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Vinyl Lacquers Cut By Alex DeTurk At Masterdisk
Pressed At R.T.I.
No digital 'plug-ins' of any kind were used in this recording. All of the recording, processing, effects and mixing was done in the analog domain using tape and mostly vintage equipment.
''For all intents and purposes, this album is the black version of [The Beach Boys'] Smile-- at best, it will go down in the Smile/There's a Riot Goin' On/Miles Davis' On the Corner category.'' - Questlove
The prodigal son of the soul and funk canon, D'Angelo, is back! His ever-awaited third studio album, Black Messiah, is his first album since the critically acclaimed Voodoo, bringing to an end a 14-year hiatus. The album blends 70's jazz-funk and neo-soul.
Anyone who's been keeping up should be keen to the fact that the long-lusted over project was recorded in full analog, so the liner notes' PSA "For best results, listen at maximum volume" should be taken as a direct order for fervent D'lievers. And what better way to experience the gritty greatness of the release than a heavy-bodied vinyl pressing for the audio junkies?
The album features tracks co-penned by Kendra Foster (Parliament/Funkadelic) and Q-Tip (A Tribe Called Quest). It's also co-produced by Questlove (The Roots), bassist Pino Palladino (John Mayer Trio, The RH Factor), and drummer James Gadson (Bill Withers, Temptations, Beck, Jamie Lidell).
*Executive Produced by Kevin Liles and Alan Leeds
* Produced by D'Angelo, Questlove, Pino Palladino, James Gadson
* Mixed by Russell Elevado
* Additional Mixing by Ben Kane
* Engineered by Russell Elevado and Ben Kane
* Additional Engineering by Tony Rambo
* Mixed at M.S.R. Studios and Henson Studios
* Mastered by Dave CollinsLP 1
1. Ain't That Easy
2. 1000 Deaths
3. The Charade
4. Sugah Daddy
5. Really Love
1. Back to the Future (Part I)
2. Till It's Done (Tutu)
4. Betray My Heart
5. The Door
6. Back to the Future (Part II)
7. Another Life$23.99Vinyl LP - 2 LPs Sealed Buy Now
EarthtonesBahamas, the easy-going alias of Toronto-based singer/songwriter Afie Jurvanen, is returning with his first LP in four years. His new album Earthtones will be released via Brushfire/Republic Records, following up his 2014 record Bahamas is Afie.
Largely recorded in a compact, three-day session, Jurvanen finds himself joined by drummer James Gadson and bassist Pino Palladino, who separately have supported the likes of Beck and John Mayer, and together played alongside D'Angelo for his superlative comeback album, Black Messiah. The inclusion of the Vanguard members illuminates the grounded qualities that have always always been just beneath the surface of Bahamas' breezy music.1. Alone
2. Opening Act (The Shooby Dooby Song)
3. No Wrong
4. Show Me Naomi
5. No Expectations
6. Way With Words
7. Bad Boys Need Love Too
8. Everything To Everyone
9. So Free
10. No Depression
11. Any Place$24.99Vinyl LP - Sealed Buy Now
The PassageMuch had changed in the Iron Man camp during the short year separating their sophomore album, 1994's The Passage, from its rightfully acclaimed predecessor, Black Knight. On the personnel front, drummer Ron Kalimon had been replaced by Gary Isom (later of Unorthodox, Spirit Caravan, and Pentagram) and first album vocalist Rob Levey deposed (on the Hellhound label's insistence!) for the technically more accomplished Dan Michalak, but the latter's histrionic vibrato (think a junior Messiah Marcolin) could come off a little comically forced at times, ironically making him an acquired taste, just like his precursor. At least on the musical front, however, the band's guitarist and creative mastermind Alfred Morris III could still be counted upon to guide Iron Man (rounded out by returning bass player Larry Brown) down the (mostly) straight and narrow doom path without commercial dilution or unnecessary distractions. Resulting highlights included the LP's emphatic opener The Fury (an homage to Black Sabbath's Neon Knights in more ways than one), the short, sweet, and savage Iron Warrior, and the memorable instrumental Tony Stark (which of course borrows the alias for that iron-plated Marvel Comics superhero; get it?). Meanwhile, the discreet synthesizers fleshing out Waiting for Tomorrow's intro showed that Iron Man weren't entirely averse to modernization, either, but they sure as hell weren't leaping to embrace it. Also, The Passage put a little more emphasis on slower doom numbers -- see Unjust Reform, Harvest of Earth, and the rather toothless Time of Indecision -- which, while more authentically traditional in nature, didn't pack nearly as much of a punch as the band's speedier efforts. Nevertheless, The Passage helped establish Iron Man's mighty reputation far and wide to doom-loving hordes across the globe, and it was indeed a shame that the group would wait half-a-decade before capitalizing on this with a third album, 1999's Generation Void.
- Eduardo Rivadavia (All Music Guide)1. The Fury
2. Unjust Reform
3. The Gargoyle
4. Harvest of Earth
5. The Passage
6. Iron Warrior
7. Freedom Fighters
8. Waiting for Tomorrow
9. Time of Indecision
10. Tony Stark
11. End of the World$23.99Vinyl LP - Sealed Buy Now
Lady In Gold (Bone Vinyl)Limited Edition Of 500 Copies Pressed On Bone Colored Vinyl
Very few modern bands are lucky enough to have such a unique, individual and inimitable style as well as blessed with such an incredible voice at the forefront, so it's very rare that a group representing traditional blues-rock can come along with all these characteristics and whip up such excitement in 2016.
BLUES PILLS contain all these elements to create extraordinary music that sounds original and new but respects those long-held rules of blues and rock and roll tradition. Although, it's the individual characteristics of the band that makes this music electrifying; the steady bass of Zack Anderson, thumping rhythm of AndrÉ Kvarnström, technical and yet improvisational guitar of Dorian Sorriaux and the sensational soaring vocals of frontwoman Elin Larsson that set this band apart.
The psychedelic sounds of the band may hail back to the prosperity of the 1960's and 1970's and it's true their distinctive sound may include a few ingredients of the past; a pinch of late 60's Americana, a sprinkling of blues, a heavy serving of rock 'n' roll, a big squeeze of soul but it's all shaken up into a brand-new cocktail of sound, and served into this heavenly new blend we call BLUES PILLS.
That's why it seems to be a sign of destiny that the stars aligned for this exceptional group to be born in 2011, only one year later the striking, soulful and organic sound of first single 'Black Smoke' was fascinating countless listeners - followed up by the EP "Bliss". When in 2014 the self-titled album was released, the whole genre was turned upside down and BLUES PILLS were charting across Europe and continually selling out larger venues. Now the fans are calling on BLUES PILLS to present their second album "Lady In Gold".
"'Lady Gold' is a character symbolizing death", explains singer Elin Larsson of the intriguing album title. "We wanted to get away from the typical stereotype of the Grim Reaper."
The mystical and dark references of the album title are echoed throughout a lot of the album - there's the ode to the female "Keeper Of The Soul" on spiritual sounding title track 'Lady In Gold' and talks of failed salvation from a deceitful messiah in the soul anthem 'Little Boy Preacher'. There's emotive blues ballads in 'I've Felt A Change' and 'Burned Out' and empowering post-heartbreak tales in 'Won't Go Back' and 'Rejection'.
Similarly to the self-titled debut "Lady In Gold" was produced in Sweden by producer Don Alsterberg and it captures everything that's made them one of the most talked about rock bands of the past few years.1. Lady In Gold
2. Little Boy Preacher
3. Burned Out
4. I Felt A Change
5. Gone So Long
6. Bad Talkers
7. You Gotta Try
8. Won't Go Back
10. Elements And Things$24.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Acid TongueJenny Lewis Acid Tongue on 2LP + CD Set!
Vinyl Pressed at RTI!
Femme fatale Jenny Lewis has never sounded so passionate and her songs never so hard-hitting and acerbic as on her aptly titled sophomore solo release, 2008's Acid Tongue. The album follows 2006s well received Rabbit Fur Coat and a series of acclaimed albums with Rilo Kiley. Featuring collaborations with She & Him and guest appearances by Elvis Costello and Chris Robinson of The Black Crowes, Acid Tongue proves to be a can't miss release.
This vinyl package features two standard weight black-vinyl discs produced and pressed at RTI in a double-gatefold jacket with a bonus CD in a paper sleeve. The discs contain three sides of audio and a special etching on the fourth side.
Lewis is indie rock's most sharp-elbowed songwriter, a crafter of taut meditations on love, sex and politics that are full of violent emotions and, occasionally, plain old violence. There's plenty of storminess on her excellent second solo album, whose songs mix muscular guitar rock (The Next Messiah) with soul balladeering (Sing a Song for Them) and chamber pop (Black Sand). --Jody Rosen, Rolling Stone, October 2, 20081. Black Sand
2. Pretty Bird
3. The Next Messiah
4. Bad Mans World
5. Acid Tongue
6. See Fernando
9. Trying My Best To Love You
10. Jack Killed Mom
11. Sing A Song For Them$22.99Vinyl LP - 2 LPs Sealed Buy Now
Terrestrials (Awaiting Repress)
Thick Stock Cardboard Stoughton Style Tip On Jacket
180 Gram Vinyl
Limited To 3,000
Four figures stand atop a summit, staring east out over a vast, frostbitten wasteland, the black sun dwindling in the west, casting their shadows across the plain. They await another clan, legendary for their slow approach. Eyes on the horizon, searching, patiently, for some signal of the arrival, some plume of smoke that would announce that the time had come. At last, at the edge of the plane, they note a black banner, and soon two hooded figures appear in the dusk. A horn sounds, and drumbeats echo through the valley.
It's only the threshold of the distant horizon that limits the scope of Terrestrials, but like much of Earth, its landscape is arid, only disclosing its secrets upon active contemplation of its component dust. From the opening strains, hidden at the foot of a vertiginous crescendo from zero decibels, the album recalls a technique of Andrei Tarkovsky's, later developed in the films of BÉla Tarr. The eight-and-a-half-minute opening shot in Tarr's epic Sátántangó laterally tracks cattle carefully plodding through a dilapidated commune in search of food from muddy pasture. As the audience investigates the frame for clues to Tarr's purpose, he slowly reveals to them a symbolic vision of the film as a whole, inviting contemplation of the rich surfaces of the decayed buildings and the labyrinthine entrapment of the commune's inhabitant kine, some playing at leadership and some dragging their feet, cow and human alike awaiting deliverance by a dark messiah. Terrestrials proceeds in a remarkably similar fashion. As each track unfurls, its glacial pace arrests the listener's search for novelty, forcing attention to the profundities of the mix and the texture that the interlaced sounds create; and yet it also deepens the desire for what each step forward promises, the crisis that the procession patiently unveils.
Terrestrials features more complex instrumentation than most of the works of either party. Sunn O)))'s deep bass and endlessly sustained guitar feature heavily on each track of Terrestrials, but so do Ulver's electronics and a myriad of additions, including trumpets, didgeridoo, and strings. Although the tracks apparently began as a set of improvisations recorded at Ulver's Oslo studio, the vast scope of the release clearly evolved out of the various mixing and arrangement sessions helmed by Ulver's Kristoffer Rygg and Sunn O)))'s Stephen O'Malley between 2008 and 2012. Here they achieved a synthesis that stylistically transcends the mere combination of the two groups and their traditional pathways, with Ulver sealing up the cracks of Sunn O)))'s immense backdrop and heightening the atmosphere with tense strings, sculpted textures, and insistent rhythm. It's this attention to the subtleties that renders Terrestrials monolithic; they ensure that each tick of the clock yields an array of sonic qualities, each progressing slowly in themselves but together moving the whole mass of sound forth at a constant click.
From the trumpets on "Let There Be Light" to the drum-like pound of the bass and didgeridoo in "Western Horn," Terrestrials relentlessly heralds its own arrival, an endless parade slouching towards Bethlehem. By the time Rygg's vocals enter at the middle of "Eternal Return," the crawling pace of the album has ensured their sublimity. Taken on its own, this short section would scarcely justify a song unto itself; it emerges out of the sudden but carefully orchestrated resolution of the murky depths of the track's recesses, manifesting as a piercing clarity and a distillation of the album's theme of annunciation. Its lyrics, rich in spite of their brevity, conceal a messianic yearning in the fallow desert, a hope for deliverance from the stasis of the Egyptian yoke and the confusion of exile, and a dark prophecy of a "liminal animal" with "golden nature" of the sinful calf. Rygg urges us to "listen silent."
Gongs or guitars ring out. This final stage of Terrestrials heralds a return of an immense mystery. What approaches, its lumbering gait constantly pressing onward, can't divulge its nature until it finally arrives. The quintessential figure of doom is an immense behemoth, a force of nature whose sublime shadow conceals it from view even as its thundering steps reveal its impending advent. But here we lie in wait. Terrestrials delivers on its persistent promise by offering another transcendental promise of a future culmination. But the restraint they exert in their advance to the beautiful oasis at the center of "Eternal Return" suggests that, here, Sunn O))) and Ulver are more interested in the process as it happens through time, tracking the march of the sun across the heavens, marking each moment as it slips back into eternity.
- Matthew Philips (Tiny Mix Tapes)1. Let There Be Light
2. Western Horn
3. Eternal Return$16.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Tales of Creation (Out of Stock)Candlemass was formed by bassist and songwriter Leif Edling in Stockholm, Sweden in 1984, well known for their epic doom metal, they have hugely influenced a
generation of the genre's subsequent greats - Candlemass themselves taking a large
influence from Black Sabbath.
'Tales of Creation' was Candlemass's fourth album, originally released in 1989. The album was produced by Mats Lindfors and Candlemass and was recorded at Stockholm Recording studios. This release sees Messiah Marcolin (handling vocal duties for the final time on a Candlemass album), alongside composer & long-standing member Leif Edling, create a stunning soundscape of epic atmosphere and melodic
passages - a continued progression from these undisputed pioneers of the scene. Candlemass consistently build upon their Sabbath inspired foundations set on the debut album from 1986; this album even containing a reworking of 'Under the Oak' from said album, and the release concludes what many regard as the finest period for the band, spanning four albums of extremely high quality doom.1. The Prophecy
2. Dark Reflections
3. Voices In The Wind
4. Under The Oak (new version)
6. Into The Unfathomed Tower
7. The Edge Of Heaven
8. Somewhere In Nowhere
9. Through The Infinitive Halls Of Death
11. A Tale Of Creation$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
Ancient Dreams (Out of Stock)The Classic Slab Of Pure 80's Doom Metal From The Swedish Legends
Presented On Double Gatefold Heavyweight Vinyl
Candlemass was formed by bassist and songwriter Leif Edling in Stockholm, Sweden in 1984, and is well known for its epic doom metal, having a great influence over a generation of the genre's subsequent greats such as Paradise Lost and My Dying Bride - Candlemass themselves taking a large influence from Black Sabbath.
Ancient Dreams was Candlemass' third album, released in 1988, and it featured a natural progression of slow-mid tempo epic arrangements from their previous release, Nightfall - perhaps even more distinction between slow and faster parts - with the unique tones & unmistakable voice of Messiah Marcolin still dominating proceedings on this pure doom metal classic.LP1
1. Mirror, Mirror
2. A Cry From The Crypt
3. Darkness In Paradise
4. Incarnation Of Evil
1. Bearer Of Pain
2. Ancient Dreams
3. The Bells Of Acheron
4. Epistle No. 81
5. Black Sabbath Medley$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock