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Beyond The Black Rainbow (Original Soundtrack)JAGJAGUWAR & Death Waltz Recording Company are proud and excited to release a true
masterpiece into the world with the soundtrack to Panos Cosmatos' BEYOND THE BLACK
RAINBOW. Posited as a lost film of the 1980s, the picture is inspired by classic dystopian
fiction and the obscure SF movies one used to see lining the shelves of the local video store. As
such, the brilliant soundtrack blends seamlessly amongst its influences; Tangerine Dream,
Wendy Carlos, and of course John Carpenter, with the latter's mark heard on the oppressive
synth percussion of the main titles and the evocative melodies heard throughout. Created by
Sinoia Caves, the ongoing project of Jeremy Schmidt, a disciple of the long-form cosmic
synthesizer soundscape, and member of Canadian psych-and-prog-spiritual pioneers Black
Mountain, this recording also features guest appearances by Joshua Wells, drummer of Black
Schmidt's score is many things - haunting, uncompromising, intense - but is always a
fascinating listen. Incorporating touchstone elements such as mellotron choirs, glacial
analogue synthesizer pads and arpeggiators, Schmidt artfully navigates the various sonic
sensibilities of the 70s-80s genre aesthetic. What emerges from this schematic realm of the
'almost familiar' evolves and manifests as a work of striking originality, an ominously
beautiful, otherworldly and terrifying score. Simply put, BEYOND THE BLACK RAINBOW is
an astounding piece of work and must not be missed. Do you read me?Forever Dilating Eye
Run Program: Sentionauts
Arboria Tapes - Award Winning
1983 - Main Titles
1966 - Let The New Age Of Enlightenment Begin
Sentionauts II$18.99Vinyl LP - Sealed Buy Now
Black Death HorizonObliteration make their Relapse debut with 'Black Death Horizon' a raging slab of filthy death metal in the tradition of Dismember and Autopsy. Hailing from Kolbotn, Norway (the home of Darkthrone) Obliteration are true heirs to a long line of gritty Scandinavian death metal. Black Death Horizon both invokes the classics of the genre and puts a new and fresh spin on the sound to make it their own. Black Death Horizon is true, cult death metal, put the needle on the record and prepare for aural OBLITERATION.1. The Distant Sun (They Are The Key)
2. Goat Skull Crown
3. Transient Passage
4. Ascendance (Sol Invictus)
5. Sepulchral Rites
6. Black Death Horizon
7. Churning Magma$19.99Vinyl LP - Sealed Buy Now
Hail DeathBlowing minds and eardrums since forming in 2007, BLACK ANVIL's third full-length album, aptly titled Hail Death, is their most epic and fully realized album to date. It's one of those rare releases that not only stays true to the band's roots but manages to transcend them in a way that works all of their seemingly disparate influences into an amalgam of heavy music that's as original as it is earth-shaking. The sonic fury was captured at Magpie Cage by J. Robbins of Jawbox, who, although best known for recording punk and post-hardcore acts, perfectly understood the band's creative vision. He's got a really good style of making records and I knew he would understand that we wanted to make this sound live and organic as opposed to tight and compressed, relays bassist/vocalist Paul Delaney, citing Kiss' Destroyer and Metallica's Master Of Puppets as inspiration. I wanted it to be a little more rock 'n' roll sounding because I felt the songs were a little bigger and structured. It tells a story from beginning to end and the recording reflects that. As such, the behemoth offering includes a bonus track: A BLACK ANVILed cover of Under The Rose from Kiss' iconic ninth studio recording, The Elder.
Hail Death wasn't an easy album to make and the band members' personal turmoil is reflected in every frenzied moment of the album. I went through a lot of stuff over the past year and it caused me to move and spend a year of my life in solitude, Delaney says, explaining that for twelve months he would sit in his room and pour all of his energy and inner chaos into these songs. This is our journey. I can honestly say that this is probably the most important thing I've ever done in my life, even if it never sees the light of day for some reason I'm insanely proud of it.1. Still Reborn
2. Redemption Through Blood
4. Seven Stars Unseen
6. Until The End
7. My Hate Is Pure
9. Next Level Black$24.99Vinyl LP - 2 LPs Sealed Buy Now
Death SongThe Black Angels - Austin's psych rock masters - have confirmed details for their upcoming album, 'Death Song.,' the five-piece's first full-length release in four years.
Written and recorded in large part during the recent election cycle, the music on 'Death Song' serves as part protest, part emotional catharsis in a climate dominated by division, anxiety and unease. "Currency," a strong contender for the heaviest song the band has ever put to wax, meditates on the governing role the monetary system plays in our lives, while slow-building psychedelic earworm "Half Believing" questions the nature and confusing realities of devotion.
Recorded between Seattle and Austin, 'Death Song' features production from Phil Ek (Father John Misty, Fleet Foxes, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound - menacing fuzz guitar and cutting wordplay, steeped in a murky hallucinatory dream.
Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock, and the New York Times has said they "play psychedelic rock as if the 1960s never ended, and they are absolute masters of it".
The band has toured with Queens of the Stone Age, Brian Jonestown Massacre, the Black Keys + more, and played festivals such as Glastonbury, Fuji Rock, Primavera, Harvest Fest, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008, which has since grown into one of the best-reviewed and expertly-curated festivals in the country.LP 1
2. I'd Kill For Her
3. Half Believing
4. Comanche Moon
5. Hunt Me Down
6. Grab As Much (As You Can)
2. I Dreamt
4. Life Song
5. Death March$24.99Vinyl LP - 2 LPs Sealed Buy Now
Death PenaltyWitchfinder General are a doom metal band from Stourbridge, England. They were part of the New Wave of British Heavy Metal scene and have been cited as a major influence on the doom metal genre. Death Penalty is the debut album by NWOBHM band Witchfinder General. It was released in 1982 on Heavy Metal Records. The album received some criticism for the cover photograph, which featured topless model Joanne Latham. The photograph had been taken in the yard of St Mary the Blessed Virgin Church in Enville, Staffordshire, without the permission of the local Reverend. The album was originally released on LP and picture disc and was later reissued on CD. Pictured on the cover is Phil Cope, Zeeb Parkes, Graham Ditchfield and a member of the then Road Crew. While Peter Hinton is credited with producing this recording the writers Phil Cope and Zeeb Parkes always felt the credit should have gone to the engineer Robin George.Side A:
1. Invisible Hate
2. Free Country
3. Death Penalty
1. No Stayer
2. Witchfinder General
3. Burning A Sinner
4. R.I.P.$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Death CertificateIf Ice Cube's debut was a shocking attack that proved the N.W.A legacy would be stronger divided, his sophomore effort was a new kind of superstar pulling off the miraculous, a follow-up that equals its classic predecessor and tops it in some people's books. With a million copies of Death Certificate preordered, Cube was no longer the rock critics' darling. A million people listening was dangerous, especially since he was now slithering his influence into the suburbs. If the black rage didn't get you, the misogyny of I'm gonna do my thing, with your daughter probably would. Here, one of rap's greatest storytellers is able to draw hatred in under a minute with the short and direct Black Korea, an angry protest song concerning Korean grocers that got him dubbed racist and Ice KKKube by some. The track is an extreme representation of how a much sharper and cutting this album is when compared with his debut, and even though the intro announces the full-length is divided into a Death Side and Life Side, both are equally bleak. With the CD format, the two sides are indistinguishable and run over the listener with fast tales of drug dealing, drive-by shootings, and women who go from Ms. Thing to Ms. Gonorrhea. This would be numbing if it weren't for the rapper's amazing lyrics, ground-shaking delivery, and insight like when A Bird in the Hand deals with the irony of selling crap to buy diapers (Gotta serve you food that might give you cancer/Cuz my son doesn't take no for answer). A bit of sweet relief comes with the brightness of the great single Steady Mobbin' and with the nostalgia and slow tempo of Doing Dumb Shit. True to the Game (Ain't that a bitch/They hate to see a young nigga rich) is arguably the quintessential Cube track and if all this weren't enough already, the N.W.A diss No Vaseline hangs off the album like a crowd-pleasing, Brick-sampling encore. Although next year's Predator would be a bigger hit, Death Certificate brings to a close the man's trilogy of perfect albums that began with N.W.A's Compton and explodes into a supernova right here.
- David Jeffries (All Music)1. The Funeral
2. The Wrong Nigga to Fuck Wit
3. My Summer Vacation
4. Steady Mobbin'
5. Robin Lench
6. Givin' Up the Nappy Dug Out
7. Look Who's Burnin'
8. A Bird in the Hand
9. Man's Best Friend
10. Alive on Arrival
12. The Birth
13. I Wanna Kill Sam
14. Horny Lil' Devil
15. Black Korea
16. True to the Game
17. Color Blind
18. Doing Dumb Shit
20. No Vaseline$35.99Vinyl LP - Sealed Buy Now
Death Penalty (Picture Disc)
Limited To 1000
Witchfinder General are a doom metal band from Stourbridge, England. They were part of the New Wave of British Heavy Metal scene and have been cited as a major influence on the doom metal genre. Death Penalty is their cult debut album originally released in 1982.1. Invisible Hate
2. Free Country
3. Death Penalty
4. No Stayer
5. Witchfinder General
6. Burning A Sinner
7. R.I.P.$37.99Vinyl LP Picture Disc - Sealed Buy Now
Shadow Of DeathThese clear out the Onslaught vaults and contain the early material when the band were a Discharge style spiky haired hardcore band. Tracks from the early demo's, vinyl compilations etc, all of the original Onslaught here, a fans and collectors dream!Side A:
1. Thermo Nuclear Devastation of The Planet Earth
2. The Black Horse of Famine
3. Overthrow of the System
5. Protest, But Who Said you Will Survive
6. Visions of our Future
7. Treading the Path Toward Death
8. An Innocent Man
9. The Shadow of Death
10. The Black Horse of Famine$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Only Death Is RealPressed On Black & Ivory Vinyl
Life often resembles a game of chess - players outside our control make moves that affect our everyday existence. However, recognition remains the first step to revolution. Once you know the game, you can make a difference in the outcome. On their sixth full-length - Only Death Is Real, STRAY FROM THE PATH survey the playing field and provide a book of bloody battle notes etched in hardcore energy, metal fire, and hip-hop poetry.1. The Opening Move
2. Loudest In The Room
3. Goodnight Alt-Right
4. Let's Make A Deal
5. They Always Take The Guru
6. Plead The Fifth
7. Strange Fiction (feat. Keith Buckley)
8. All Day & A Night (feat. Bryan Garris)
9. The House Always Wins (feat. Vinnie Paz)
10. Only Death Is Real$22.99Colored Vinyl LP - Sealed Buy Now
Live After DeathBMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.
The albums will be cut from the original UK analogue master tapes and packaged in identical artwork to the initial 1980's releases.
The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.1. Churchill's Speech (Intro)
2. Aces High
3. 2 Minutes to Midnight
4. The Trooper
6. Flight of Icarus
7. Rime of the Ancient Mariner
9. The Number of the Beast
10. Hallowed Be Thy Name$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Death To False MetalFirst Time On Vinyl
Mastered For Vinyl And Lacquers Created By Kevin Gray
Pressed On 180 Gram Black Audiophile Vinyl At RTI
Gatefold Jacket With A Matte Finish
11 X 22 Matte Insert
Limited And Hand Numbered
Death To False Metal is not a traditional collection of studio leftovers or songs from the vault, but a wholly original follow-up to Weezer's just-released Hurley. The album was created using the basic tracks of 10 previously unreleased recordings-nine never-before-heard songs plus one cover-to assemble a brand new and truly modern-sounding record. The result is an evolution for the band, a giant step forward with a nod to the past.
''These were great songs, great recordings, but for some reason they didn't make the final cut for previous records,'' Weezer frontman Rivers Cuomo stated. ''Some just weren't right for the albums we were recording at the time-just a bit ahead of their time or too 'rock.' Now, the time is right to introduce them. Together, they are the album that should logically follow Hurley.''
Featuring tracks the band originally began recording from the late '90s to late '00s, Death To False Metal was a labor of love for Cuomo and his co-producer Shawn Everett, as well as the entire band. Each track was individually evaluated by the production team of Cuomo and Everett to figure out how to make each of the songs reach their full potential, and ultimately fit harmoniously on the album. After that process, they then brought in each band member in to complete the parts needed. Some of the ten songs received a major overhaul, while others got the equivalent of a sonic tune-up.
''Turning Up The Radio'' is the result of Cuomo's 2008 collaborative YouTube project, ''Let's Write A Sawng,'' for which he invited fans to submit ideas. As they went through the steps of composing a tune, eventually, 15 people became involved. This track is one of only two songs not solely penned by Weezer for Death To False Metal.
''Blowin' My Stack,'' ''Losing My Mind'' (which features some of the most raw and personal emotions in a Weezer song), ''I'm A Robot,'' and a rock cover of the massive R&B hit ''Un-Break My Heart'' were all first recorded prior to the release of 2005's Make Believe. ''I Don't Want Your Loving'' was originally laid down as a demo for 2002's Maladroit. The abrasive punk-metal ''Everyone'' hails from post-1998 Pinkerton period, as does the pop song ''Trampoline.'' The piano-based ''Odd Couple'' and new-wave-style ''Auto-Pilot'' were laid down prior to 2008's Weezer (aka ''The Red Album'').
The title Death To False Metal comes from a phrase that Cuomo and his younger brother used when they were kids. Musical integrity was a matter of life or death then, and now the new album is a reminder of how important music is for both Weezer and their many fans. At a time when many of their contemporaries seem to have forgotten how to rock, Weezer is ready to teach them. Cuomo and fellow axe-slinger Brian Bell crafted nine epic guitar solos-one for nearly every song on Death To False Metal-and with the band's signature hooks in full effect, Weezer's school of rock is back in session.1. Turning Up The Radio
2. I Don't Want Your Loving
3. Blowin' My Stack
4. Losing My Mind
6. I'm A Robot
8. Odd Couple
10. Un-Break My Heart
11. Mykel & Carli$28.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Black WidowNature counts the black widow spider amongst its most fascinating and dangerous anomalies. The female arachnid often devours its mate after copulation. It's both a delicate and dangerous predator. In This Moment isn't all that different from this enigmatic beast. Led by frontwoman Maria Brink, the Los Angeles hard rock outfit strikes with a seductive metallic bite on their aptly titled fifth full-length album, Black Widow.
Black Widow is a metaphor for this innocent young girl who gets infected with life, traumas, experiences, and the balance of light and darkness, explains Maria. She becomes this poised and powerful creature. That's the album.
We went into this with the title Black Widow, says lead guitarist Chris Howorth. It fits the image of Maria as this powerful heroine. If you think of the boys in the audience watching our stage show, she's like the black widow pulling them all in.
The record, the first for the band on Atlantic Records, picks up where the group's 2012 breakthrough, Blood, left off. That album saw In This Moment debut at #15 on the Billboard Top 200, their highest chart position to date, and eventually sold over 250,000 units in the U.S. alone. It also spawned the single Blood, which rose to #9 on the Mainstream Rock and Active Rock Songs charts. A sold out headline tour, HELLPOP, followed, as well as appearances at the Uproar Festival and Rock On The Range, and jaunts with Shinedown and Papa Roach. After the whirlwind of Blood subsided, Maria and Chris retreated to Las Vegas in February 2014 to begin working on what would become Black Widow with longtime producer Kevin Churko [Ozzy Osbourne, Five Finger Death Punch].LP1
1. The Infection
2. Sex Metal Barbie
3. Big Bad Wolf
4. Dirty Pretty
5. Black Widow
6. Sexual Hallucination (feat. Brent Smith)
7. Sick Like Me
1. Bloody Creature Poster Girl
2. The Fighter
4. Natural Born Sinner
5. Into The Darkness
6. Out Of Hell$27.99Vinyl LP - 2 LPs Sealed Buy Now
Black Beauty28-page, full-color book (11" x 11")
Extensive essay by Ben Edmonds (Creem, Rolling Stone, Mojo) featuring all-new interviews
Abundant, never-before-seen photographs by Herbert Worthington (Fleetwood Mac's Rumours)
Brilliantly mastered by multi-GRAMMY® nominee Dan Hersch (Paul Simon, Kinks, Cars,The Band)
Mastered for vinyl by multi-GRAMMY® winner Doug Sax (The Who, Rolling Stones, Pink Floyd)
Black Beauty, the never-before-released masterpiece by Arthur Lee's legendary psychedelic rock band Love, is available on 180-gram vinyl LP. Recorded in 1973 for the ambitious new label Buffalo Records,
the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee's wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release
in any format, anywhere! With unparalelled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased,
full-length studio album, from an undisputed musical
genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album the New York Times called "one of the most affecting and beguiling albums of all time. With Black Beauty, Arthur Lee manages to combine searing 70's-rock with gorgeous melodies and stellar songwriting - topped off by his most distinctive, snarling, soulful vocals ever. With its wonderfully eclectic collection of songs, the
album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee's fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.
It's tempting to play what-if with Love's lost labor, Black Beauty, which was recorded in 1973 but shelved for nearly four decades. What if Buffalo Records hadn't gone out of business just prior to the album's release? What if Black Beauty had actually hit stores? What if it hadn't languished in limbo until years after Arthur Lee's death? Would it have stopped Love's slide into obscurity? Would it have signaled a comeback for the man who masterminded Forever Changes, still one of the most complex and compelling artifacts of 1960s Los Angeles? Would his life and career have played out any differently? Would we think of him today as something other than a cult artist, inspired as well as damned by his era?
It's difficult to imagine any answers to those questions, but it says a lot about Lee that the album even raises these what-ifs and coulda-beens. The very qualities that made him such a fascinating voice-- restlessness, excitability, paranoia, perfectionism, single-mindedness-- may have doomed any commercial prospects more than his notorious fear of travel ever did. After recording Forever Changes, he fired the band and hired new musicians to take their places. Every subsequent album featured a different line-up, although the changes seem based more on personality than on musical direction or ability. Never stagnant, Love was in constant flux, always in a state of development but never quite arriving. So the operative question becomes: Was this the version of Love that Lee had been working toward?
For Black Beauty-- which is finally seeing release via High Moon Records, although the reissue has been delayed for two years-- Lee assembled guitarist Melvan Whittington, bass player Robert Rozelle, and drummer Joe Blocker. This may be the hardiest and most muscular of Love's post-Changes rosters, with remarkable force and range. With crisp production by Paul Rothchild, best known for his work with the Doors, Love build from a potent blues rock foundation not dissimilar to that of Jimi Hendrix, but without the distracting shamanistic persona and guitar pyrotechnics. "Walk Right In" struts into country rock territory, rewriting Cannon's Jug Stompers 1929 hit into a plea for empathy, and "Beep Beep" attempts a sort of pop reggae, albeit not entirely convincingly.
On the whole, this particular line-up sounds perfectly rough and unrehearsed, generating a tense energy on "Skid" and "Stay Away" even as they suggest a band still figuring out exactly what they can do together. It's a strong album, but it's not another Forever Changes, whose accomplishments in retrospect were unrepeatable, or even another Four Sail. On the other hand, Lee wasn't aiming to craft something in that vein. Still, especially considering the professional setbacks he had faced in the years leading up to Black Beauty-- which includes being dropped by Elektra and shuffling through a series of independent labels-- Lee sounds engaged and invigorated, forgoing the bitterness that had rankled the band for a slightly more hopeful outlook. On stand-out "Can't Find It", he sings, "Every time I cry my heart out, and every time I play the fool, but there's gotta be something in this lonely world for me." The confession is all the more bittersweet for being capped with the line, "but I can't find it without you." It's ostensibly a love song, but could just as easily be addressed to his audience. His creative satisfaction relies on having a listener to complete the circuit, which makes this album's long shelf life all the sadder.
-Stephen M. Deusner (Pitchfork, May 15, 2013)1. Young & Able
2. Midnight Sun
3. Can't Find It
4. Walk Right In
6. Beep Beep
7. Stay Away
8. Lonely Pigs
9. See Myself In You
10. Product Of The Times$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
This Is Where Death Begins
Red & Green Colored Vinyl In Gatefold Sleeve + CD
Norwegian-American group Combichrist returns with an unapologetic masterpiece. The new long player "This Is Where Death Begins" is an apocalyptic behemoth of guitars, electronica, infernal drums and dark elemental force.
Thudding tribal drums, guitars slammed in your face like a 20-ton-weight, chopped up synth-attacks and in the midst of it Andy LaPlegua rampaging like an unrestrained demon of wrath: on their new album, "This Is Where Death Begins", Combichrist are conjuring up a proverbial hellfire. A black monolith of unbridled aggression. Produced by Oumi Kapila (Filter) and Andy LaPlegua, with guest vocals from Chris Motionless (Motionless In White) and Ariel Levitan (MXMS) and mastered by the legendary Vlado Meller (Red Hot Chili Peppers, Slipknot, to name just a few), Combichrist have created a milestone of their career.
The party is over, the world is on the brink of disaster... but we stand tall and face it, guns cocked: My Life, My Rules!1. We Are The Plague
2. My Life My Rules
4. Exit Eternity
6. Time Again
7. Destroy Everything
8. Tired of Hating You
9. Don't Care How You Feel About It
10. Blackened Heart
11. Pay To Play
13. Black Tar Dove pt1
14. Black Tar Dove pt2
15. Homeward$29.99Colored Vinyl LP + CD - 2 LPs Sealed Buy Now
Bright Black HeavenSuperball Music is pleased to announce the signing of electronic super duo Blaqk Audio. Featuring Davey Havok and Jade Puget, members of the acclaimed, multi-platinum group AFI, the talented pair will be releasing their highly anticipated sophomore album, Bright Black Heaven, via their new imprint, Big Death (distributed by Superball Music). Bright Black Heaven follows-up Blaqk Audio's debut album CexCells, released on Interscope Records in 2007.
Superball Music label head Thomas Waber says, Signing Blaqk Audio and creating Big Death is a great way of expanding the horizon of Superball Music. Blaqk Audio are catchy and infectious and a great addition to our ever expanding roster. Blaqk Audio adds, We are thrilled to be partnering with Superball Music for the release of Bright Black Heaven and the premiere of Big Death. To be supported by a label built by true music fans is a refreshing pleasure. Together, we will bring our version of heaven to the world.1. Cold War
2. Fade To White
3. Faith Healer
4. Deconstructing Gods
5. Everybody's Friends
6. Let's Be Honest
7. With Your Arms Around You
9. Bon Voyeurs
10. The Witness
11. Say Red
12. Ill-Lit Ships$24.99Vinyl LP - 2LPs Sealed Buy Now
The Black Parade
2LP w/D-Side Etching
The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three Cheers For Sweet Revenge, is way more dramatic, way more theatrical, completely over the top, borderline psychotic, says Gerard Way. It's the most pure, intense thing we've ever been involved in. Producer by Rob Cavallo (Green Day), the album is a celebration of lvoe and death and darkness. Join The Black Parade.1. The End
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Don't Love You
7. House Of Wolves
13. Famous Last Words$25.99Vinyl LP - 2 LPs Sealed Buy Now
SONM-EPI-80207xAC / DC
Back In BlackRanked 73/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Back in Black is the seventh Australian and sixth internationally released studio album by the band.
Released on 25 July 1980, Back in Black was the first AC/DC album recorded without former lead singer Bon Scott, who died on 19 February 1980 at the age of 33, and was dedicated to him. The band considered disbanding following Scott's death, but they ultimately decided to continue, with encouragement from Scott's parents, and shortly thereafter hired Brian Johnson as their new lead singer and lyricist. Producer Robert John Mutt Lange, who had previously worked with AC/DC on Highway to Hell, was again brought in to produce. The album was recorded at Compass Point Studios in Nassau, Bahamas, and Electric Lady Studios in New York, where the album was also mixed.Back In Black
Shoot to Thrill
Givin The Dog a Bone
What Do You Do For Money Honey
Rock and Roll Ain't Noise Pollution
Let Me Put My Love Into You
You Shook Me All Night Long
Shake a Leg
Have a Drink On Me$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
BLack On BLondeNettwerk Records is excited to announce the two-disc release from the award-winning and incredibly talented Canadian hip-hop artist k-os. The double album is a cohesive collection of two records; one of rock tunes and the other of old-school hip hop jams.
Recorded at Hayden Christensen's deserted Laurel Canyon mansion, BLack on BLonde is the most personal and revealing album of his career. "My friends say this is the record I've been waiting my whole life to make, there's a confidence now," says k-os. "People don't generally want to take things too far. And I felt trapped by my birth into the music industry as a hippy or folk hip-hop singer; I'm over that feeling. It was time to delve deep and write an album (or two) that truly reflects all facets of myself. This album is a celebration of that."
BLack on BLonde features exciting collaborations from a varied array of guests, including Black Thought (The Roots), Travie McCoy (Gym Class Heroes), Emily Haines (Metric), Corey Hart, Sebastien Grainger (Death From Above 1979), Juno Award-winning Canadian rock singer/songwriter Sam Roberts and many others. Always innovative, provocative and fearless, k-os showcases said versatility by singing and playing drums, guitar and bass throughout the album.LP 1
1. Like A Comet (We Rollin') feat. Corey Hart
2. Diamond Sky
3. NYCE 2 Know Ya
4. C.L.A. feat. Travis McCoy
5. Nobody Else
6. One Time feat. Haines Vox
7. Mojo On
8. Try Again feat. Black Thought
10. Spraying My Pen feat. Saukrates and Shad
1. The Dog Is Mine
2. Don't Touch feat. Sam Roberts
3. Alone In My Car
4. Put Down Your Phone!
5. Billy Bragg Winners feat. Jay Malinowski
6. Surf's Up feat. Sebastien Grainger
7. Play This Game
8. Wonder Woman (As My Guitar Gently Streets)
9. BLondes$19.99Vinyl LP Picture Disc - LPs Sealed Buy Now
The Grinding Wheel (Yellow And Black Vinyl)Pressed On Yellow And Black Vinyl
Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.
Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.
But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.
One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.
Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.
Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.
Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.
Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.
Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.
At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.
More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.
I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.
This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.
Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.
That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.
And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.
After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.
I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.
But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.
For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.1. Mean, Green, Killing Machine
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Rabid Death's CurseIn a scene of countless carbon copies and soulless attempts to evoke the majesty of the ancient Swedish Black/Death Metal legacy, WATAIN stand alone solemnly. They are watching from the shadows, in genuine victorious sincerity.
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