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Black Heart Procession'
Blood Bunny/Black RabbitBefitting of The Black Heart Procession, Blood Bunny/Black Rabbit takes the experimentation hinted at on last years critically lauded Six and expands upon it in bizarre and brilliant ways. Centered around three stunning new songs, the collection is arranged and mixed as one continuous composition, sounding every bit like an LSD-influenced DJ set in the kind of terrifying but strangely alluring vampire sex den commonly seen in True Blood. Its the ideal atmosphere for The Black Heart Procession, where they feel most comfortable and sound most in control.
The set is rounded out by a series of remixes, most notably the eccentric freak-out Freeze by legendary dub pioneer Lee Scratch Perry and ambient electronic luminary Eluviums 10-minute orchestral reconstruction of the solitary piano ballad Drugs. Jenkins remixes a couple of tunes himself under the guise of Mr. Tube, and San Diego electronic producers Jamuel Saxon close the album with an unlikely downtempo dance reworking of Drugs that transforms the songs morose lyrics into a meditative, almost hopeful trance.
If Blood Bunny/Black Rabbit was supposed to be a stop-gap between albums, no one seems to have told the band as much. It is easily one of The Black HeartProcessions more compelling and intriguing releases of their extensive and impressive catalog.1. Blank Page
2. The Orchid
3. Silence (Remix by Mr. Tube)
5. Freeze (Remix by Lee Scratch Perry
6. Heaven Below (Remix by Mr. Tube) (3:02)
7. Drugs (Remix by Eluvium) (9:36)
8. Drugs (Remix by Jamuel Saxon)$16.99Vinyl LP - Sealed Buy Now
iFi Audio micro iDSD Black Label
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
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The iFi micro iDSD Black Label is the newest iFi micro flagship product. At the heart, beats the Burr-Brown DSD512/PCM768/2xDXD True Native® DAC with headphone amplifier.
The Black Label looks very good on the outside yet the inside is even better where relentless attention has been paid to advancing the sonics with the very latest components:
- DAC digital signal and digital power sections upgraded
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The micro iDSD Black Label. The best, evolved.$599.00Battery-powered DAC Buy Now
- DAC digital signal and digital power sections upgraded
Eonian (Bone & Black Swirl Vinyl)Eerie shadows are lurking in the dark corners of spring 2018; the spirit that denies, a force able to distort our conception of space and time. Over seven years, deathlike silence has filled the halls of the world's biggest black metal forge, DIMMU BORGIR, whilst powers have been gathering to resurrect the band right in time for their 25th anniversary. Now they finally mark their return with a vicious work of art that can be defined as timeless in the truest sense of the word: »Eonian«.
Conceived in the heart of the Norwegian black metal scene in 1993, DIMMU BORGIR quickly broke free from the boundaries of the genre, daring to combine a traditional raven black sound with opulent symphonic orchestration. Soon they turned into pioneers of their field, forging groundbreaking albums such as »Enthrone Darkness Triumphant« (1997), »Spiritual Black Dimensions« (1999), or »Death Cult Armageddon« (2003), invading the entire world with headline tours and eventually turning into the most influential act of their genre after nine full-length studio releases. Seven years have passed since their latest manifesto »Abrahadabra«, they are now returning to rip apart the space-time continuum with »Eonian«.
From a musical point of view, the band explores their boundaries in every direction with this new record, with the black metal parts even rougher and darker than before, and the epic, orchestral moments pushed to their ultimate limits. This time DIMMU BORGIR were aiming for a more organic sound for their devilish offerings, and reached out to Jens Bogren, who engineered the 10 new tracks inside his Fascination Street studios. The cover artwork was designed in fascinating detail by Zbigniew M. Bielak.
The songwriting core of DIMMU BORGIR furthermore consists of charismatic vocalist Shagrath, as well as the string wizards Silenoz and Galder, but other familiar faces also emerge from the darkness: Drummer Daray and keyboarder Gerlioz are still part of the team, and Gaute Storaas helped with the choral arrangements for the majestic voices of the Schola Cantrum Choir.
The lyrical theme of the Norwegians' tenth studio work follows a philosophical concept, dealing with the illusion of time and Luciferian codes:
"Time, when not approaching it from the construct we're used to can't be defined and thus it is illusory", explains axemaster Silenoz. "There's only an 'eternal now', which the album title is already hinting at. When we travel between the worlds seen and unseen, the perception of time ceases to exist, it has no function. Our energy is our torch and our compass when we make rifts and pierce through our the veil - when we go beyond." Silenoz refuses to grant more information than that, hence why DIMMU BORGIR's albums have always been open for interpretation and felt somewhat like a dark room in which every listener believes to see something different in front of their light seeking eyes.
"»Eonian« represents the illusion of time, everything that is and always has been. For us, it also marks the 25th anniversary of DIMMU BORGIR and the album itself is a tribute to our own history and the Norwegian black metal history", adds Shagrath.
Since their debut album »For All Tid« from 1994, DIMMU BORGIR have always released their epic new works in regular intervals, but this time around, the Norwegians couldn't tame the beast of their creativity that quickly, and therefore they took the time it needed to slowly weave their collective ideas into these nine new tracks:
"Some of the songs on this album were written in 2012. All of us have our own pre-production studios and just write separately, without too much communication at first. Over a time period of one or two years we collect our ideas and then get together and try to get the best out of the material", says Shagrath. "Sometimes this can be quite challenging, because we have different tastes and opinions - but that makes it also more interesting for the listener, since we want to create music that makes you feel as if you don't know what's behind the next corner."
Silenoz agrees: "The main challenge is to hold back the beast. You're so into what you're doing that sometimes it's easy to forget that you have to approach the beast without waking it up right away, because you know you won't be able to control it. It's actually pointless to trick yourself to believe you can ever control art... It's like going into a lion's den with a rope tied around your waist in case you need to be pulled out real quick. Being our own producers also mean we have to step out of our own egos and look at our material from an 'outside' perspective. This is another challenging part of the songwriting process because you put so much of yourself into it - and then to start shaving off things, trim things down instead of adding - is a tough process. Letting go can sometimes be really hard but when we step out of ourselves and look into the mouth of the beast, only then we're able to distinguish what to feed it next."
Thus, both classic black metal invasions such as 'Lightbringer', but also highly symphonic charged anthems like 'Interdimensional Summit' gather on »Eonian«, with one of the band's personal favourites being the experimental, folkloristic 'Council of Wolves And Snakes'. Risking a look far beyond the horizon, this song proves that the band follows 'no formula, no absolute', as Silenoz vows, and shows that the path sometimes guides them to places they would have never expected to end up when they started their journey.
On the previous album, »Abrahadabra«, the Norwegians irritated some militant black metal elitists by appearing in opulent white / gray costumes. And although they chose a different appearance for »Eonian«, DIMMU BORGIR always keep new surprises in store:
"We're definitely a band that does not follow any set of 'rules', if any; we're out to break them - for sure. Not that it's a goal per se, it's just who we are. We knew the white/grey look would raise a few eyebrows but whatever we do, or not do, we'll end up raising eyebrows", Silenoz states and Shagrath adds: "The album feels like a rebirth, but also like a logical continuation. Our music comes naturally. We're not sitting down in a circle, thinking about what we could do next - it has to come with a flow and with whatever is in your mind at that time, it needs to be spontaneous and is exactly what we could do at that time. Each one of our releases was linked to a certain time period of our life."
After having released the live DVD »Forces Of The Northern Night« in spring 2017 which provided a monumental overview of the shows that DIMMU BORGIR had performed with a big orchestra and choir, the time is over in which fans needed to watch the band members on screen - hence now they are ready to storm the stages of the world again. The first headline slots at Europe's major festivals, such as Wacken and Hellfest, have already been confirmed, and further live plans are currently being forged for the second half of this year. The Lightbringers are back - and they've come to split apart the heavens:
"We obviously rely on our fans, if a band says they don't care - they're lying. We're definitely ready to work hard to convince the 'doubters', the 'dwellers ready to strike', that what we have to offer is still very much valid. A new generation of fans and listeners who come from a different 'time' than we do are out there now, not shy to let artists hear it! And we're not shy to let them hear what we've been up to!"1. The Unveiling
2. Interdimensional Summit
4. Council of Wolves and Snakes
5. The Empyrean Phoenix
7. I Am Sovereign
8. Archaic Correspondence
9. Alpha Aeon Omega
10. Rite of Passage$34.99Colored Vinyl LP - 2 LPs Sealed Buy Now
ADAD-TEM-6611xThree Mile Pilot
The Inevitable Past Is The Future ForgottenThe rumor of a new Three Mile Pilot album has been circulating for over a decade, further fueling the mystery and mythology that has swirled around the San Diego trio since the 1997 release of what was thought to be their swan song, the enormously influential Another Desert, Another Sea.
That brings us to the aptly-named The Inevitable Past Is The Future Forgotten, the first Three Mile Pilot album in 13 years and the first to be written, performed, recorded and produced entirely by the original three members in their own home studios. As such it is the most uncompromising album since their inception, it also just happens to be their most accessible. While Pinback and The Black Heart Procession were obviously influenced by 3MP in their early days, the inverse can now be heard, with many of the songs on The Inevitable Past bearing the unmistakable and inevitable stamps of Pinback and The Black Heart Procession. This circular influence is what makes the album so brilliant; instead of a proper hiatus, 3MPs progression was charted vicariously through its members other groups. As such, The Inevitable Past makes good on the promising glimpses heard through a long but breathless wait.1. Battle
2. Still Alive
3. Grey Clouds
4. Same Mistake
5. What I Lose
6. Left in Vain
7. The Threshold
8. One Falls Away
9. Days of Wrath
11. What's In The Air
12. The Premonition$19.99Vinyl LP - 2 LPs Sealed Buy Now
Built In SunBuilt In Sun is a new project from Joe Plummer, drummer for The Shins, Cold War Kids
and Mister Heavenly. Joe has also produced and co-recorded an all drum project
called Hew Time (with Dale Crover and Coady Willis from The Melvins), released on
Joyful Noise in 2014. Joe has also toured and recorded with Modest Mouse and The
Black Heart Procession drums and percussion over the course of the last 10 years.
Built In Sun started during touring breaks between The Shins "Port of Morrow" and
Cold War Kids "Hold My Home" releases. Built in Sun began as an instrumental idea,
with inspirations landing somewhere between John Cales "Fear", the punk vibe of the
Wipers and John Reis, and his favorite soundtrackists John Brion and Clint Mansell.
After the first instrumental mixes were finished (with the help of Richard Swift) he
decided that the tunes and melodies just might be cool enough to ask a few of his pals
to sing. Pall Jenkins (The Black Heart Procession) was the first. Within a day Pall sent
back John John, with solid scratch vocals. Another song came the next day, with new
ones following almost each day afterward .There was no use to ask anyone else.
The songs really came together with the addition of Pall's vocals and it felt great to
collaborate with him again. With this, Built In Sun was complete1. Honeybear
4. Due To Rain
6. Winters Fall
7. John John
8. Live Mate
9. G Nights$15.99Vinyl LP - Sealed Buy Now
ADAD-TEM-9216xThree Mile Pilot
MapsWhen Three Mile Pilot, the legendary Southern California trio that spawned Pinback and The Black Heart Procession, returned to active duty in 2010 with The Inevitable Past Is The Future Forgotten, it ended a 13-year silence from the band. The album was amazing, and the hope was we wouldn't have to wait another dozen years for more. The brand new Maps EP delivers on the evolution of The Inevitable Past, but also finds the group returning to some of their exploratory roots in a unique and refreshing way.
Maps opens with Three Mile Pilot's most triumphant song to date, the towering "Long Way Up." From there the band employs tasteful use of guitars, synths and deep grooves to navigate their pleasantly adventurous waters over the course of 20 all-too-brief minutes. Traditionally EPs serve as stop-gaps between albums, often a collection of toss-offs and leftover b-sides. Maps rejects this notion as it's filled with some of the strongest songs in Three Mile Pilot's remarkable 20-year history.1. Long Way Up
3. This Escape
5. Birdy$19.99Vinyl LP - Sealed Buy Now
Whales And Leeches: Deluxe Version
First Pressing on Blood Red Vinyl
Includes 2 Bonus Tracks And A Full Color Poster
Audio Cut From High Def Studio Grade Files
This double LP comes housed in a stunning gatefold jacket with a matte varnish finish and includes two exclusive bonus tracks on a separate 2nd LP! This deluxe version also includes a 24" x 24" full color poster and a spectacular 12" x 12" 3D lenticular print attached to the cover of the jacket! Audio cut from high definition studio grade files!
Portland, OR's ultimate hard-rockin' party bringers emerge from two years of constant touring with their new full length album 'Whales And Leeches'. There's certainly no shortage of fun on their new record, but 'Whales And Leeches' sees Red Fang further maturing into top notch songwriters and musicians. With the help of guests Mike Scheidt (Yob) and Pall Jenkins (The Black Heart Procession), 'Whales And Leeches' further propels Red Fang into the upper stratosphere of hard rock and metal elite. Red Fang have always been true masters of the hard rock hook and with 'Whales And Leeches' they deliver 11 killer, instantly classic anthems.1. DOEN
2. Blood Like Cream
3. No Hope
4. Crows in Swine
5. Voices of the Dead
6. Behind the Light
7. Dawn Rising
10. This Animal
11. Every Little Twist
12. Murder The Mountains
13. Black Water$49.99Vinyl LP - 2 LPs Sealed Buy Now
Tied To A StarJ Mascis' Tied to a Star is the follow up to his acclaimed Sub Pop debut
Several Shades of Why. The album, led by the songs "Every Morning"
and "Wide Awake," was recorded and produced by Mascis and mixed
by John Agnello at Bisquiteen in Amherst, MA.
It makes perfect sense that I was asked to write a bio for J Mascis.
Let's face it, he and I have a long history. It all started the first time I
saw him live. It was in New York City. I don't remember when or where,
but I think he was walking around. I was probably walking around, too.
The second time was also in New York, at a Mexican restaurant in the
East Village (the one that takes credit cards now, but didn't used to).
Years later I actually met him at the SXSW festival though a friend who
works at Sub Pop. I guess that meeting went well, because when that
friend from Sub Pop got married, she sat me at the same table as J.
Sounds unbelievable? I suggest you look at the picture below. Now keep
staring at that picture until... J's new acoustic
album Tied to a Star comes out on Sub Pop Records. It features
appearances by Ken Maiuri (Young@Heart Chorus), Pall Jenkins (Black
Heart Procession), Mark Mulcahy (Miracle Legion) and Chan Marshall
(Cat Power). Had I been in the area, I'm sure I would've been asked to
play on it, too.
-Todd Barry1. Me Again
2. Every Morning
3. Heal the Star
4. Wide Awake
6. And Then
8. Trailing Off
9. Come Down
10. Better Plane$17.99Vinyl LP - Sealed Buy Now
Several Shades Of WhyIn the quarter century since he founded Dinosaur Jr., J Mascis has created some of the era's signature songs, albums and styles. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands such as Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple and he has also guested on innumerable sessions. But Several Shades of Why, recorded at Amherst, Massachusetts' Bisquiteen Studios, is J's first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.
Nearly all acoustic, Several Shades of Why was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees).
Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriters. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure.1. Listen To Me
2. Several Shades Of Why
3. Not Enough
4. Very Nervous and Love
5. Is It Done
6. Make It Right
7. Where Are You
8. Too Deep
9. Can I
10. What Happened$17.99Vinyl LP - Sealed Buy Now
All Of The UnknownColored Vinyl
At first glance, The Drowning Men appear as an exercise in contradictions. With an abundance of tattoos, facial hair, and a sentiment that skews strongly toward the blue-collar dockworkers of their hometown of Oceanside, California, it seems easy to discern exactly what sort of music this band plays. And yet, upon first listen it immediately becomes clear that their appearances have indeed been deceiving as they yield to a gorgeous, roots and folk-flavored indie rock sound bursting with enchanting melodies and deeply poetic lyrics.
With the release of their second full length, All Of The Unknown, via Flogging Molly's label, Borstal Beat Records, The Drowning Men are poised to bring the entire indie scene up for breath of air.
Formed in 2006 by long-time friends Nathan 'Nato' Bardeen (vocals/keyboards/guitar/mandolin), James Smith (guitar/vocals) and Rory Dolan (drums), the three quickly recruited Todd Eisenkerch (bass/vocals) and Gabriel Messer (keyboards/vocals) to round out the line-up. The right fit for us just happened. There was no math to it, explains Nato. James elaborates, Nato called me up one day in 2005 and said `do you want to play some music?', and we've never stopped. I feel like the music clicked from that first day, it's just evolved.
The band self-released their first EP, Kill The Matador, in 2007. In 2009, the band went into the studio with Pall Jenkins (The Black Heart Procession, Ugly Casanova) to record their first LP, The Beheading of the Songbird, which was self-released that year and then officially re-released by their current label, Borstal Beat Records in 2011 in preparation for the release of this, their second full-length, All Of The Unknown. Gatefold red colored vinyl!1. Lost In A Lullaby
2. The Waltz
3. Bored in a Belly
5. A Fool's Campaign
6. I Am The Beggar Man
7. Life In The Willow Tree
8. A Long, Long Walk
9. Fix Me Love
10. Questioning (A Big Ole Sham)
11. A Better Place$15.99Colored Vinyl LP - Sealed Buy Now
Condolences (Gray w/Black Splatter)Pressed On Gray Vinyl With Black Splatter
A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.
"All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"
After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.
MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.
Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.
"It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."
In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.
"The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."
Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.
"It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"1. Last Rites
2. What The Night Brings
4. Blood Sick
5. Good Riddance
6. You Breathe, I Kill
7. Omen Amen
8. Cruel To You
9. Eulogy XIII
10. Prey For Me
11. Lonesome Road To Hell
13. Death Infinity$29.99Colored Vinyl LP - Sealed Buy Now
WholeChicago heavy rockers SOIL release their sixth studio album Whole via Pavement Entertainment. It's the band's first 100% independent release.
We wanted to call all the shots on this album and, for the first time ever, hold our future in our own hands, explains bassist Tim King.
Whole is the first SOIL album with original frontman Ryan McCombs since 2004's Re.De.Fine (after which he joined DROWNING POOL). It sees SOIL returning to its classic sound that fans have come to admire, with a pres release calling it the CD that could have come directly after the 'Scars' album in 2001."
Following the 2012 release of its first-ever live DVD, Re-LIVE-ing The Scars, SOIL began writing new material and entered the studio in February 2013 with producer Ulrich Wild (PANTERA, BREAKING BENJAMIN) to begin recording.
This was by far the most comfortable and natural recording process we have ever experienced, says guitarist Adam Zadel. From the writing, pre-production, and through the main tracking and mixing, everything was smooth and fluid.
Songs featured on Whole include The Hate Song, Loaded Gun, Way Gone and Shine On, which is dedicated to the SOIL fans for standing by the band throughout the years. Another track, Amalgamation, sees McCombs taking songtitles from both the SOIL and DROWNING POOL releases he was a part of and weaving them into verses of the song.
I think, lyrically speaking, those that are familiar with the work I've done are going to get the next chapter that they would expect, McCombs says about the lyrical process. Words from a heart and mind that has lived them.
One of the greatest things I experience as a lyricist is when people come up and share with me how a song, or a specific verse or line from a song, got them through a hard time or times in their lives. It reminds me of the times music did that for me and how powerful music and/or a lyric can be in a person's life.
Drums and percussion on Whole were performed by Will Hunt (BLACK LABEL SOCIETY, EVANESCENCE, DEVICE).
Will added a whole new dimension to the songs, states King. He added a monstrous and aggressive vibe to the album.
A guest guitar solo on Wake Up was performed by longtime friend Mike Mushok of the band STAIND.
- Blabbermouth1. Loaded Gun
2. The Hate Song
4. Way Gone
6. Shine On
7. Wake Up
9. My Time
10. Little Liar
11. One Love$19.99Vinyl LP - Sealed Buy Now
The Switch (Pre-Order)Release Date: July 13, 2018*
"Tenuously and perfectly balanced between experimental challenge and punk efficiency." - Pitchfork
"All sorts of wild, enthralling noises with little more than a pair of guitars and some amplifiers." - The New York Times
"Their minimalist drones evoking the tumultuous inner spaces of the heart and the mind". - SPIN
Body/Head is the duo of Kim Gordon and Bill Nace.
Creative alchemy doesn't just happen in the studio or in
the practice space; so much of it is the product of solo time
with one's instrument, learning how body and wood and
electronics fuse, and of subconscious processes as one lives
one's daily life-picking up the ambient noise of the world
outside, listening to others' work, talking through ideas with
friends. For Kim and Bill, time together these days is limited
to live performances and recording, so they've got to bring
all their magic to every encounter. Lucky for us, these are
two experimental sorcerers of significant renown.
Their debut album together as Body/Head, Coming Apart,
from 2013, was more of a rock record-heavy, emotional,
cathartic, spellwork in shades of black and grey. The Switch
is their second studio full-length, and it finds the duo
working with a more subtle palette, refining their ideas and
identity. Some of it was sketched out live (if you've not had
the fortune of seeing them in that natural environment
yet, see 2016's improvisational document No Waves), but
much of it happened purely in the moment. Working in
the same studio and with the same producer as Coming
Apart, here Body/Head stretch out, making spacious pieces
that build shivering drones, dissonant interplay, Gordon's
manipulated vocals, and scraping, haunting textures into
something that feels both delicate and dangerous. Less
discrete songs than one composition broken up into
thematic movements, a slow-moving narrative that requires
as much attention and care from the listener as it did from
everyone involved in its creation, it is a record that sticks
around after it's done playing.
This is Nace's favorite of Gordon's guitar work; she's truly
come into her own as a guitarist, having built up her
confidence through solo shows. The way the duo work
together, you'd never know they spend so much time apart;
on The Switch, their vision and focus feel truly unified. If
Coming Apart was dark magic, The Switch works with light,
though it never forgets that these approaches are two sides
of the same coin, and that binaries-black/white, near/
far, emotion/analysis, body/head-are made to be broken
open, and that the truth of things is in the energy between.
*Please note that release dates are subject to change.1. Last Time
2. You Don't Need
3. In The Dark Room
4. Change My Brain
5. Reverse Hard$22.99Vinyl LP - Sealed PRE-ORDER Buy Now
Wall Of Sound (Awaiting Repress)I thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.
Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.
I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.
It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.
The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.
This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.
Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.
I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.
Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what
Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.1. Self Pollution
2. Sorrow and Madness
5. For A Friend
6. Pussy Ghost
7. The Blackest Rose
8. Something to Fight
9. The Soldier
11. The Last Lament$23.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
ChromaticsWhen songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist's imaginative and inventive arrangements that made up 2012s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams' brand new album Chromatics.
"Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory," reveals Genders of the album's themes. "And there's lots of hope in the songs. They shouldn't be taken too literally mind you in my head Chromatics is life in Technicolor; with all its ups and downs."
Equally drawing inspiration from the writing on relationships by David Schnarch, Ester Perel and the book Division Street by Sheffield poet Helen Mort, whilst spending time in his own home studio for the first time, it's without doubt that the Steel city provided the ideal backdrop for Genders to write whenever the inspiration came and, essentially, whittle down the fifty or so tracks he had recorded as part of the album's creation. "There are woods over the road and a little garden out the back with a greenhouse, shed, and flower beds. Being in a new place has brought something special to the process. Sheffield is a very open and direct place and I'd say the songs are more that way too."
Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it's without doubt that Genders' next offering falls closer to home comforts and marks the next step in Genders' renaissance. Take lead track 'Phantom Power'; it's the track which truly sums up what it's like to find yourself forever reassessing. "It's about feeling like you're losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it's possible to sort yourself out," explains Genders. Elsewhere 'You Can Talk To Me's delicate rolling melody and 'Serpent' once again showcase the playful, eclectic slant to Genders' songwriting prowess alongside an innate sense of crisp production and programming techniques.
Never one to shirk away from those around him, Genders would be the first to call Diagrams, and particularly Chromatics, a collaborative process. Once again featuring a rolling cast of inspirational musicians the album includes vocals from, amongst friends and family members, The Smoke Fairies whilst the skilled brass and string arrangements come courtesy of Danyal Dhondy and Sam Ewens. 'London's greatest' drummers Karl Penney, and Cacophony drummer Fletcher Adams provide the beats whilst live band members Emma Black and Ben Malitskie lend their expertise of Baritone Saxophone and Viola. 'Brain' meanwhile, was co-written with long-time friend and collaborator Matt McKenzie and features an in utero recording of his son James' heartbeat.
Yet it's the partnership with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno, Jon Hopkins, Ed Harcourt, Marianne Faithful et al) that has truly brought Diagrams to life. After a long search, Abrahams was picked to piece all parts together and as a result Genders found himself writing songs that worked across a variety of production styles. "Leo's incredibly good at what he does and virtually all the impressive production and soundscaping is down to him. He's also an amazing guitarist and played some of my favourite guitar moments on the album."
Who knows exactly what kind of relationships will inspire Genders next? Currently finding himself midst China's south central city of Changsha in Hunan as a Musician in Residence on behalf of the British Council and PRS foundation, life for Genders right now is all about new experiences, meeting new faces and learning from new friendships. "It feels like anything could happen from one day to the next. I'd like to record a Chinese version of 'Phantom Power' so that once I'm back in the UK I can reconnect with the music lovers I've met. I've heard lots of very poppy pop songs that incorporate both Chinese and English lyrics so I'd like to try my own twist on that."1. Phantom Power
2. Gentle Morning Song
5. You Can Talk To Me
7. Dirty Broken Bliss
9. The Light & The Noise
11. Just A Hair's Breadth$18.99Vinyl LP - 2 LPs Sealed Buy Now
Easy Star's ThrillahFollowing up on the hugely successful reggae tribute albums of Dub Side of the Moon (2003), Radiodread (2006) and Easy Star's Lonely Hearts Dub Band (2009) comes the reggae adaptation of the greatest selling record of all time - Michael Jackson's Thriller. The album, titled Easy Star's Thrillah will be released August 28, 2012 (a day before the 53rd anniversary of Jackson's birth). Easy Star's Thrillah brings back several of the reggae stars from previous albums, such as vocalists Michael Rose (Black Uhuru), Steel Pulse, Luciano, Mojo Morgan (Morgan Heritage), alongside the diverse playing of guests Yossi Fine (David Bowie, Lou Reed, Stanley Jordan), Joe Tomino (Dub Trio/Matisyahu), Andy Farag (Umphrey's McGee), and horn tracks courtesy of Israel's highly-acclaimed funk/hip-hop band Hadag Nachash. The album will be preceded by the July 10th digital release of the Billie Jean EP, which includes two album tracks, along with non-album remixes and a dub version.
In selecting Thriller, Easy Star Records co-founder Lem Oppenheimer says, We've always tackled the greats - The Beatles, Pink Floyd, Radiohead - but while we wanted to take on another huge album, we also wanted to blaze new trails. In Thriller we found those new trails in a number of firsts for the series: the first album by an American artist, the first non-concept album, the first R&B/soul record, as well as the first release from the 80s.
For me, I was most excited for Thriller, says producer/arranger/guitarist Michael Goldwasser. I was always more of an R&B/soul and reggae kid growing up and I have an intense personal connection to Michael Jackson's music. As usual, the process initially involved Goldwasser spending a few months on arranging the songs. Writing the arrangements for this album was a cool challenge. I didn't have to try to make non-dance music into dance music as on our previous albums because the original Thriller is so danceable already, but I needed to find ways to make each song groove in a different way from the original version. I didn't want any of the arrangements to be obvious in that regard. In the end, Goldwasser's arrangements are some of the most interesting in his career.
Now that the hard work in the studio is done, the band is looking forward to bringing this music on the road, adding some dance/pop songs to their already varied sets. The band's live show, which was nominated for a UK Festy Award in 2009, already features tracks from the band's previous three tribute albums, along with original material. An extensive fall tour of the US and UK is already set up (US dates listed below), with more to come over the next year. As the original Thriller album comes up on its 30-year anniversary in November, what better way to celebrate this timeless album than to catch the Easy Star All-Stars perform their reggae-infused versions of this pop masterpiece.1. Wanna Be Startin' Somethin'
2. Baby Be Mine
3. Girl Is Mine
5. Beat It
6. Billie Jean
7. Human Nature
8. P.Y.T. (Pretty Young Thing)
9. Lady In My Life
10. Dub It
11. Close to Midnight$21.99Vinyl 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