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  • Insides Insides Quick View

    $22.99
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    Insides

    Like many others, Ghostly became enamored with Fort Romeau's idea of slow
    listening, the concept of enriching relationships with music through careful
    attention and focus. His understated take on deep, groove-friendly house started
    pushing this practice three years ago, when the producer's debut LP, Kingdoms,
    appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved
    considerably since then, finessing his sound over the course of three breezy 12s,
    one EP, and lengthy DJ sets at some of the best clubs in Europe-not the least of
    which were Berlin's famed Panorama Bar, London hotspot Plastic People, and
    Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and
    new inspirations have generously informed the eight stunning productions which
    comprise Insides, Fort Romeau's long-awaited sophomore album.


    Playing in those clubs definitely had an affect on how I approach composition and
    pacing, Greene shares. I want to allow things to breathe and develop gradually
    over longer track lengths, rather than cram everything into four or five minutes. His
    patient methods are a central component to the billowy house music on Insides,
    though this isn't an indulgent album of gratuitous buildups and tiresome
    breakdowns. Each production is pointed and purposeful, as the artist crafts every
    second of analog electronics with rich detail, nuance, and refinement.


    Throughout Insides, Fort Romeau guides us down misty corridors lined with supple
    synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an
    emotive confidence. Thick dancefloor cuts like All I Want and Folle are built on
    such satisfying elements-sounds so full-bodied, you'd swear they're knocking
    against your bones. This, too, is by design. I wanted to make sure all the songs
    have a tangible quality, says Greene of his LP's physicality, to make texture and
    grain become as important a part of the vocabulary as timbre and pitch. This was
    accomplished with an arsenal of machines, including his Moog Voyager, Yamaha
    DX7, Roland Juno-6, and Korg 770, a vintage synth he describes as having so much
    presence and vitality, it almost feels like it's alive. Equally important to the weighty
    presence of his music is meticulous post-production. The record was mixed on an
    analog desk and mastered to tape, Fort Romeau elaborates. These processes are
    as much a part of the sound as the synths and sample sources themselves.


    There is also a deep stylistic eclecticism to Insides, and coming from Greene, this
    was galvanized by deep cuts he discovered while digging to find music for his
    extensive DJ sets. Old kosmiche, disco, and early electronic records are among the
    strongest influences, and Fort Romeau used them as an impetus for creation. It's
    those strange and wonderful tracks that you find on the b-side of an old record that
    sparked my desire to make something new, he shares, but it's very important for
    me never to feel like I'm making a pastiche. Indeed, the sleek expanse of Lately
    and the title track's jacking grooves take cues from buoyantly cosmic dance music.
    And yet it's the personality of a young artist coming into his own that makes Insides
    such a graceful collection of house music, one that only further enriches the soul
    over time.

    1. New Wave
    2. Folle
    3. All I Want
    4. Insides
    5. Not A Word
    6. IKB
    7. Lately
    8. Cloche
    Fort Romeau
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • T. Bone Walker Sings The Blues (Pure Pleasure) T. Bone Walker Sings The Blues (Pure Pleasure) Quick View

    $34.99
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    T. Bone Walker Sings The Blues (Pure Pleasure)

    T-Bone Walker is one of the all time greats, an innovator and significant influence on just about every blues guitarist who followed. But his musical legacy is also incredibly enjoyable, full of humour as well as invention.



    A man who played the blues with flair, sophistication, technical brilliance and a sense of humour, Aaron Thibeaux Walker was born in Linden, Cass County, of Cherokee Indian descent. His trademark was the cool, telling West Coast licks which emanated from his guitar - there have been few who have done the job better.




    Musicians:



    • Aaron T-Bone Walker (vocal, guitar)

    • Eddie Hutcherson (trumpet)

    • Edward Hale (alto saxophone)

    • Eddie Davis (tenor saxophone)

    • Jim Wynn (tenor saxophone, baritone saxophone)

    • Willard McDaniels (piano)

    • Buddy Woodson, Billy Hadnott (bass)

    • Robert "Snake" Sims (drums)




    Recording: April 1950, August and December 1951, January1952




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. Strollin' With Bones
    2. You Don't Love Me
    3. You Don't Understand
    4. Say! Pretty Baby
    5. Tell Me What's the Reason
    6. Blue Mood
    7. The Sun Went Down
    8. Travelin' Blues
    9. Evil Hearted Woman
    10. Cold, Cold Feeling
    11. I Got the Blues Again

    12. Blues Is a Woman
    T. Bone Walker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bones In Motion Bones In Motion Quick View

    $19.99
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    Bones In Motion

    Bones in Motion, the Northern Ireland hailing producer's latest fulllength
    exercise, is dance music Leaving Records style - thoroughly
    busted techno for the post-punk demo tape set. On a blurry path
    between house music's early analog experiments and astounding
    vistas in modern digital production, you will hear ghostly wisps of woozy
    trance, distorted and dazzling, cooing through a thick haze of warbling
    warmth and soulful, revolving resonance. Propelled rhythmically by
    a ramshackle assemblage of maimed drum machines and battered
    samples, Bones in Motion doggedly pedals ahead with no finish line in
    sight - towards the endless possibilities of electronic music.
    1. Feel Beauty
    2. Mangel
    3. Bones In Motion
    4. Sheen
    5. Makeshift
    6. Stove
    7. The March
    8. Another Exploitation
    9. Visions
    10. Black Train
    11. Fleet Meeting
    12. Dusty
    13. Mongel
    14. Reels
    15. Sleeping
    Cyclist, The
    $19.99
    Vinyl LP - Sealed Buy Now
  • Surfer Rosa Surfer Rosa Quick View

    $23.99
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    Surfer Rosa

    Ranked 315/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Plymouth Rock on which alternative rock was founded, the Pixies' Surfer Rosa forever altered the music environment even if it did take most of the world a few years to catch up with its brilliance. Internationally acknowledged as a pioneering record, its rollercoaster blend of harsh and soft tempos, male and female singing, intense punk and bubblegum pop tones, dark and light quips, and off-kilter sensibilities is the influential equivalent of the Velvet Underground's oft-cited 1967 debut.


    The 1987 debut established the Pixies as otherworldly visionaries whose songs such as the insistent 'Bone Machine,' badgering 'Something Against You,' and sensual 'Cactus' remain ahead of the curve. Having analog fanatic and noise aficionado Steve Albini working production ensured that the music would retain a requisite rawness and in-your-face sonic signature that paralleled the fundamentally chaotic, compulsive characteristics of the Pixies' songs.

    1. Bone Machine
    2. Break My Body
    3. Something Against You
    4. Broken Face
    5. Gigantic
    6. River Euphrates
    7. Where Is My Mind?
    8. Cactus
    9. Tony's Theme
    10. Oh My Golly!
    11. Vamos
    12. I'm Amazed
    13. Brick Is Red
    Pixies
    $23.99
    Vinyl LP Reissue - Sealed Buy Now
  • Wave Of Mutilation: Best Of The Pixies Wave Of Mutilation: Best Of The Pixies Quick View

    $27.99
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    Wave Of Mutilation: Best Of The Pixies

    One of the most revered college-radio bands of the late 1980s and early '90s, the Pixies combined smart yet surreal pop with jagged, punk-influenced rock and, oddly enough, broke up just as the alternative music scene went mainstream. Fueled by Black Francis's oft-maniacal vocals and bizarrely catchy songs, the Boston-based quartet, rounded out by bassist/vocalist Kim Deal, guitarist Joey Santiago and drummer David Lovering, consistently crafted fascinating albums during their brief but headstrong run. This 23-track collection, released in tandem with their highly anticipated 2004 reunion tour, captures many of their finest moments.



    Proceeding semi-chronologically, Wave Of Mutilation begins with the rambunctious ditty Bone Machine. Other early gems include the strange anthem Holiday Song, the anthropomorphic ode Caribou and Deal's signature song, Gigantic. The band's beloved 1989 album, Doolittle, is amply represented by seven songs, including the pleading Hey, the mischievous Monkey Gone to Heaven, the fierce Debaser and the pop-perfect Here Comes Your Man. Latter-day tunes include rockers such as Dig for Fire, Alec Eiffel and Planet of Sound, along with two B-sides, Into the White and an excellent cover of Neil Young's Winterlong. If you're looking for the Pixies motherlode, this is it.

    1. Bone Machine
    2. Nimrod's Son
    3. The Holiday Song
    4. Caribou
    5. Broken Face
    6. Gigantic
    7. Vamos
    8. Hey
    9. Monkey Gone To Heaven
    10.Debaser
    11.Gouge Away
    12.Wave Of Mutilation
    13.Here Comes Your Man
    14.Tame
    15.Where Is My Mind
    16.Into The White
    17.Velouria
    18.Allison
    19.Dig For Fire
    20.U-mass
    21.Alec Eiffel
    22.Planet Of Sound
    23.Winterlong
    Pixies
    $27.99
    Vinyl LP - Sealed Buy Now
  • Burn My Eyes (Awaiting Repress) Burn My Eyes (Awaiting Repress) Quick View

    $22.99
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    Burn My Eyes (Awaiting Repress)


    180 Gram Gold Colored Vinyl


    Limited To 1500


    Released to massive European acclaim, Machine Head's full-length debut, Burn My Eyes, successfully bridges the gap between second-generation Bay Area thrash (Testament, Death Angel, etc.) and the modern-day Pantera school of hard knocks. Produced by underground stalwart Colin Richardson, Burn My Eyes is a bone-shattering exercise in brutality that gives Pantera's classic, Vulgar Display of Power, a good run for its money. A veteran of the Bay Area thrash scene, guitarist/vocalist Robb Flynn emerges as Machine Head's anchor. As guitar player of the riff-heavy yet vocally challenged band Vio-Lence, Flynn had already distinguished himself as a riff-making machine on tracks like Serial Killer and Kill on Command. Interestingly, with the release of Burn My Eyes, every effort was made to cover up Flynn's involvement with his ex-bandmates. Looking back at it, it's easy to understand why. Because of the quick word of mouth in the underground metal community, comparisons to his ex-bandmates would have limited the impact of the record, possibly thwarting its merits. If Vio-Lence held promise, Machine Head was a different proposition all together. Anthems like Davidian are monstrous slabs of metal that, by far, eclipse anything Flynn had previously done. Nevertheless, Burn My Eyes is a classic debut and one that helped launch a huge European groundswell for the band that would result in a tour as Slayer's support act. A few months later, the Head would return and headline the very same venues in which they'd opened for Slayer.


    - John Franck (All Music Guide)

    1. Davidian
    2. Old
    3. A Thousand Lies
    4. None But My Own
    5. The Rage to Overcome
    6. Death Church
    7. A Nation on Fire
    8. Blood for Blood
    9. I'm Your God Now
    10. Real Eyes, Realize, Real Lies
    11. Block
    Machine Head
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Oh! Gravity Oh! Gravity Quick View

    $25.99
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    Oh! Gravity

    The highly anticipated sixth album from Switchfoot, contains 12 new tracks written by the band an produced by Tim Palmer (Tin Machine, Pearl Jam, The Cure, Mother Love Bone, U2) & Switchfoot with Grammy winning executive producer Steve Lillywhite. The new album expands Switchfoot's sonic palette while at the same time dealing with social issues on songs like the alt-country blues of 'Dirty Second Hands,' in which Jon Foreman sings of the dehumanization that comes with technology. Other politically motivated tracks include 'Oh! Gravity' the title track's generational appeal for love, peace and understanding, 'American Dram,' with its biting truth, 'Awakening,' about trying to recover the innocence of a child in the midst of an ever harsher reality, the sawing alt-country of 'Head Over Heels,' the exotic instrumentation and Middle Eastern flavor of 'Circles,' the REM-esque pulse of '4:12', the lush Brit-pop melodies of 'Yesterdays,' the Echo and the Bunnymen/Smiths influenced 'Burn Out Bright' and Motown sound of 'Amateur Lovers.'
    1. Oh! Gravity.
    2. American Dream
    3. Dirty Second Hands
    4. Awakening
    5. Circles
    6. Amateur Lovers
    7. Faust, Midas, And Myself
    8. Head Over Heels (In This Life)
    Yesterdays
    Burn Out Bright
    4:12
    Let Your Love Be Strong
    Switchfoot
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Hypnotized Hypnotized Quick View

    $19.99
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    Hypnotized

    Dream Police is an American musical production by Nick Chiericozzi and Mark
    Perro. The project began in 2010 as a reservoir for ideas which had overflowed
    from The Men's drainpipe. In that same year, a two-song cassette single was self-released, with a follow-up live document in 2011.


    In the summer of 2013, The Men had just come home from five straight months
    of touring. For Perro and Chiericozzi, the desire to create was still strong, so they
    did what they used to do when they first started the band - they started jamming.


    Although the production began using the most conservative rock n' roll devices,
    Chiericozzi suggested adding drum machine to the song "Pouring Rain," and everything changed. Over the next six months, the two Men and their collaborator
    Kyle Keays-Hagerman spent countless hours reshaping every song, constructing
    them from nothing. They obsessed over every tone, every part. They'd spend an
    entire day on one snare crack.


    The album slowly plumed into a cloud of future primitive psychedelia bursting with glimmering electronics and cinematic, vibrato storytelling. The result
    of that process is Hypnotized: something borne from The Men, but free of it. It
    was mixed the weekend after Tomorrow's Hits was released, and then Perro and
    Chiericozzi were off again.

    1. Hypnotized
    2. My Mama's Dead
    3. Iris
    4. Pouring Rain
    5. All We Are
    6. John
    7. Let It Be
    8. Sandy
    Dream Police
    $19.99
    Vinyl LP - Sealed Buy Now
  • Pagan Day Pagan Day Quick View

    $20.99
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    Pagan Day

    Official Reissue Of The 1984 Classic

    Legendary Conceptual Audiovisual Group Formed By Throbbing Gristle Co-Founder Genesis P-Orridge & Alternative TV's Alex Fergusson

    Collection Of Early Demos And Sketches By P-Orridge & Fergusson

    Vinyl Has Been Out Of Print Since 1986

    Includes The Bonus Track "Farewell"

    Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV, quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were justcovered in praise of their creator. The record, in recognition of its seasonal release,was simply titled A Pagan Day and would capture the intimate songwriting sessions that were prevalent during a crucial time in the band's career.

    In classic Psychic TV fashion, rumors and myths surround the album's creation.Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London,though later revealed that the recordings were from various sessions over the course of a couple years prior to the record's release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade fora few hours on December 23, 1984, and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies. The pressing sold out immediately that day which caused Temple Records, their "in-house label", to later release a standard reissue version in 1986.

    What makes the songs, or rather versions of songs, so unique is the primitive and fragile nature of the arrangements while the flimsy, immediate vocal delivery makes the album sit unknowingly between demo and fully realized album."Baby's Gone Away" and "New Sexuality" are just a couple examples of songs tha tfans of Psychic TV became intimately familiar with from live experiences, buton A Pagan Day, they are released in their infantile stages with no full band, just Alex & Genesis finding their way through the songs with an acoustic guitar, drum machine and organ. "Cold Steel" shows a true peek behind the curtain, sung effortlessly by Fergusson and would then later become the classic standard "The Orchids." Most notable is the band's cover of Pearls Before Swine's "Translucent Carriages" of which P-Orridge accords special praise to Tom Rapp, the song's original author and icon to both P-Orridge and Fergusson.

    1. Cadaques
    2. We Kiss
    3. Opium
    4. Cold Steel
    5. L.A.
    6. Iceland
    7. Farewell (Bonus Track)
    8. Translucent Carriages
    9. Paris
    10. Baby's Gone Away
    11. Alice
    12. New Sexuality
    Psychic TV
    $20.99
    Vinyl LP - Sealed Buy Now
  • We're All Somebody From Somewhere We're All Somebody From Somewhere Quick View

    $24.99
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    We're All Somebody From Somewhere

    Iconic songwriter and prolific singer Steven Tyler recently revealed that his highly anticipated debut solo album,We're All Somebody From Somewhere, will be released worldwide on Dot Records, underneath the Big Machine Label Group umbrella.


    Revealing the cover art while chatting with Ellen, Tyler shared that he co-produced the 13-track album entitled We're All Somebody From Somewhere, alongside legendary musicians/producers T Bone Burnett and Dann Huff in addition to Marti Frederiksen and Jaren Johnston (The Cadillac Three). On June 24th, Tyler will release the album's title track 'We're All Somebody From Somewhere' across digital retail partners everywhere.


    "I headed down to Nashville last spring to start working on this project, wrote some kick ass songs with some of Music City's finest songwriters and now we get to share them with the world on July 15," said Tyler. "Country music is the new Rock 'n Roll. It's not just about porches, dogs and kicking your boots up. It's a whole lot more. It's about being real. And nothing is more real than understanding We're All Just Somebody From Somewhere."


    A longtime fan of the genre, Tyler's powerful and raw (Rolling Stone Country) voice first hit the Country airwaves as Love Is Your Name" reached #1 on the Billboard Country Streaming Songs chart. He followed with the anthemic "RED, WHITE & YOU," which Taste of Country called "an unapologetic slice of good-time commercial country, slickly produced and with a lyric aimed squarely at the work-hard, play-hard values of country's core audience."


    In a time-traveling musical journey that spans over four decades, the industry institution does not hold back as he recounts in-depth stories of his life from his musical ancestors in Calabria, Italy all the way to Route 440 and Nashville's Country music.

    1. My Own Worst Enemy
    2. We're All Somebody From Somewhere
    3. Hold On (Won't Let Go)
    4. It Ain't Easy
    5. Love Is Your Name
    6. I Make My Own Sunshine
    7. Gypsy Girl
    8. Somebody New
    9. Only Heaven
    10. The Good, The Bad, The Ugly & Me
    11. RED, WHITE & YOU
    12. Sweet Louisiana
    13. What Am I Doin' Right?
    14. Janie's Got A Gun
    15. Piece Of My Heart
    Steven Tyler
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Diver The Diver Quick View

    $18.99
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    The Diver

    Led Er Est emerged from a series of jam sessions that core members Shawn O'Sullivan and Sam De La Rosa started having in early 2007, using bass guitar, some cheap drum machines and synths. They were inspired to record music largely by '70s synth-prog, and '80s lo-fi electronic and industrial music.


    They recorded a number of songs at friend Will Burnett's studio that Fall. Their first officially released track was on the Wierd Records compilation, Analogue Electronic Music Vol II. Owen Hutchinson joined the band for their first live show at the Wierd party that December. In January of 2008, they released their first 7, a split with Excepter member Jon Porkchop aka SSPS.


    Throughout 2008 and 2009 they self-recorded their first album, Dust on Common, which Wierd Records released in Nov. of 2009. In the Spring of 2010, they toured Europe with Xeno and Oaklander, playing shows in the UK , Belgium, Germany, the Czech Republic, and Italy. Subsequently they released a 7 and then the May EP on Captured Tracks. Led Er Est did a brief west coast run with Soft Moon last fall and just played SXSW.


    On stage and in the studio Led Er Est create a thick wall of atmospheric soundscapes using vintage analog recording devices, samplers and synths while using sci-fi soundtracks and cold wave as reference points. Led Er Est's sophomore full-length album, The Diver, was mixed by Chris Coady and will be released courtesy of Sacred Bones Records.

    1. Animal Smear
    2. Housefire at Zumi's
    3. Kaiyo Maru
    4. The Diver
    5. Bladiator
    6. Agua Fuerte
    7. Arab Tide
    8. Divided Parallel
    9. Iron the Mandala
    10. La Lluvia y Memoria
    11. Sanetta
    Led Er Est
    $18.99
    Vinyl LP - Sealed Buy Now
  • Photodrame Photodrame Quick View

    $21.99
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    Photodrame

    Of all languages, French may be the most musically suited to convey the emotion of melancholy. And as the prickly landscape of Photodrame unfolds, the yearning lyrical baritone plays out as a sardonic disgust and surrender to the sorry state of things. Armed with a stripped-down gear set-up of bass, guitar and a single drum machine, the band recorded this at home direct to tape. Sacred Bones is excited to be making this album available on LP for the first time in a limited edition of 700 deluxe LP format.
    1. Why Not?
    2. Les Anges D'Aujourd'hui
    3. La Mort Est Humaine
    4. Johnny Is A Loser
    5. Jeux Interdits
    6. Jad Wagen
    7. Introduction A Fuite Mentale
    8. Je T'Attends
    9. Le Chant Des Martyrs
    10. Fuite Mentale
    11. Enfermedad Del Alma
    12. Ma Folie Se Dessiner
    Trop Tard
    $21.99
    Vinyl LP - Sealed Buy Now
  • Dumb Flesh Dumb Flesh Quick View

    $24.99
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    Dumb Flesh

    Blanck Mass is the solo project of Benjamin John Power. The Fuck Buttons
    musician has been making music under the moniker since 2010. Described by
    Fact magazine as "simultaneously soothing and sweepingly grandiose, esoteric
    and surprisingly accessible", his self-titled debut album was an elegant, introspective
    departure from the stadium electronica he had become known for. In 2012,
    his track "Sundowner" soundtracked the London Olympics Opening Ceremony
    and was performed by London's Symphony Orchestra to 900 million people
    worldwide.


    Power's newest solo offering, Dumb Flesh, was written, produced and recorded
    by Power in a number of different locations over the space of a year. As a work
    of art, Dumb Flesh is a comment on the flaws of the human form in its current
    evolutionary state. The frailty of the human body naturally became a resonant
    and inescapable part of the album's gestation.


    The album went through myriad stages of completion before arriving at this definitive
    version. Power elaborates: "There must have been at least three occasions
    where I re-produced the whole thing, replacing instrumentation and experimenting
    with new machines until I was happy with where the evolution of the project
    had arrived."


    The geographical spread of the sessions is reflected in the shifting landscapes of
    the tracks and the ever-changing sound palette used to realize Dumb Flesh as an
    expansive but coherent body of work. This release sees Power's solo work transition
    seamlessly from euphoric ambient soundscapes to definitive techno anthems.

    1. Loam
    2. Dead Format
    3. No Lite
    4. Atrophies
    5. Cruel Sport
    6. Double Cross
    7. Lung
    8. Detritus
    9. Life Science Suite [Vinyl only]
    Blanck Mass
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bright: The Album Bright: The Album Quick View

    $29.99
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    Bright: The Album

    From the director of SUICIDE SQUAD and END OF WATCH, David Ayer, comes a new action-packed film starring Will Smith, Joel Edgerton, Noomi Rapace, Edgar Ramirez and Lucy Fry. The Netflix Film was produced by Ayer, Eric Newman and Bryan Unkeless.


    Set in an alternate present-day, this action-thriller directed by David Ayer (SUICIDE SQUAD, END OF WATCH, writer of TRAINING DAY) follows two cops from very different backgrounds. Ward, a human (Will Smith), and Jakoby, an orc (Joel Edgerton), embark on a routine night patrol that will alter the future of their world as they know it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a deadly, thought-to-be-forgotten relic, which in the wrong hands could destroy everything.


    Bright: The Album, the film's soundtrack accompaniment, features a mind-blowing track listing of original music from a genre-defying collection of massive artists: A$AP Rocky, alt-J, Bastille, Bebe Rexha, Camila Cabello, DRAM, Future, Grey, Kiiara, Lil Uzi Vert, Logic, Machine Gun Kelly, Marshmello, Meek Mill, Migos, Neil Young, Portugal. The Man, Rag'n'Bone Man, Sam Hunt, Snoop Dogg, Steve Aoki, Tom Morello, Ty Dolla $ign, X Ambassadors and YG.

    1. Logic & Rag'n'Bone Man - Broken People
    2. Bastille - World Gone Mad
    3. Machine Gun Kelly, X Ambassadors & Bebe Rexha - Home
    4. Camila Cabello & Grey - Crown
    5. Ty Dolla $ign & Future (feat. Kiiara) - Darkside
    6. Migos & Marshmello - Danger
    7. Meek Mill, YG & Snoop Dogg - That's My N****
    8. Steve Aoki & Lil Uzi Vert - Smoke My Dope
    9. A$AP Rocky & Tom Morello - FTW (F**k The World)
    10. Portugal. The Man - Cheer Up
    11. alt-J - Hares On The Mountain
    12. DRAM & Neil Young - Campfire
    13. Sam Hunt - This Land Is Your Land
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Stereo '57: Essential Elvis Vol. 2 Stereo '57: Essential Elvis Vol. 2 Quick View

    $54.99
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    Stereo '57: Essential Elvis Vol. 2

    Double LP set cut at 45 RPM and pressed on 200-gram vinyl at Quality Record Pressings!


    Mastered at Sterling Sound


    Gatefold jacket


    The discovery of these 2-track masters comprising Stereo '57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!


    From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.


    A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.


    Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: Jailhouse Rock, All Shook Up, Loving You, and Teddy Bear, are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.


    Elvis would be right in the center of everything, at every recording session, Nogar would later recall. Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another.


    The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.


    Yet one day years later when Thorne was cleaning out his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.


    These 2-tracks have erase clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film Loving You soundtrack. They're the only known ones surviving from the pre-stereo era.


    RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.


    The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing Peace in the Valley, you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!


    There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of aw shucks charm in the process, goofing with band members and laughing through his and others', flubs.



    Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.


    For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of essential as well as the second: it's indispensable stuff.


    This title is not eligible for discount.

    1. I Beg Of You (Take 1)
    2. Is It So Strange (Take 1)
    3. Have I Told You Lately That I Love (Take 2)
    4. It Is No Secret (What God Can Do) (Takes 1,2,3)
    5. Blueberry Hill (Take 2)
    6. Mean Woman Blues (Take 14)
    7. There'll Be Peace In The Valley (Takes 2,3)
    8. Have I Told You Lately I Love You (Take 6)
    9. Blueberry Hill (Take 7)
    10. That's When Your Heartaches Begin (Takes 4,5,6)
    11. Is It So Strange (Takes 7,11)
    12. I Beg Of You (Takes 6,8)
    13. There'll Be Peace In The Valley (Take 7)
    14. Have I Told You Lately That I Love You (Takes 12,13)
    15. I Beg Of You (Take 12)
    Elvis Presley
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Acoustic Recordings 1998-2016 Acoustic Recordings 1998-2016 Quick View

    $29.99
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    Acoustic Recordings 1998-2016

    JACK WHITE ACOUSTIC RECORDINGS 1998-2016 collects 26 acoustic songs from throughout White's wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with ''Sugar Never Tasted So Good'' (originally found on The White Stripes' second-ever 7-inch single) and then lighting upon favorites like ''Apple Blossom'' and ''I'm Bound To Pack It Up'' (remixed here from the original recordings on 2000's DE STIJL), ''Hotel Yorba'' and ''We're Going To Be Friends'' (from 2001's WHITE BLOOD CELLS), ''You've Got Her In Your Pocket'' and ''Well It's True That We Love One Another'' (from 2003's GRAMMY® Award-winning ELEPHANT), ''Forever For Her (Is Over For Me),'' ''White Moon'' and ''As Ugly As I Seem'' (from 2005's GET BEHIND ME SATAN) ''Effect & Cause'' (from 2007's ICKY THUMP), and the Beck-produced ''Honey, We Can't Afford To Look This Cheap,'' first found on the B-side to The White Stripes' final single, 2007's ''Conquest.''


    ''City Lights'' (below) was written for The White Stripes' GET BEHIND ME SATAN but then forgotten until White revisited the 2005 album for Third Man's Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released White Stripes song since 2008.


    Also featured are ''Never Far Away'' (recorded for 2003's COLD MOUNTAIN: MUSIC FROM THE MIRAMAX MOTION PICTURE) and ''Love Is The Truth'' (written and recorded for Coca-Cola's 2006 What Goes Around campaign) as well as the Bluegrass Version of ''Top Yourself'' and an acoustic mix of the epic murder ballad, ''Carolina Drama,'' both written by White and Brendan Benson for The Raconteurs' GRAMMY® Award-winning 2008 album, CONSOLERS OF THE LONELY. White's two chart-topping solo albums, 2012's BLUNDERBUSS and 2014's LAZARETTO, are represented by a remarkably diverse range of material including ''Love Interruption,'' ''On And On And On,'' ''Blunderbuss,'' ''Entitlement,'' ''Want And Able,'' and alternative mixes of ''Hip (Eponymous) Poor Boy,'' ''Just One Drink,'' ''I Guess I Should Go To Sleep,'' and B-side, ''Machine Gun Silhouette.''


    ''This, like (Son House's) 'Grinnin' In Your Face,' is mirror-music,'' writes renowned music journalist Greil Marcus of ''City Lights'' in the album's exclusive liner notes, ''the singer talking to himself, trying to tell himself the truth, which he's going to need if he's going to step out of his door, walk into the world, and fool himself, for just a second, that he's ready to take it on. As you listen, it's no surprise at all that it took most of White's music-making life to bring the song home.''


    The 26 tracks featured on JACK WHITE ACOUSTIC RECORDINGS 1998-2016 were remastered by Andrew Mendelson at Nashville, TN's Georgetown Masters. All songs were written and produced exclusively by Jack White, except ''Never Far Away'' (produced by T Bone Burnett), ''Honey, We Can't Afford To Look This Cheap'' (produced by Beck), ''Top Yourself (Bluegrass Version)'' and ''Carolina Drama'' (written & produced by White & Brendan Benson), and ''Machine Gun Silhouette'' (written by White & Rob Jones).

    LP 1
    1. Sugar Never Tasted So Good
    2. Apple Blossom (Remixed)
    3. I'm Bound To Pack It Up (Remixed)
    4. Hotel Yorba
    5. We're Going To Be Friends
    6. You've Got Her In Your Pocket
    7. Well It's True That We Love One Another
    8. Never Far Away
    9. Forever For Her (Is Over For Me)
    10. White Moon
    11. As Ugly As I Seem
    12. City Lights (Previously Unreleased White Stripes Track)
    13. Honey, We Can't Afford To Look This Cheap
    14. Effect & Cause


    LP 2
    1. Love Is The Truth (Acoustic Mix)
    2. Top Yourself (Bluegrass Version)
    3. Carolina Drama (Acoustic Mix)
    4. Love Interruption
    5. On And On And On
    6. Machine Gun Silhouette (Acoustic Mix)
    7. Blunderbuss
    8. Hip (Eponymous) Poor Boy (Alternate Mix)
    9. I Guess I Should Go To Sleep (Alternate Mix)
    10. Just One Drink (Acoustic Mix)
    11. Entitlement
    12. Want And Able

    Jack White
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
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    x

    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Lowdown Back Porch Blues (Pure Pleasure) The Lowdown Back Porch Blues (Pure Pleasure) Quick View

    $34.99
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    x

    The Lowdown Back Porch Blues (Pure Pleasure)

    Louisiana Red (born Iverson Minter) was a flamboyant guitarist, harmonica player, and vocalist. He lost his parents early in life through multiple tragedies; his mother died of pneumonia a week after his birth, and his father was lynched by the Klu Klux Klan when he was five.


    Red began recording for Chess in 1949, then joined the Army. After his discharge, he played with John Lee Hooker in Detroit for almost two years in the late '50s, and continued through the '60s and '70s with recording sessions for a number of labels. Louisiana Red moved to Hanover, Germany in 1981, and maintained a busy recording and performing schedule through the subsequent decades into the new millennium. He died in Germany in 2012 when his thyroid imbalance brought on a stroke.


    Recorded in New York with Tommy Tucker, Lowdown Back Porch Blues is Louisiana Red's first album and, in many ways, it's his best. Supported by a bare-bones rhythm section, Red plays a number or traditional tunes and originals. His guitar is nearly as powerful and overwhelming as his vocals, making this a truly compelling listen.

    Musicians:



    • Louisiana Red (vocal, guitar, harpsichord)

    • Karl Lynch (bass)

    • Panama Francis (drums)




    Recording: 1963 in New York City

    Production: Henry Glover



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Red's Dream
    2. Working Man Blues
    3. I'm Louisiana Red
    4. Sweet Aleese
    5. Keep Your Hands Off My Woman
    6. I'm A Roaming Stranger
    7. Ride On Red, Ride On
    8. I Wonder Who
    9. The Seventh Son
    10. Sad News
    11. Two Fifty Three
    12. Don't Cry
    Louisiana Red
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Follow The Rainbow (Speakers Corner) Follow The Rainbow (Speakers Corner) Quick View

    $34.99
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    x

    Follow The Rainbow (Speakers Corner)

    The fusion movement has a lot in common with a tropical storm: it rages fiercely in its early phases but becomes less wild later on, yet still blows a gale. In the eye of the storm that tore its path through the various musical styles and genres as from 1960 is George Duke, who entered into creative and stormy partnerships with such artists as Frank Zappa, Miles Davis and Jean-Luc Ponty. The rainbow colours with which Duke chose to tint this album are taken less from the paintpots of fusion jazz and rock, and rather more from the black, natural colours of rhythm and blues. Next to a relaxed love groove (Say That You Will) we find a polyphonic vocal number with solos (Sunrise), which conjures up the nostalgic atmosphere of Motown, now on the decline. Then there is snappy funk in all manner of variations, such as Party Down, which swings trendily along but then comes over unfiltered and dry as a bone.
    In Follow The Rainbow, genial musicianship, expert arrangements and a special feeling for resonance amalgamate to create a tightly-knit sound which is ever fresh and easy-going.



    Musicians:



    • George Duke (vocal, keyboard)

    • Larry Williams (tenor saxophone, flute)

    • Eric Culver (trombone)

    • Charles Icarus Johnson (guitar)

    • Byron Miller (bass)

    • Leon 'Ndugu' Chandler (drums)

    • Sheila Escovedo (percussion, vocal)

    • Napoleon Murphy Brock (vocal)




    Recording: 1979 at Westlake Recording, Los Angeles, by Kerry McNabb and Electric Lady Studios, New York, by Dave Palmer

    Production: George Duke





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Party Down
    2. Say That You Will
    3. Funkin' For The Thrill
    4. Sunrise
    5. Festival
    6. I Am For Real (May The Funk Be With You)
    7. Straight From The Heart
    8. Corine
    9. Pluck
    10. Follow The Rainbow
    George Duke
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Angel Guts: Red Classroom Angel Guts: Red Classroom Quick View

    $19.99
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    x

    Angel Guts: Red Classroom

    Angel Guts: Red Classroom is the beginning of Xiu Xiu's descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu's death.


    This is a bold proposition, even for a band that has never so much pushed the envelope as pulled it (forcefully) away from the line other musicians are willing to toe. And now, in what is unquestionably their darkest hour, Xiu Xiu have lit the envelope on fire and are using it as a torch to light the path ahead.


    Having spent the previous four years living in North Carolina, primary songwriter Jamie Stewart relocated to Los Angeles, moving blindly into a neighborhood whose notoriously dangerous reputation was unknown to him.


    A park divided among four gangs, a lake routinely dragged for bodies, a building wherein two infant skeletons were recently uncovered -- the aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.


    I know to a degree I must have romanticized it, Stewart admits, But when it's not safe to go out at night, what else can one?


    Romanticized is hardly the word anyone other than Stewart would use. Like its namesake, a Japanese erotic noir film, Angel Guts: Red Classroom is as radical as it is inventive. The subject matter -- racialized sex, double suicide, double penetration, criminality, fear of physical harm -- is unsuitable for the faint of heart. But when the heart has stopped beating, only the soul remains to carry on. And here, Stewart transcribes his without boundaries.


    Your face is down alone / On your desk / At the end of the city / You were squashed into / There is no one you love. So begins the album's first verse.


    In the wrong hands, such topics could be rendered as far-fetched fantasies. But Stewart's evocative vocals lend his provocative lyrics the balance they need, grounding them in a stark realism that forces us to acknowledge their existence, even confront them (as discomforting as that is).


    Unsettling, too, is the music. Working with only analog synths, drum set, and 1970's analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat.


    Though influences can be cited (Suicide, Kraftwerk, Nico, EinstÜrzende Neubauten), they are ultimately far less relevant than the mark this album will leave on other musicians and music fans from this point forward.


    Take Stupid in the Dark -- its tone ominous and pulsing, its harmonies simple and direct, its grip unrelenting. Or Botanica de Los Angeles, a sparse, yet undeniably anthemic merging of bruising drums and bone-rattling bass synths.


    Unbearably dark, yet incredibly illuminating, on the John Congleton-produced Angel Guts: Red Classroom Xiu Xiu continues to forge (and at times risk) its reputation as avant-garde pioneers. It is the work of a band unraveling to its core and exposing the boldness within.


    Xiu Xiu may be dead, but its will is more alive than ever.

    1. Angel Guts
    2. Archie's Fades
    3. Stupid in the Dark
    4. Lawrence Liquors
    5. Black Dick
    6. New Life Immigration
    7. EL Naco
    8. Adult Friends
    9. The Silver Platter
    10. Bitter Melon
    11. A Knife in the Sun
    12. Cinthya's Unisex
    13. Botanica de Los Angeles
    14. Red Classroom
    Xiu Xiu
    $19.99
    Vinyl LP - Sealed Buy Now
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