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Blow-Up SoundtrackBlow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks.
The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record.
Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, Stroll On (actually, an adaptation of Tiny Bradshaw's The Train Kept A-Rollin'), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to Bring Down The Birds was sampled by Deee-Lite for their 1990 hit single Groove Is In The Heart featuring Bootsy Collins.1. Main Title - "Blow Up"
2. Verushka Part I
3. Verushka Part II
4. The Naked Camera
5. Bring Down The Birds
6. Jane's Theme
7. Stroll On
8. The Thief
9. The Kiss
11. Thomas Studies Photos
12. The Bed
13. End Title - "Blow Up"$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blow Up Your Video1. Heatseeker
2. That's the Way I Wanna Rock & Roll
3. Mean Streak
4. Go Zone
5. Kissin' Dynamite
6. Nick of Time
7. Some Sin for Nuthin'
8. Ruff Stuff
9. Two's Up
10. This Means War$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Up To HereCanada's favorite boys the Tragically Hip push the sounds of heartland and down-home country-rock on their second album, Up to Here. This album also marks the band's first stateside release, and basically it's a record of burgeoning talent, suggesting what is yet to come from the Tragically Hip. Frontman Gordon Downie is raw and rugged, twisting American trad rock into gritty rock & roll. There's a lot of heartfelt emotion woven into pure musical swagger on songs like New Orleans Is Sinking and When the Weight Comes Down. Blow at High Dough follows the lead of its foot-stompin', hand-clappin' rock tracks.
-All Music Guide1. Blow At High Dough
2. I'll Believe In You (or I'll Be Leaving You Tonight)
3. New Orleans Is Sinking
4. 38 Years Old
5. She Didn't Know
6. Boots Or Hearts
7. Everytime You Go
8. When The Weight Comes Down
9. Trickle Down
10. Another Midnight
11. Opiated$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Bad Wind Blows In My HeartBill Ryder-Jones is a talented man. His new album, A Bad Wind Blows In My Heart, marries his masterful capacities as arranger and composer with his first firm steps as a singer songwriter. It's an album of capital-S songs that will more than sate the appetite of those that appreciate his knack for heart swelling melody and painterly detail.
Bill left The Coral after their fifth studio album Roots & Echoes, on which his arrangements hinted at a deeper and spectacular compositional talent. Last year Ryder-Jones explored this side of his creative talent in full with the orchestral album If for Domino sister label Double Six - which was a grand 'imaginary soundtrack' to Italo Calvino's post modernist novel If On A Winters Night A Traveller.
A Bad Wind Blows In My Heart was recorded in Ryder-Jones' old bedroom in the upstairs of his mother's house in Liverpool. Two friends from local band By The Sea made up the backing band for the recordings, which were then produced and mixed together with James Ford.1. Hanging Song
2. There's A World Between Us
3. A Bad Wind
4. By Morning I
5. The Lemon Tree #3
6. Anthony & Owen
7. Christina That's The Saddest Thing
8. You're Getting Like Your Sister
9. He Took You In His Arms
10. A Bad Wind Blows In My Heart Pt. 2$24.99Vinyl LP - 2 LPs Sealed Buy Now
Yeye ExistentialisteThis album is the first 'best of' to fully cover the bands 20 years of releases with all the tracks fully re-mastered. Stereo Total is the Berlin based French-German duo Françoise Cactus and Brezel Göring, whose playful eclectic music incorporates any-thing from New Wave, Pop Electronique, 60's French pop mashed up with trashy Garage and Disco to form the band's distinctive sound: Stereo Total have released numerous studio albums, singles and film soundtracks on a variety of labels over the years around the world. A truly over-ground underground global lo-fi pop phenomenon! Features 28 recordings that span their twenty year career.LP 1
1. I Love You ONO
2. Musique Automatique
4. Pixelize Me
5. Everybody In The Discotheque (I Hate) - Blow Up Mix
7. Do The Bambi
8. Comme Un Garçon
9. Relax Baby Be Cool
10. Wir Tanzen Im 4-eck
11. CafÉtÉria IdÉale
12. Schön Von Hinten
13. L'Amour À Trois
14 .C'est La Mort
1. Push It
2. LA, CA, USA
3. Holiday Innn
4.I ch Bin Nackt
5. Partir Ou Mourir
7. Ich Bin Der Stricherjunge
8. Miau Miau
9. FÜr Immer 16
10. Dactylo Rock
11. Die Frau In Der Musik
13. Heaven's In The Back Seat Of My Cadillac
14. Les Minets$34.99Vinyl LP - 2 LPs Sealed Buy Now
Not Too LateWith their colourful mix of rock, jazz and prog OUT OF FOCUS sat quite trends and helped to make the term Krautrock become a trademark. The band formed in the late Sixties in Munich, took part in a band competition in 1970 in the then trendy disco Blow Up, and convinced the Nuremberg based Kuckuck label such that immediately followed a record contract.1. One that's very easy
2. The way i know her
3. Spanish lines
4. It's your life
6. Hey john
7. Y$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Three Blind MiceNumbered, Limited Edition
Limited To 3000 Copies
Mastered By Tohru Kotetsu (Misty, Midnight Sugar) And Kevin Gray (Blow Up)
Pressed At R.T.I.
Finally returning after a long and mysterious absence, Impex's new pressing of the highly collectible Three Blind Mice 45 Box has been improved in almost every way: newly rendered LP jackets with improved clarity and color, a deluxe four-color insert with session photos and brand new notes by radio personality and audiophile Tom Schnabel (Rhythm Planet/KCRW Los Angeles). Mastered by Tohru Kotetsu (Misty, Midnight Sugar) and Kevin Gray (Blow Up) and pressed at RTI, this limited edition (3,000) set will live up to surpass all of your most demanding judgments. Just another way Impex Records is redefining definitive.
This title is not eligible for discountBlow Up
Everything Happens To Me
Like It Is
I Can't Get Started
I'm A Fool To Want You
The Nearness Of You
It Could Happen To You
Sweet Georgia Blues
Honey Suckle Rose
Smoke Gets in Your Eyes
I Didn't Know What Time It Was
Angel Eyes$179.99Vinyl LP 45RPM - 6 LPs Sealed Buy Now
Down On The UpsideRemastered Reissue On 180 Gram Vinyl
After the huge commercial breakthrough of Superunknown-where Soundgarden expanded its attack to include pop hooks, psychedelic riffage, and production values-the foursome decided to work harder at rocking harder.
From the opening chords of Pretty Noose, the group brings out the brawny guitars and slightly leavens them with sweet harmonies. With Rhinosaur, Kim Thayil churns out more guitar-hero riffs for young America to master. Zero Chance turns to the quiet side as Chris Cornell ruminates in a depressive mood: Born without a friend/And bound to die alone. Ty Cobb floors the acceleration with no brakes. Robin Trower's Bridge of Sighs is evoked within Tighten & Tighter, while No Attention ventures toward Rocks-era Aerosmith, an occasional Soundgarden touchstone.
The album's obvious centerpiece, however, is Blow Up the Outside World, with its mix of acoustic and electric guitars; it builds toward a cathartic chorus that rings true of everything Soundgarden could ever be.LP 1
1. Pretty Noose
3. Zero Chance
5. Ty Cobb
6. Blow Up The Outside World
7. Burden In My Hand
8. Never Named
2. Never The Machine Forever
3. Tighter & Tighter
4. No Attention
5. Switch Opens
7. An Unkind
8. Boot Camp$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Forever Found EP
Limited Edition Clear Vinyl
The EP is highlighted by title track "Forever Found," which has already been championed by the ever-influential public radio station, KCRW, as well as by LA Weekly, which recently cited the evocative track in naming KAN WAKAN among the "Los Angeles Bands About To Blow Up" in coming months. In addition to an evolved take on the original "Forever Found" recording, the EP includes the spectacular "Midnight Moon," an epic suite of unprecedented adventurism, presented in two remarkable movements.
KAN WAKAN emerged in early 2012, under the moniker of Oren Lyons, as the musical brainchild of composer/producer/multi-instrumentalist Gueorgui I. Linev. The Bulgarian-born musician originally set out to create solely instrumental music inspired by his lifelong passion for classical minimalism, but the involvement of chanteuse Kristianne Bautista and producer/guitarist Peter Potyondy rapidly saw the project grow in both scope and purpose.
Since then they have dubbed themselves with the Native American-inspired abstraction, "KAN WAKAN." The trio was abetted by Ian Anderson (bass), Dannon Rampton (violin), Jesse Aumiller (keyboards, saxophone), and Keith Krey (drums), all of whom helped bring the bold sonic vision to full fruition. At the forefront is Bautista's powerful, provocative voice - described by Linev as not unlike "the lead instrument in an orchestra" - which conveys remarkable levels of romantic nuance and human complexity to songs like the mysterious "Moving On" which can also be found on the EP.
- DaveHHM (Hellhound Music)1. Forever Found
2. Moving On
3. Moving On (Robin Hannibal Remix)
4. Midnight Moon, Pt. 1
5. Midnight Moon, Pt. 2$13.99Colored Vinyl EP - Sealed Buy Now
Tail Swallower And DovePink And White Vinyl With Pink Splatter
On Tail Swallower & Dove, These Arms Are Snakes move through
10-songs with the cracked grace of bolted lightning, rolling and
leveling, seeking a space to storm into. The band, comprised of Chris
Common (drums, percussion), Brian Cook (bass, guitar, keyboards),
Ryan Frederiksen (guitar, keyboards), Steve Snere (vocals, effects),
have brought their non-stop work ethic of touring and beyond-intense
performance to the studio with career defining result.
Not any one thing. TAAS play with their history, with their personalities
built deep into the music. You hear it in every innovation, behind each
note. A beautiful collision of what has always been with what is
completely unexpected. It's evident in the weight of the words,
structure of the songs, the linkage of current and construction:
concrete writing, coupled with a natural approach to recording, that
brought the band - helmed by Chris Common, to produce and engineer
- back into the semi-secret Red Room, in Seattle, Washington, to track
The result is more an album - a coherent whole - than a cycle of
individual songs. The music circles around, from beginning to end,
looping seamlessly and devouring any sense of arrested motion. The
first single, "Red Line Season," is all guitar-hook-squirm, leading to an
anthem of a chorus. "Seven Curtains" explodes into being after thirtyseconds
of gorgeous, low volume riffing. It's here that the band's
strength in the studio really shows. From the textural depth of the
keyboards and guitar tones, to the vocal delivery, the attention to
detail is incredible. Each sound sets up huge spatial relationships,
creating a dynamic tug-o-war, and building up a groove that continues
throughout - marked by impossibly nimble drumming - blowing up the
room with resonant vibration.1. Woolen Heirs
2. Prince Squid
3. Red Line Season
5. Ethric Double
6. Seven Curtains
7. Long And Lonely Step
8. Lead Beater
9. Cavity Carousel
10. Briggs$20.99Colored Vinyl LP - Sealed Buy Now
MILANOMILANO is the new album from Emmy nominated Italian composer, producer and artist, Daniele Luppi, along with New York rock band Parquet Courts.
MILANO is a concept album, complete with songs that are fictionalized stories about misfits, fashionistas, outcasts and junkies in mid-1980s Milan. Daniele teamed up with Parquet Courts and Yeah Yeah Yeah's vocalist, Karen O, to help deliver his vision of an emerging youth culture struggling to be heard amidst the rapid gentrification of old Milan.
The first offering from the album was the track Soul and Cigarette, a jaunty, springy tune belies its more sinister, saddened backstory of artistic struggle. Andrew Savage of Parquet Courts describes Soul and Cigarette as a tribute to Alda Merini, one of Milan and Italy's most renowned poets, yet unfortunately not as heralded internationally. He says, I was reading her and trying to imagine Milan as she saw and experienced it. Her story is one of great suffering and her verse is often quite painful, an important juxtaposition from the cosmopolitan Milan we associate with luxury and excess.
The second track released from MILANO was Talisa featuring Karen O. Talisa is a love letter to Talisa Soto, the model and actress who was a dear friend and muse of revered designer Gianni Versace. Celebrated for her model-esque figure and striking beauty, Talisa appeared in numerous Versace ad campaigns at the height of the brand's fabled existence. Talisa's comely face was regularly plastered on billboards across Milan and she was a steady presence on the catwalks during Milan Fashion Week. Says Daniele, For Talisa's lyrics, Karen and I dreamed up a fantasy photoshoot, a la Antonioni's Blow Up. We imagined a scenario where Talisa is on set in a fantastical couture creation and Gianni himself is the photographer. We wanted to capture the excitement, vibrancy and fast lane life of Milano in the 80s, draped in fashion and models, as clichÉ as that may seem.
MILANO is the unofficial follow up to Luppi and Danger Mouse's 2011 album Rome, a love letter to classic Italian film scores, with Jack White and Norah Jones.1. Soul and Cigarette
2. Talisa (feat. Karen O)
3. Mount Napoleon
4. Flush (feat. Karen O)
5. Memphis Blues Again
6. Pretty Prizes (feat. Karen O)
7. The Golden Ones (feat. Karen O)
9. CafÉ Flesh$22.99Vinyl LP - Sealed Buy Now
LiveSundazed Music is proud to present a genuine psychedelic landmark: Live by Moby Grape, the first official collection of concert recordings by the legendary San Francisco band at its blazing late-Sixties peak. At that time, in rock's hippest city, there was no other band like the original Grape: Jerry Miller, Skip Spence, Bob Mosley, Peter Lewis and Don Stevenson. Their Columbia debut LP, Moby Grape, issued in June 1967, is still acclaimed as one of the greatest rock albums evera thrilling union of blues, soul, country, surf twang and day-glo garage rock, packed into original killer-pop songwriting. Even as extreme Columbia hype, devastating business hassles and Spence's tragic mental collapse threatened to blow up the band, the Grape continued to make immortal albums, including 1968's Wow and the magnificent Moby Grape '69.
But the records told only half of the tale. Moby Grape, in their prime, were also one of the Bay Area'sand America'sbest stage bands, like the Beatles and Rolling Stones in one, with a breathtaking triple-guitar attack and stunning vocal harmonies.
Live is the long-awaited proof. It features more than an hour of dynamite performances from soundboard and broadcast tapes, including tracks from the Avalon Ballroom in 1967 and the band's complete long-lost set at the Monterey Pop Festival, just a week after Moby Grape came out. There are live versions of the great rare Grape songs Rounder and Looper and five tracks from a famous Dutch radio show featuring the hard-charging '69 lineup of Miller, Mosley, Lewis and Stevenson.
And Live climaxes with the historic first-ever release of Spence's acid-guitar masterpiece Dark Magicnever recorded in the studio by the original band but presented here in an epic 17-minute performance at the Avalon, on New Year's Eve 1966. Moby Grape were the hottest band in town that night, with the whole rock & roll world ahead of them. And they sound like it. These four-decade-old recordings have been spectacularly mastered, in you-are-there fidelity, and this album comes with sumptuous packaging and rare photos, in true Sundazed style, plus liner notes by Rolling Stone writer and Moby Grape authority David Fricke. Live presents, at last, the untold part of Moby Grape's incredible story. It is San Francisco psychedelia at its zenith and the best historical rock release of the year.1. Ain't No Use (Avalon Ballroom, San Francisco, 1967)
2. Rounder (Avalon Ballroom, San Francisco, 1967)
3. Looper (Avalon Ballroom, San Francisco, 1967)
4. Bitter Wind (Avalon Ballroom, San Francisco, 1967)
5. Changes (Avalon Ballroom, San Francisco, 1967)
6. Indifference (Avalon Ballroom, San Francisco, 1967)
7. Someday (Avalon Ballroom, San Francisco, 1967)
8. Introduction (Monterey International Pop Festival, 1967)
9. Indifference (Monterey International Pop Festival, 1967)
10. Mr. Blues (Monterey International Pop Festival, 1967)
11. Sitting by the Window (Monterey International Pop Festival, 1967)
12. Omaha (Monterey International Pop Festival, 1967)
13. Sweet Little Angel (San Francisco, 1967)
14. Murder in My Heart for the Judge (RAI, Amsterdam, Netherlands, 1969)
15. I Am Not Willing (RAI, Amsterdam, Netherlands, 1969)
16. Trucking Man (RAI, Amsterdam, Netherlands, 1969)
17. Fall on You (RAI, Amsterdam, Netherlands, 1969)
18. Omaha (RAI, Amsterdam, Netherlands, 1969)
19. Dark Magic (Avalon Ballroom, San Francisco, 1966)$36.99Vinyl LP - 2 LPs Sealed Buy Now
Old SaltGatefold Packaging
They came from Venus to destroy the cities. Valient Thorr is a wild ass Rock N Roll band
said to hail from inside of the planet Venus. Since crash landing on Earth in the year 2000,
they've played well over 1500 shows all over the world. They've toured with visionaries
from Motörhead and Joan Jett to contemporary heroes like Mastodon, Gogol Bordello,
and Clutch. Since 2005 they have put out six full length records and two seven inches!.
And just so you, don't think we're blowing smoke, look them up! This is only the cusp of
the feats of greatness this hard working, sweat drenched band has accomplished. And
that's just So Far!! Take it from any of their legion of fans all over the world, known as the
2. Lil Knife
3. Cut And Run
4. No Count Blues
5. The Trudge
6. Worm Up
8. Linen Maker
9. The Shroud
10. Looking Glass
11. Jealous Gods$19.99Vinyl LP - Sealed Buy Now
Terrestrial GriefIt's apparent from the get-go: Omotai is a band that know what they want to accomplish and how to knock it out. Following two US tours and supporting slots for The Sword, Yob, Dark Castle, Thrones, Big Business and countless others, Omotai release their follow-up LP Terrestrial Grief.
The songs are brief, frenetic explosions of sound, a deft blend of grindcore, sludge, progressive noise-rock, math metal and whatever else happens to be blowing the band's skirt up at the time, all of it reaching your ears sopping with distortion and twisted to superior volume. Melissa Lonchambon Ryan's omnipresent bass rumble lines up with Sam Waters' relentless guitar riffery like a taloned fist to a shredded glove, while Anthony Vallejo's incomparable percussive bloodlust feels more like machine-gun-equipped battalions bent on sheer attrition. All three members share vocal duties seamlessly, razored shrieks punctuated by Ryan's wispy alto, the lyrics an outlandish cocktail of drunken nihilism and avant-garde sci-fi. A tough band to pigeonhole, granted, but definitely one worth seeking out.
- Daniel Rills1. Vela Hotel
2. This Is For Zora
3. Spanish Constellation
6. Terrestrial Grief
7. Lurching Away
9. Life In The Hive
10. Hollow Innards
11. Yuri$14.99Vinyl LP - Sealed Buy Now
Blue Planet EyesThe Preatures have announced that their highly-anticipated debut album Blue Planet Eyes.
With two acclaimed EPs to their name, the band found time amid their intense 2014 touring schedule to record their long-awaited LP, alongside producer Jim Eno (best known as the drummer of Texan rockers Spoon). The recording began in Jim's Public Hi Fi studio in Austin, Texas and was wrapped up at the band's own Doldrums Studio in Surry Hills, with lead guitarist Jack Moffitt co-producing the record.
Blue Planet Eyes not only lives up to its bold aspirations, it blows them away. As addictive as it is ambitious, it takes the promise of 'Is This How You Feel?' and projects it widescreen, popping with delicious grooves, hip-hugging basslines and choruses that just won't quit.1. Blue Planet Eyes
2. Somebody's Talking
3. Is This How You Feel
5. Two Tone Melody
6. Rock And Roll Rave
7. Whatever You Want
9. It Gets Better
10. Business, Yeah$19.99Vinyl LP - Sealed Buy Now
Still LifeDawn Golden is the work of Los Angeles-based producer Dexter Tortoriello. He gained exposure in 2010 when his other (much more serene) project, Houses began getting wide spread attention. Dawn Golden is it's opposite. Influenced by everything from doom metal bands like Neurosis to avant noise artists such as Xiu Xiu, the songs pound with a calm, but dire urgency. The project began in Tortoriello's bedroom as an experiment in different recording techniques, and quickly escalated as vocals were added and ideas rounded out. Dawn Golden released his first EP, Blow, in April 2011. The effort, which featured standouts like "Blacks" and "White Sun," received critical acclaim from NPR and Pitchfork. Post-Blow, Tortoriello started recording albums for both Dawn Golden and Houses, releasing Houses' A Quiet Darkness in May 2013. During this period, he continued working on the songs for what would become Dawn Golden's debut LP, Still Life. The album was recorded over the last three years at the Mad Decent studios in Los Angeles.
Still Life is built around stream-of-conscious craft that explores the doleful voids of addiction, love, and death. Led by its first single "All I Want," Still Life gains its stark emotional perspective through some of the most unique production you're likely to hear this year. There's heavy exploration of sonic texture, and Tortoriello uses frozen cut-ups and creative vocal editing to flip a traditionally-futuristic sound into something that oozes feeling.1. Discoloration
2. All I Want
3. Sleight Orchestra
4. I Won't Bend
6. The Beekeeper
7. Still Life
9. Last Train
10. Brief Encounter$19.99Vinyl LP - Sealed Buy Now
It Comes To You In A Plain Brown WrapperOne of the most exciting aspects of reintroducing so much rare and incredible music to the world is being able to finally make available material thats been in label-vault limbo since the day it was recorded, vital sounds locked away from the deserving ears of the legions of devoted music fans we at Sundazed count ourselves among. But when were able to present previously shelved material by one of the most visionary and influential artists of all time, in exceptional fidelity, with the look and feel of the packaging that the artist originally meant it to have? Well, then, that just takes everything to another level completelya level thats certainly been reached with the exclusive vinyl-only issue of Captain Beefheart and His Magic Bands mind-blowing lost 1967 sessions.
Recorded in part as the follow-up to Safe as Milk, Beefhearts debut from earlier that year, the world-shattering material on It Comes to You in a Plain Brown Wrapper was rerecorded, truncated, and issuedwithout the Captains approvalas Strictly Personal in 1968. Mastered directly from the original analog tapes and featuring a wealth of unedited takes never before on vinyl, Sundazeds stunning gatefold double-LP release of this infamously enigmatic opus comes to you wrapped in a sharp outer sleeve bearing specially commissioned artwork by Frank Zappa/Straight Records illustrator Cal Schenkel replicating the albums planned 67 design; inside are rare photos and fascinating, exhaustive liner notes by Magic Band drummer John Drumbo French.
So here, then, is Captain Beefheart and His Magic Bands second album of gloriously disjointed avant-rock/blues and free-jazz skronk, presented just as natureand the Captainintended. Even after more than 40 years, this music is still hopelessly ahead of its timeor, as one-time Magic Band member Ry Cooder once described it, right on time.1. Gimme Dat Harp Boy
2. Dirty Blue Gene
3. Beatle Bones 'n' Smokin' Stones Pt. 1 & 2
4. Trust Us (take 9)
5. Safe as Milk (take 12)
6. Moody Liz (take 8)
7. On Tomorrow
8. Big Black Baby Shoes
9. Flower Pot
10. Korn Ring Finger
11. Safe as Milk (take 5)
12. Trust Us (take 6)
13. Moody Liz (take 16)$36.99Vinyl LP - 2 LPs Sealed Buy Now
MelbourneIt's the original rock n' roll fantasy: to be genius, aloof, deserving. To be instantaneously swept from the wings of obscurity into the arms of acclaim. Well, that's what I've heard at least.
But who does this really happen to? Most successful musicians will tell you it's not enough to make brilliant music. You've got to work it constantly, clawing and hustling to get people to the next show, to finance the next record. How pedestrian. How droll. Why can't it just happen?
No, it would seem there are no rock n' roll fairytales anymore. Or are there?
Ladies and gentlemen, meet Jackson Scott, indie's newest prince charming. At the tender age of 20, Scott is already receiving more attention for his forthcoming debut, Melbourne than many musicians get in a lifetime.
When an artist blows up this quickly it's hard to hear their music from an unbiased position. Questions unfailingly arise: What's the deal? Is he really that f-in' good? Did Daddy pay the promo man (remember The Strokes)? Is this guy for real?
So, before we go on, let me just say, this record is good. Like, really good. Like, "I'm kinda freaked out that a kid who's been making music for a year did this by himself on a 4-track" good.
So, let's ignore the hype for a while.
First, the strength of Scott's songwriting is undeniable. Yea, there are some instrumentals here... but overall these songs stick with you. They have power, and with most of them clocking in at around the two minute mark, you won't get bored. Lyrically, Scott both flirts with and repudiates the kind of adolescent moodiness associated with the mopey 90's. Conversely, his musings also betray a connection to the well-fed and perpetually distracted iPhone generation.
Melbourne also offers plenty of rewards in its production. Scott has the hissy, tape, psych-pop thing down. He's experimental where he needs to be and hooky where it counts. These homespun recordings sound like early Ty Segall as produced by The Elephant 6 Recording Co. While Scott acknowledges Segall as an influence, he claims ignorance of the famed recording collective. That said, his misanthropic use of sped-up vocals suggests otherwise.
Melbourne opens with "Only Eternal", a wash of ambient guitar. This brooding intro slyly transitions into "Evie", with its sludgy, driving rhythm, Twilight Zone guitar hooks, and wavering harmonies. Peppy and short, "Sandy" is a druggy acoustic-pop highlight.
"That Awful Sound" is the song that gained Scott so much attention in the first place. Nothing if not a solid single, its strummed acoustics, booming rhythm, and pseudo-Chipmunk vocals are impossible to hear without thinking of Elephant 6. It's not surprising that the crew at Pitchfork (no doubt approaching middle age and feeling a little nostalgic) picked this track to be "the song". This kind of thing ruled all hell in 1998. If not the best track on the record, it is at least the most classifiable, and by extension the most marketable.
"Any Way"... is the high-water mark for Scott's pitch-shifted vocals. It's the kind of song Jackson Scott really sells. It's quick, melody driven, and vaguely flippant. With its toy marimba solo, it also exposes the childlike undercurrent running throughout this record.
"Together Forever" is one of my favorite songs on Melbourne. If you listen closely you can hear the famous background vocals from "Where is My Mind?" at the beginning. To me this is Jackson Scott playing it straight. His voice sounds like a real person and his noisy guitar swells are just as mind-bending as anything coming out of the current psych-revival.
"In The Sun" is reminiscent of the late Scott Miller's more stripped-down moments with Game Theory. The song's chorus reminds us of how much an inspiration Kurt Cobain is to Scott.
Notwithstanding the strength, charisma, and raw talent exhibited on Melbourne, it feels like Jackson Scott has skipped a few levels. Although Cinderella sometimes does well in sports and American Idol, Jackson Scott is going for something much weightier, much deeper. Dare we call it, legitimacy?
-Jacob Sides1. Only Eternal
3. Never Ever
5. That Awful Sound
7. Wish Upon
8. Any Way
9. Together Forever
10. In the Sun
11. Doctor Mad
12. Sweet Nothing$16.99Vinyl LP - Sealed Buy Now
Angels & DevilsIt's after the end of the world, don't you know that yet...
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.
The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.
The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.
With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...
Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....
The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.
Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.1. Void (Featuring Liz Harris)
2. Fall (Featuring copeland)
4. Mi Lost (Featuring Miss Red)
6. Save Me (Featuring Gonjasufi)
7. The One (Featuring Flowdan)
8. Function (Featuring Manga)
9. Fuck a Bitch (Featuring Death Grips)
10. Fat Mac (Featuring Flowdan)
11. Fuck You (Featuring Warrior Queen)
12. Dirty (Featuring Flowdan)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Bringing It All Back Home (Mono)Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form
Wider Grooves, Superior Sound, Original Mono Mix, Meticulously Mastered
Strictly Limited to 3,000 Copies
Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two
Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories
Bring it all back home - in mono. Originally designed by the artist for mono listening, Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It's a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is humbled to have the privilege of mastering the iconic album on its world-renowned mastering system and pressing it on 45RPM LPs at RTI in its original mono format. Strictly limited to just 3,000 copies, the end result is the very finest, most transparent analog mono edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album's you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.
Since Bringing It All Back Home features the most instrumentation Dylan implemented in arrangements at that stage of his career, the set is undoubtedly vivid in stereo - particularly the electric half. Yet the Minnesota native paid particular attention to the mono mix, which here presents Dylan with unparalleled directness. The record's second half sounds especially genuine, lifelike, and intimate in mono. It paints listeners an incredibly accurate portrait of the attention-getting mass of acoustic-based sound - and features no artificial panning or echo chamber of its stereo counterpart. Instead, you are immersed right into the music.
Indeed, the sonics on this Mobile Fidelity reissue are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia's Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fans into a tizzy.
More than 50 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who's privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music's imprisoning rules and bounding restrictiveness - and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.
Side One remains one of the boldest cohesive artistic statements ever made. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggie's Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan's attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.
Ranked 31 on Rolling Stone's list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don't come more vetted. You deserve to experience the mono edition in the finest-possible quality, just as Dylan intended.
This title is not eligible for discount.1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggies Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob Dylans 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. Its Alright, Ma (Im Only Bleeding)
11. Its All Over Now, Baby Blue$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
Manley Steelhead RC Phono Stage
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.
Handcrafted in the USA
We debuted to the world a killer frikkin' cool phono stage at CES 2001. It was called, aquatic naming theme continuing, The Steelhead®, as it is an upstream device and has a very clever MC variable load auto tranny that we designed and our very own Manley Magnetics department executed (which makes the MC stage so very clever). Iron=transformer=steel makes sense to me...
It has two Moving Coil inputs with selectable impedance load 25, 50, 100, 200 and 400 Ohms via Mr. Clever Steelhead transformer/autoformer. It also has variable and selectable Moving Magnet input impedances too 25, 50, 100, 200 Ohms and 47 kOhms. Very nifty is the selectable-dial-able-in-able-from-the-faceplate-able capacitive loading for all three of the MM & MC inputs 0 to 1100 picofarads in 10 picofarad steps. Very cool! Equalize baby! TEN picofard steps! Wow! Now you can really dial this in for perfect cartridge matching with ZERO penalty. None of this switching detracts from the sound quality or adds any extra anything to the signal path. Rest assured.
It's got six tubes. 2 x 6922 plus 4 x 7044 or 5687. It's got a big honkin' volume control. It can drive an amplifier directly if you want, if you don't do digital. Hey and if you happen to have three turntables set up, we give you 2 x MC and 1 x MM selectable inputs! It's got variable and fixed volume outputs. And All-tube really low Z tube buffered outputs. Like inherently 20 Ohms plus the little 47 Ohm OK drive those high capacitance audiophile cables why doncha resistor, so it's real output impedance is only 67 Ohms. No wanky cathode follower (oh bor-ing) output here like the other guys. We got your real low impedance all-tube outputs right here! It will drive anything and everything. Long cables, no problem.
It's got selectable gain 50, 55, 60, 65dB on a switch that even auto-mutes as you change it so no nasty bangs. Gain switch markings are referred to from the input of the 1st active electronics at 1 kHz to the fixed output @ 10k load, regardless of whether source is MM or XFMR stepped-up MC. It is not really practical to include MC step-up gain on the front panel markings due to the variable SOURCE impedances of the MC cartridges and the variable LOADING that the input XFMR will have on any given cartridge. All of this total MC gain variability should be confined to about 3 to 12 dB of range though. XFMR step-up gain plateaus as the load Z on a given MC cartridge is optimised...producing no VOLTAGE gain but in fact a bit more POWER gain... All this means you should set a load Z which sounds best with your particular MC cartridge and adjust gain to suit your system's operating level. Whatever you like. You will not blow anything up.
(Bottom line: there is plenty of gain... enough to do justice to your fave lo-output MC cartridges).
It's got a mute switch. It's got a just turn it down while I cue up so I don't throw my woofer cones across the room but I still want the same volume I was listening at before I flipped the side DIM switch. And what goes with DIM better than SUM which would be the MONO button... It has a killer hyper-regulated outboard power supply that plugs in on the huge-est connector you ever saw. And you can just hit the standby button to keep everybody off while you take a small holiday to Tahiti. A backlit MANLEY STEELHEAD illuminated badge reflects back to vinyl-days-of-yore while the millions of BLUE LEDs remind you that this is modern tube engineering design, baby!
The VARIABLE Outputs are controlled by the precision film dual NOBLE® volume control. They are SMOOTH action these days as the fashion went against the detented ones.
This is a tweak-o-holic tube-lover's dream...$8,400.00Manley Steelhead Phono Stage Buy Now
Run-DMCFuture archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It's no exaggeration to say that the group
changed the course of music in the '80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic.
Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run
was, at one time, a DJ known as "Son of Kurtis Blow") and Blow's bassist and burgeoning super-producer Larry Smith, the trio - Joseph
"Run" Simmons, Darryl "DMC" McDaniels and Jason "Jam Master Jay" Mizell - learned from the best, but created their own path.
1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, "Sucker M.C.s (Krush-Groove
1)" was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers
and music aficionados around the world by storm. The song's lyrics are a mandatory memorization assignment to this day by MCs learning
their craft. "Two years ago, a friend of mine "
The group's sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith's
use of live musicians who laid down grooves but didn't soften the edges. Lyrically the group wasn't just about brags either, with songs like
"Hard Times," "It's Like That" and "Wake Up" (the first two were singles). Run's and DMC's overlapping tag-team approach to lyricism was
powerful and immensely influential.
"Rock Box," another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first
worldwide smash, 1985's "King Of Rock." Jam Master Jay's DJ work was stellar, knowing exactly when to jump in and put listeners' ears in
The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started - their next two LPs would
take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it's a classic that still sounds
fresh today as it did more than 30 years ago.1. Hard Times
2. Rock Box
3. Jam-Master Jay
4. Hollis Crew (Krush-Groove 2)
5. Sucker M.C.'s (Krush-Groove 1)
6. It's Like That
7. Wake Up
8. 30 Days
9. Jay's Game$22.99Vinyl LP - Sealed Buy Now
ADAD-AUT-0510xYoko And The Oh No's
Yoko and the Oh No'sYoko & the Oh No's are three kids from Chicago - Max Goldstein on vocals, Max Loebman on guitar, and Stef Roti on drums - a raging trio fueled by Taco Bell, rock & roll myths, and pilfered booze. It doesn't quite add up how kids this young (Max L. just graduated high school) managed to tap into a vibe this classic. The band's self-titled full-length debut, out July 31 on Autumn Tone, is crammed with classic rock riffs, swinging beats, and up front, the sassy, done-up style of Max G. emoting loosely and widly like a young David Johansen fronting the New York Dolls, possessing a crooner's voice and a taste for style. Dolled up in flashy get-ups, Max G.'s voice is a growly, beefy thing, a rangy tenor that belies his taste for soul shouters. The prevailing mood in modern indie garage rock is one of stylistic indifference, but that's not how Yoko & the Oh No's come across; these kiddos don't just care, they care a lot. Listen to the crashing classic rock chorus of "Heart Attack," the sneering "She Knows It," and the distorted R&B groove of "Nobody Wants to Know." "Talking over radio/on the moonlit drive/We listen to VU/Jane says close your eyes." Yoko & the Oh No's S/T album is their first for Autumn Tone Records, which has a knack for finding raw young bucks (turn up records by the Orwells, Twin Peaks, and Modern Vices as a testament). Yoko & the Oh No's are currently on tour with likeminded rock & roll weirdos The Growlers, blowing minds and connecting with crowds across the Midwest.$19.99Vinyl LP - Sealed Buy Now
Decimation Blues"Raposa's lived in San Diego and Portland and New York and probably some other places, too. He's got friends and family and history. He's got a record label and a musical
career, but for a little while, he let that all go and hid out in the Nevada desert, where I've never been, but don't imagine to be the most positive place to hang out. He did it
because he wanted to. Maybe he needed to. To make something great, sometimes it's worth just giving up." - Stereogum
The world is loud. The wind blows hard. We need songs for shelter, and Raymond Raposa can build a shelter from almost anything: the sun-bleached bones of a drum track and a couple spare organ chords; a carpet of creeping synth arpeggios, a scaffolding of multi-tracked harmonies, a few scraps of alto sax to prop up the whole structure. Decimation Blues, Raposa's sixth release as Castanets,
marks a decade of scavenger architecture.
Decimation Blues sees Raposa stepping out in front of the hermetic persona he's crafted over ten years. There have always been shards of pop songs glinting in the dark corners of Castanets records. Here we get whole gleaming edifices. Decimation Blues is the music of a man who's learned to live and build among the wreckage-twelve seemingly offhand, secretly meticulous tracks that we can hunker down in. "Still always good to be alone in someone else's home," Raposa sings. He'll lend us his place, or teach us how to fix up our own. Come in out of the rain, put your shoes by the fire. The walls might shake, the wind might howl, but you'll be safe here a while.1. It's Good to Touch You in the Sunlight
2. Be My Eyes
3. Thunder Bay
4. Out For The West
5. To Look Over the Grounds
6. Blackbird Tune
8. Pour it Tall and Pour it True
9. There is a Place up the Road There
10. My Girl Comes to the City
11. Tell Them Memphis
12. Somewhere in the Blue$16.99Vinyl LP - Sealed Buy Now