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Hush Or Howl
Red Translucent Vinyl
Black Pistol Fire is a Canadian Rock and Roll duo that splits time between Toronto, Ontario and Austin, Texas. Their wild and energetic rock-and-roll sound has been described as a mix of classic southern rock and garage punk, garnering comparisons to early Kings of Leon, Creedence Clearwater Revival, The White Stripes, and Clutch. The band features Kevin McKeown on Guitar/Lead Vocals and Eric Owen on Drums. The two have been friends since kindergarten and began playing music together when they discovered a shared passion for rock and roll music in high school.
While playing a local Austin hotspot, Producer Jim Diamond (The White Stripes, The Von Bondies, Jon Spencer Blues Explosion) approached the band about recording their 2011 record. They have supported the likes of Weezer, BRMC, Band of Skulls, State Radio, Shonen Knife, and Lucinda Williams. The band recorded their 2nd LP in the early 2012 with producer Michael Rocha in Toronto. This album, Big Beat 59, was released in August 2012, with songs with the album being put into rotation on major taste-making radio stations KEXP, KCRW, KUTX, and KDHX.
The band gained further momentum during SXSW 2013 where The Huffington Post called the band 'the next big thing' and 'the most energetic and musically versatile of all the bands playing the festival'.
Hush or Howl was again recorded with Michael Rocha, this time in Austin, TX.1. Alabama Coldcock
2. Dimestore Heartthrob
3. Baby Ruthless
4. Your Turn to Cry
5. Hipster Shakes
6. Run Rabbit Run
8. Blue Eye Commotion
10. Show Pony
11. Grease My Wheel$16.99Colored 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
Into The Future (Awaiting Repress)Considered to be the holy grail of punk rock, Bad Brains are one of the definitive American
punk groups who garner the same respect as Sex Pistols, Black Flag, The Ramones and The
Clash. It's a return to form for the band that helped define American Punk and Hardcore music.1. Into The Future
3. We Belong Together
4. Youth Of Today
5. RubADub Love
6. Yes I
7. Suck Sess
8. Jah Love
9. Earnest Love
10. Come Down
12. Maybe A Joyful Noise
13. MCA Dub$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
And Now...The Runaways
1000 Only Limited Edition
And Now... The Runaways is the fourth and final studio album by the American rock band The Runaways, released in late 1978 this was The Runaways last album before disbanding. The album has been a continuous seller and contains nine of their best, including their version of the Sex Pistols' 'Black Leather'. Also features 'Mama Weer All Crazee Now', 'Little Lost Girl' and more.1.Saturday Night Special
2.Eight Days A Week
3.Mama Weer All Crazee Now
4.I'm A Million
7.My Buddy And Me
8.Little Lost Girls
9.Black Leather$32.99140 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sid & Nancy: Love Kills (Music From The Motion Picture Soundtrack)Soundtrack to the 1986 biopic on the lives of Sex Pistols' bassist Sid Vicious & girlfriend Nancy Spungen. Album coincides with the 40th Anniversary of the release of The Sex Pistols' Never Mind The Bollocks. Features songs from Clash founder Joe Strummer, former Pistols' bandmate Steve Jones, Velvet Underground's John Cale, plus contributions from The Pogues and Circle Jerks, as well as actor Gary Oldman.
Now repressed on 120g black wax vinyl for the first time in 30 years.1. Love Kills (Title Track) - Performed by Joe Strummer
2. Haunted- Performed by The Pogues
3. Pleasure And Pain - Performed by Steve Jones
4. Chinese Choppers - Performed by Pray For Rain
5. Love Kills - Performed by Circle Jerks
6. Off The Boat - Performed by Pray For Rain
7. Dum Dum Club - Performed by Joe Strummer
8. Burning Room - Performed by Pray For Rain
9. She Never Took No For An Answer - Performed by John Cale
10.Junk - Performed by The Pogues
11.I Wanna Be Your Dog - Performed by Gary Oldman
12.My Way - Performed by Gary Oldman
13.Taxi To Heaven - Performed by Pray For Rain$19.99Vinyl LP - Sealed Buy Now
The Sticks (Awaiting Repress)"Bit by bit, gonna get my bricks out in the sticks / Bit by bit, gonna build my house in the wildest thickets / Gonna get away from all those mouths and my shit / Gonna say good-bye to all the la-di-da-di-da-di-da-di-da," Mother Mother's singer and guitarist Ryan Guldemond sings on "Bit By Bit", the song he calls the benchmark piece and anthem of The Sticks. And so it goes on this Canadian five-piece's latest effort, an album about "longing to escape the clutches of the modern world."
The album is about as unpredictable musically as it is lyrically, with "Let's Fall in Love" eventually revealing dirty, "Supermassive Black Hole"-esque guitars, "Little Pistol" busting out strings and reserving into a fuzzy, evolving folk tune, and the drums on the title track revealing themselves as a dead-ringer for "When The Levee Breaks. Random though this journey into the Canadian countryside may be, it's a damn fun ride. A pit stop in the band's more folky past pops up on track five, the acoustic, vocal-driven "Dread In My Heart", whose "We Are Going To Be Friends"-simplicity and lyrics like, "There's a god awful shitty feeling of dread in my heart / And I can't seem to change my attitude, but I can change my heart," effortlessly resonate.
-Amanda Koellner1. Omen
2. The Sticks
3. Let's Fall In Love
5. Dread In My Heart
8. Bit By Bit
9. Latter Days
10. Little Pistol
11. Love It Dissipates
12. Cry Forum
13. Waiting For The World To End$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Kill The Dreamer's DreamDebut confronto-rock album from SF-Oakland's FLESHIES. Punk-in-your-face mayhem. Fast. Loud. Good stories. Partial nudity. What else do you want? Touring!
It seems many classic sounding punk bands are either unwilling, or unable, to take vintage punk rock and try and rework it into something exciting and energetic. They seem content to merely regurgitate tired '77-'82 cliches. FLESHIES are NOT one of those bands. Instead of simply re-visiting classic punk (or even re-inventing it) FLESHIES re-capture what it was all about. They don't sound like a new band using punk as a touchstone, they sound like a band that emerged from that era. One of the most exciting aspects of punk's first and second waves was that bands were trying to put their own unique stamp on rock 'n' roll. THE GERMS sounded nothing like X which sounded nothing like BLACK FLAG which sounded nothing like THE RAMONES, which sounded nothing like PETER AND THE TEST TUBE BABIES which sounded nothing like DEAD KENNEDYS which sounded nothing like SEX PISTOLS (you get the picture) but still each one of those bands was undeniably punk.
FLESHIES have tapped into the energy that defined classic punk but they have avoided tapping into the sound. They are doing their own thing, but it is undeniably punk as hell. Imagine taking a 70s hard rock guitar band and have them use the Detroit sound as a launching pad for playing hardcore punk in L.A. in 1980. I can't describe it any better than that, other than to say my description is only a pale shadow of how impressive the FLESHIES are. --Jeb Branin, In Music We Trust1. (what if we) arm the homeless
3. fat cop
4. yes, i'm starting shit
7. locofoco motherfucker
8. 3 x 10
9. big green teeth
10. 2 hotels and a set
11. gooba says there's no tomorrow
12. crimson dildo
13. the biggest snowball
15. south miami beach
16. led fuckin' zeppelin, man
17. enough sleep$10.99Vinyl LP - Sealed Buy Now
Slow DazzleIn 1975, mad scientist and Velvet Underground alum John Cale returned to the lab to record another experiment. Slow Dazzle, his fifth solo album and second collaboration with Roxy Music's Brian Eno and Phil Manzanera, dissects rock and avant-garde, hacks the limbs off of pop and jazz, and fuses the styles together into a limber, impassioned creation.
Back on domestic vinyl for the first time in decades, this RTI-pressed edition of Slow Dazzle is cut at Mobile Fidelity by in-house engineer Krieg Wunderlich and features stunning sonics. Quiet surfaces, faithful artwork, and the opportunity to hear Cale's incisive fare unfold amidst wide soundstages and black backgrounds-not to mention the emotionally unsettling content within-make this Wax Cathedral LP a must for music aficionados.
Sometimes jaunty and beer-soaked, sometimes maniacally spitting into the microphone about killing his wife's lover, sometimes despairing, sometimes sweet, Cale holds forth with schizophrenic authority. Manzanera's sordid guitar dirges ambidextrously switch to cheerful riffs as Eno's synthesizer rubber-bands its way through sunshine and smoke-machine fog. Chris Thomas, who recorded with the Beatles and engineered albums for Pink Floyd and the Sex Pistols, throws haunted violin and dissonant electric piano into the formula.
Whether he's heaping neon sleaze atop earnest surf harmonies in an ode to the Beach Boys' Brian Wilson (Mr. Wilson), lulling you into a blurred, easy-listening trance (Ski Patrol, I'm Not the Loving Kind), or growling a pre-goth era cover of Elvis' Heartbreak Hotel" with mascara-running intensity, Cale delivers an elastic range of artistry. Ditties like "Dirty Ass Rock 'N' Roll" and "Guts" place psychopath tendencies into the body of a catchy pop song, turn up the electricity, twitch, and grab.
By all means, Cale's experiment was a success. Slow Dazzle is alive.1. Mr. Wilson
2. Taking It All Away
3. Dirty-Ass Rock 'N' Roll
4. Darling I Need You
6. Heartbreak Hotel
7. Ski Patrol
8. I'm Not The Loving Kind
10. The Jeweller$21.99Vinyl LP - Sealed Buy Now