4. Milky White Way
5. Known Only To Him
6. I Believe In The Man In The Sky
7. Joshua Fit The Battle
8. He Knows Just What I Need
9. Swing Down Sweet Chariot
10. Mansion Over The Hilltop
11. If We Never Meet Again
12. Working On The Building$32.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Falling Faster Than You Can RunWell, 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
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$18.99Vinyl LP - Sealed Buy Now
Lese MajestyHerein bumps and soars Lese Majesty, the new sonic action of Shabazz
Palaces. Honed and primal, chromed and primo. A unique and glorified
offering into our ever-uniforming musical soundscape. Lese Majesty is
a beatific war cry, born of a spell, acknowledging that sophistication and
the instinctual are not at odds; Indeed an undoing of the lie of their
Lese Majesty is not a launching pad for the group's fan base increasing
propaganda. It is a series of astral suites, recorded happenings, shared.
A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered.
A dope-hex thrown from the compartments that have artificially contained
us all and hindered our sublime collusion.
These reveries were sent to Palaceer Lazaro and Fly Guy 'Dai in the
year of gun beat battles in excess; In a succession of days, whilst walking
in dreams and in varied transcendental states .(every minute of every
day is filled with observation and composition. In action). Songs are
committed and gathered by robots at Protect and Exalt Labs, a Black
Space in Seattle,Washington.
The visual features of Lese Majesty are resultant of the gleanings of
fellow Constellationaire, Nep Sidhu.
The Black Constellation squads up, protects and exalts the messages
within, and colludes accordingly. We thank you.1. Dawn in Luxor
2. Forerunner Foray
3. They Come in Gold
4. Solemn Swears
5. Harem Aria
6. Noetic Noiromantics
7. The Ballad of Lt. Maj. Winnings
10. ...down 155th in the MCM Snorkel
11. Divine of Form
13. Colluding Oligarchs
14. Suspicion of a Shape
15. MindGlitch Keytar TM Theme
16. Motion Sickness
17. New Black Wave
18. Sonic MythMap for the Trip Back$25.99Vinyl LP - 2 LPs Sealed Buy Now
A luscious, elegant, electronic work - Los Angeles Times
Hip-hop instrumentals and electronic sketches;
pristine and prim - FACT
Gorgeously haunted - Pitchfork
We seek the new because of the numbness. If you listen to enough
music, you're familiar with the feeling. Sounds get recycled so often
that they can seem like geometric configurations organized via Wav
files. Trends get time-stamped faster than a triplicate trap hi-hat.
The most rare records emerge outside of any clearly delineated orbit.
They're solitary visions that supply their own rhythm and arsenal.
Music that reverberates through heart, brain, and spine. This is Nosaj
Thing's third album, Fated.
"I just tried to escape really, and escape even what's going on in the
music world," says Nosaj Thing, the LA producer born Jason Chung. "It
just felt so suffocating in a way. I just wanted to do my own thing."
It's been six years since Nosaj Thing emerged among the vanguard of
Low End Theory-affiliated producers. His debut Drift created 31st
century tones and chromatic textures so sleek that they inspired
innumerable Soundcloud imitators.
None could match its moody iridescence, faded sadness and funky
swing. Bach collided with Boards of Canada. Spaceships came
equipped with rear view mirrors and a booming system bumping
G-Funk and warped soul. Pitchfork called it "gorgeously haunted."
Resident Advisor said it "exists in its own dimension and feeds off its
own exhaust: full of alien choirs, conquered computers, and refracting
Fated exists in this same alternate dimension, but further out. If
comparisons previously existed with other artists within the LA beat
scene, Nosaj has rendered them baseless. His second album on
Innovative Leisure (after 2013's Home) seeks celestial escape through
"The last record took out so much of me. I just wanted to go back to
simplifying and overthinking so much. It was a battle," Nosaj says.
"The soul of a song, the essence of a song-whatever you want to call
it-should be simple."
By stripping away all but what's really necessary, the sounds harness
an unusual directness. Guest appearances are rare, save for vocals
from Whoarei on "Don't Mind Me," and Chicago rap phenomenon,
Chance the Rapper. The latter gravely spits on "Cold Stares," invoking
terminal fevers, empty beds, devil's whispers, and insomniac fears.
If comparisons crop up, Fated has most in common with records like
Burial's Untrue or Dilla's Donuts. Requiems that canvass the shadowy
hinterlands between life and death, darkness and light, loneliness and
love. Eternal themes re-imagined in ingenious fashion.
"The album name came from all these coincidences that just kept on
happening to me," Nosaj says. "Specific interaction with specific
people in unexpected places. A perpetual feeling of dÉjà vu."
It's foundation rests on that intangible thing that some call fate or
primordial feeling. Numbness receding, old emotions flooding back,
un-tampered visions. Fated is what you can't explain, so it's best to
just listen.1. Sci
2. Don't Mind Me [ft. Whoarei]
5. Cold Stares [ft. Chance the Rapper]
8. Let You
13. Phase IV
14. Light #5
15. 2K$19.99Vinyl LP - Sealed Buy Now
Lover, Beloved: Songs From An Evening With Carson McCullersWhen Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.
"I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."
The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.
But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.
Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.
In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."
Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."
"12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.
With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis1. Carson's Blues
2. New York Is My Destination
3. Instant of the Hour After
4. We of Me
6. 12 Mortal Men
7. Harper Lee
8. Lover, Beloved
9. The Ballad of Miss Amelia
10. Carson's Last Supper$18.99Vinyl LP - Sealed Buy Now
We MoveWritten in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."
The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.
The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.
Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.1. Rising Water
2. I Lie Awake Every Night
3. Last Story
4. One Thousand Times
6. Get Low
7. Killer Whales
8. Seek Another
10. Lost Angles$19.99Vinyl LP - Sealed Buy Now
REDD-MET-3615xThe Black Dahlia Murder
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