Pro-ject Authorized & Certified VPI Dealer

VINYL. OUR WAY OF LIFE SINCE 2004

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Break Stuff

'
  • 1
Results per page:
  • Break Stuff (Awaiting Repress) Break Stuff (Awaiting Repress) Quick View

    $25.99
    Buy Now
    x

    Break Stuff (Awaiting Repress)

    Vijay Iyer's "third and best" (NY Times) trio album is now availabe on vinyl.

    Vijay Iyer: piano
    Stephan Crump: double bass
    Marcus Gilmore: drums


    "Break Stuff" is what happens after formal elements have been addressed. Vijay Iyer calls the break "a span of time in which to act. It's the basis for breakdowns, breakbeats, and break dancing... it can be the moment when everything comes to life." A number of the pieces here are breakdowns of other Iyer constructions. Some are from a suite premiered at New York's Museum of Modern Art, some derive from Open City, a collaboration with novelist Teju Cole and large ensemble. The trio energetically recasts everything it touches. "Hood" is a tribute to Detroit techno pioneer Robert Hood. On "Work", Vijay pays homage to his "number one hero", Thelonious Monk. "Countdown" reconsiders the classic Coltrane tune inside a rhythmic framework inspired by West African music. "Mystery Woman" is driven by compound pulses which owe a debt to South Indian drumming. Fast moving and quick-witted, the group has developed a strong musical identity of its own, with an emphasis on what Iyer calls "co-constructing", exploring all the dynamics of playing together. Yet the three players also get abundant solo space and, in a reflective moment at the album's centre, Iyer plays a moving version of Billy Strayhorn's "Blood Count" alone. Break Stuff, recorded in June 2014 at New York's Avatar Studio and produced by Manfred Eicher, is the third ECM release from Vijay Iyer. It follows the chamber music recording Mutations and the film-and-music project Radhe Radhe: Rites of Holi.

    Vijay Iyer Trio
    $25.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Adrian Younge Presents: The Delfonics: Instrumentals Adrian Younge Presents: The Delfonics: Instrumentals Quick View

    $19.99
    Buy Now
    x

    Adrian Younge Presents: The Delfonics: Instrumentals

    Linear Labs Now Brings You Adrian Younge Presents: The Delfonics In A Never Before Issued Instrumental Edition


    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.


    This title is not eligible for discount.

    1. Stop And Look (And You Have Found Love) [Instrumental]
    2. Lost Without You (Instrumental)
    3. True Love (Instrumental)
    4. Silently (Instrumental)
    5. Enemies (Instrumental)
    6. To Be Your One (Instrumental)
    7. Stand Up (Instrumental)
    8. Just Love (Instrumental)
    9. So In Love With You (Instrumental)
    10. I Can't Cry No More (Instrumental)
    11. Lover's Melody (Instrumental)
    12. Party's Over (Instrumental)
    13. Life Never Ends (Instrumental)
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • Significant Other Significant Other Quick View

    $24.99
    Buy Now
    x

    Significant Other

    Significant Other is the second album by the nu-metal legends Limp Bizkit, originally released in 1999 by Flip/Interscope Records, the album saw the band expanding its sound from that of its debut album, Three Dollar Bill, Yall$, to incorporate further rock and hip hop influences. The album features the monster singles Nookie, Re-Arranged, Break Stuff and the Method Man featuring N 2 Gether Now.

    Significant Other was a worldwide smash hit which reached #1 on the Billboard 200.

    LP 1
    1. Intro
    2. Just Like This
    3. Nookie
    4. Break Stuff
    5. Re-Arranged
    6. I'm Broke
    7. Nobody Like You


    LP 2
    1. Don't Go Off Wandering
    2. 9 Teen 90 Nine
    3. N 2 Gether Now
    4. Trust?
    5. No Sex
    6. Show Me What You Got
    7. A Lesson Learned
    8. Outro

    Limp Bizkit
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • I'm A Man / Don't Want To Cry I'm A Man / Don't Want To Cry Quick View

    $9.99
    Buy Now
    x

    I'm A Man / Don't Want To Cry

    A most legendary lost recording - the single that never was!!! Here's the Buckinghams' extreme-fuzz-fest take on Bo Diddley's "I'm a Man" - a track found only on a mere handful of first pressings of the band's initial longplayer. It is beyond INSANE! We've paired it with the ultra-rare single version of "Don't Want to Cry," which features the wild, extended, full-on guitar break. Breathtaking stuff, for sure! Sourced from the original analog U.S.A. Records masters, this 45 is the missing piece of any serious garage collector's library. Grab your copy NOW and turn it WAY up!
    1. I'm A Man
    2. Don't Want To Cry
    The Buckinghams
    $9.99
    Colored 7 Vinyl Single - Sealed Buy Now
  • Nobody Knows Nobody Knows Quick View

    $15.99
    Buy Now
    x

    Nobody Knows

    The last time I came across the Len Price 3 was in 2010 and this album give me about as much pleasure as that last one did - lots.


    If you were to define a 'London' sound of the sixties then this is it. There are echoes of The Kinks and The Who as well as later London bands like Madness but they are a quintessentially original outfit and there is nothing here that sniffs of copying.


    Their spare beat laden pop is wonderfully edgy, especially on the Farfisa laden 'Swing Like A Monkey' but the best of them is on tracks that echo the songs and the bands of the sixties, telling stories of grandparents and odd acquaintances. 'My Grandad Jim' - rocky garage punk telling a story of an old soldier seen through the eyes of a teenager. The gonzoid guitar break is worth the price of the album on its own. Or then there is 'Vultures' with its stomping Beatle-esque stomp and a very Kinks meets Small Faces sound: the horn break is magic.


    They can do the sad stuff too on tracks like 'Lonely': wistful and with harmonies that they heard on the West Coast it would make a great single.
    'Preying Mantis' is a stunning piece of garage punk, spare and harsh, the sound is pure beat era but the theme is as modern as tomorrow or as old as last week.
    'Medway Sun' is a real gem. Bucolic and wistful, definitely should be the pick for a single and definitely a theme for a forgotten part of the country.
    Final track 'The London Institute' has just about everything - redolent of youth and reminiscence and with a Who-like sound that sticks in the mind and takes you back to listen again and again.


    Every track has an identity and seems to reference a different element of the sixties sound but every track is also a tiny gem of music that can be held up to the light and marvelled at in its own right.


    The Len Price 3 are a truly fine band and deserve a greater audience - check them out and enjoy!


    - Andy Snipper (Music-News)

    1. Nobody Knows
    2. Swing Like A Monkey
    3. My Grandad Jim
    4. Lonely
    5. Preying Mantis
    6. Vultures
    7. Words Won't Come
    8. Wigmore Sisters
    9. Billy Manson
    10. Couldn't Get Much Worse
    11. Medway Sun
    12. Nobody Knows (reprise)
    13. The London Institute
    The Len Price 3
    $15.99
    Vinyl LP - Sealed Buy Now
  • Emotionalism Emotionalism Quick View

    $29.99
    Buy Now
    x

    Emotionalism

    Emotionalism from The Avett Brothers is the defining, emotionally-arresting statement of the new indie alternative folk movement. Melding rock, punk, jazz and gospel, The Avetts are reinventing roots music. Theyve become one of the hottest grassroots touring bands in recent memory with shows that have become the stuff of legend. Their signature intensity has catapulted them from tiny college pubs to Bonnaroo. With Emotionalism and a massive U.S. headlining tour that includes Coachella, Bumbershoot and Telluride, The Avett Brothers are poised to break wide open.


    The Avett Brothers mix traces of The Bands old weird Americana, sleekly Everly Brothers roots-pop and Violent Femmes-style folk punk. You'll come away a disciple. - Harp Magazine

    1. Die Die Die
    2. Shame
    3. Paranoia in B-Flat Major
    4. The Weight of Lies
    5. Will You Return?
    6. The Ballad of Love and Hate
    7. Salina
    8. Pretty Girl from Chile
    9. All My Mistakes
    10. Living of Love
    11. I Would Be Sad
    12. Pretty Girl from San Diego
    13. Go to Sleep
    14. Hand-Me-Down Tune
    Avett Brothers
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Keg Nuts Keg Nuts Quick View

    $4.99
    Buy Now
    x

    Keg Nuts

    This is totally brutal and raw grindcore / thrashcore! Blast beats ringing in over metal tinged guitar breaks and furious growling lines that will have you bleeding out any of you're usual punk and grind references! This is along the lines of bands like GRUESOME STUFF RELISH, MACHETAZO, with gruesome moans and growls in the back-drop of a pulverizing set of blasting grindcore! FEAR THE KEG!
    1. Hangin' Brain
    2. Chunder Chops
    3. Blood Brew
    4. King Brown
    5. Pisshead
    6. Rot Gut
    7. Scruff
    8. Maggot
    9. Malt Shovel
    10. Any Old How
    Beer Corpse
    $4.99
    Vinyl LP - Sealed Buy Now
  • Unvarnished Unvarnished Quick View

    $18.99
    Buy Now
    x

    Unvarnished

    Unvarnished is the 14th studio album by Joan Jett and the Blackhearts released on the Blackheart Records label.


    Joan Jett has been through some dark times over the last 10 years - so many that she refers to it as her 'decade of death.' But she's channeled that grief into a new album, 'Unvarnished,' that contains some of her most personal work.


    I wrote a lot about what teenagers write about: love, sex and partying and having a good time. As you grow up, things change, she explained. You have responsibilities and realize you've got to do stuff. I suppose you could run from that, but you've got to be there for your family and your friends.


    Jett's 'decade of death' included the loss of both parents, which - as one might expect - proved difficult to cope with. They made it possible for me to do this. They encouraged me. They got me the guitar, she recalled. My father, who hated rock & roll, put up with it. He didn't come down on me to stop it. So losing my parents was big, and I think it translated to the music in songs like 'Fragile,' which is about life being fragile, love being fragile, how easy it is to break hearts.


    Those themes carry over into other songs on 'Unvarnished,' as Jett went on to explain. 'Hard to Grow Up' is about responsibility and realizing that I've got to do this, she continued. The song 'Make It Back' is about Hurricane Sandy and people's attitudes. You don't see a lot of press about it as I go around the country. It was very devastating. My town is still beat up. People were really crushed. It gave me a sense of what it's like to be in a war zone.


    It wasn't just personal or communal tragedies that stood between Jett and new material, either. I convinced myself I had writer's block, she explained. It was 'Reality Mentality' that was the song that took me a long time to write. I used to think that songs just came to me. They didn't - you had to sit down and work at it. Just be patient, write a couple of lines, leave it, come back to it and stuff will pop out. And all of a sudden, stuff started coming, and I realized: You don't have writer's block. Your expectations were wrong.


    What it all adds up to, in Jett's opinion, is a record that should resonate with fans. The songs have a serious tone, but they're relatable, she concluded. They're songs about stuff everybody goes through.

    1. Any Weather (606 Version)
    2. TMI
    3. Soulmates To Strangers
    4. Make It Back
    5. Hard To Grow Up
    6. Fragile
    7. Reality Mentality
    8. Bad As We Can Be
    9. Different
    10. Everybody Needs A Hero
    Joan Jett & The Blackhearts
    $18.99
    Vinyl LP - Sealed Buy Now
  • Adrian Younge Presents: The Delfonics (Discontinued) Adrian Younge Presents: The Delfonics (Discontinued) Quick View

    $19.99
    Buy Now
    x

    Adrian Younge Presents: The Delfonics (Discontinued)

    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.

    1. Stop And Look (And You Have Found Love)
    2. Lost Without You
    3. True Love
    4. Silently
    5. Enemies
    6. To Be Your One
    7. Stand Up
    8. Just Love
    9. So In Love With You
    10. I Can't Cry No More
    11. Lover's Melody
    12. Party's Over
    13. Life Never Ends
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • J Roddy Walston & The Business J Roddy Walston & The Business Quick View

    $19.99
    Buy Now
    x

    J Roddy Walston & The Business

    Not too many bands would move to Baltimore, MD in search of their big break -- as the city's most famous citizen, John Waters, once put it, No one moves here -- and fewer still would consider making the jump to Charm City from Chattanooga, TN. But J. Roddy Walston and the Business are clearly not your average rock & roll band, and after listening to their self-titled second album (and first for Vagrant Records), this trajectory actually makes some sense. The band's music suggests a meeting of the minds between the Deep South and the East Coast -- Walston's raw, twangy vocals and rollicking piano style and Billy C. Gordon's thick guitar lines cut with sharp interjections of slide, could both come straight from a Tennessee roadhouse, but the heavy stomp of Logan Davis' bass and Steve Colmus' drums is all-beef, no-filler hard rock stomp, the stuff of guys who've spent half their life trying to perfect Led Zeppelin's glorious thud and are within spitting distance of catching it. Put these two sides together, have them spend a few hundred nights playing bars where they struggle to be heard over flying beer bottles and shouts for more bourbon, and you could get something a lot like J. Roddy Walston and the Business.


    These ten songs have swagger to spare, but there's little in the way of crowd-pleasing gestures; this band is here to rock but you have to take or leave them on their own terms, and the material is strong enough that plenty of listeners are likely to climb aboard for the ride. Whether they're living on the edge in Brave Man's Death, sharing tales of unsatisfying lovers in Pigs and Pearls, or mixing risky metaphors in Don't Break the Needle, J. Roddy Walston and the Business are a real-deal, roots-conscious hard rock band in an era when such things are believed to have gone the way of the 8-track tape. Picture a band that captures the lean and glorious Southern arrogance of the early Black Crowes and the FTW attitude of Appetite for Destruction-era Guns N' Roses -- all without obviously lifting licks from either act -- and you get one enjoyably butt-kicking surprise of an album.


    - Mark Deming (All Music Guide)

    1. Don't Break The Needle
    2. Full Growing Man
    3. Used To Did
    4. Pies N' Pearls
    5. Brave Man's Death
    6. Don't Get Old
    7. I Don't Wanna Hear It
    8. Uh Oh Rock N' Roll
    9. Caroline
    10. Use Your Language
    J Roddy Walston And The Business
    $19.99
    Vinyl LP - Sealed Buy Now
  • Plastic Surgery Disasters Plastic Surgery Disasters Quick View

    $34.99
    Buy Now
    x

    Plastic Surgery Disasters

    Remastered And Available In A Deluxe Gatefold Sleeve


    Having proved themselves masters of the quick, vicious smash and bash, on their second full-length album the Kennedys continued in that vein while finding other effective ways to express their all-encompassing message of resistance and satire. Absolutely nobody is safe, whether it's the more expected targets of conservative society, or those who claim to follow what the Kennedys and punk promised but only ended up acting like idiots. For the most part, though, it's a well-deserved smackdown of all the jerks the early '80s produced, set to some fantastic music.


    Bookended by random noise jams -- the first one with a wonderfully dismissive spoken-word analysis on societal programming for The Good Life -- Plastic Surgery Disasters shows East Bay Ray, Klaus Fluoride and D.H. Peligro turning into an even more awesome unit than before. Ray's sheet-metal intense guitar may once or twice get slammed into too much treble for its own good, but his spaghetti-western-cranked-to-ten playing is fantastic stuff at its best. The others have their moments, like Peligro's rolling drum breaks on Trust Your Mechanic. When the band aims for subtlety, the results are grand -- the sudden silences on Trust Your Mechanic, the goofy hipswing start to Forest Fire. Unsurprisingly, Biafra is still at the center of it all; once again, the song titles make it clear what's at play. Terminal Preppie, rips into an example of the type with gusto, and the wonderfully sneering Winnebago Warrior is just the tip of the iceberg. The real highlight can be found at the end -- Moon Over Marin, with a soaring, anthemic surf-rock line from Ray offsetting Biafra's semi-apocalyptic vision of the Bay Area's snooty region.


    - Ned Raggett (All Music Guide)

    1. Advice From Christmas Past
    2. Government Flu
    3. Terminal Preppie
    4. Trust Your Mechanic
    5. Well Paid Scientist
    6. Buzzbomb
    7. Forest Fire
    8. Halloween
    9. Winnebago Warrior
    10. Riot
    11. Bleed For Me
    12. I Am The Owl
    13. Dead End
    14. Moon Over Marin
    Dead Kennedys
    $34.99
    Vinyl LP - Sealed Buy Now
  • FREEMAN FREEMAN Quick View

    $16.99
    Buy Now
    x

    FREEMAN

    Listening to Marvelous Clouds, Aaron Freeman's 2012 debut under his own name, fans might have felt that he was ignoring an elephant in his room-a drug-and-alcohol-related onstage flame-out that made viral headlines the year before. But Clouds, a deceptively chill Rod McKuen covers record, was just a warm-up for the artist once known as Gene Ween. In the opening minutes of FREEMAN, the self-titled debut from his new band, Freeman addresses addiction and its aftermath with the combination of merciless self-inventory and artful songcraft that earned Ween one of the most devoted fan bases in contemporary pop. This song, the unmistakably autobiographical Covert Discretion, is a quiet shocker. Save your judgments for someone else, Freeman sings. Be grateful I saved me from myself.


    As bitter as it sounds, the track clears the air. FREEMAN represents a new beginning- Aaron Freeman's first album of original material since disbanding Ween and getting sober-but it isn't a record mired in its maker's private struggles. It's simply a collection of gorgeous, subtly offbeat songs-in other words, a continuation of the thread that runs through the entire Ween catalog. The lush psychedelic pop of The English and Western Stallion; the melancholy plea of More Than the World; the unflappable, Plastic Ono Band-esque blues-rock of Gimmie One More-these are songs that bear the unmistakable Aaron Freeman stamp.


    And to hear Freeman tell it, they wouldn't have been possible if he'd stayed in his old band. There was so much of 'Aaron had to break up Ween because of addiction' and 'Aaron broke up Ween in order to pursue his solo work,' he says. But I broke up Ween because we were at a creative dead end way before our last record, La Cucaracha. Basically we were going through the motions, becoming a showcase band.


    Freeman stresses that FREEMAN is more about renewal than turning his back on the past. I want this record to pay homage to Ween, he says. These are the same songs I would've written in Ween-except without [ex-bandmate] Mickey. Several tracks hark back to the role-playing that was a hallmark of Freeman's back-catalog: (For a While) I Couldn't Play My Guitar Like a Man, a badass blues-rock meditation on lost mojo; or Black Bush, a trippy, heavily stylized ode to the natural beauty of Freeman's recently adopted hometown of Woodstock.


    But there's also a fresh perspective here, the sound of a shadow lifting. Delicate Green, which savors life's everyday blessings, is one of the sweetest, most sincere songs Freeman has written. And All the Way to China and El Shaddai reference Jewish texts-Kabbalah readings and James A. Michener's The Source, respectively-that guided him through his darkest times. There's a lot of spiritual stuff on here because that really helped me, Freeman says. I listened to a lot of reggae-'Jah gonna help me through Babylon,' you know? I listened to a lot of Paul McCartney too, and I thought, if he can do this, break up the fucking Beatles, I can certainly break up Ween and be okay.


    Aaron Freeman has also turned his back on substance abuse, a fact that might concern fans who mistake intoxication for inspiration. I wrote the songs I wrote in Ween despite all the drugs and alcohol I was doing, not because, Freeman says. Most people don't get sobriety at all. They assume you're this better-than-thou monk sitting on a mountain, judging everybody. It's not that way: You have to let everybody do their thing, and you get weirder. A song like FREEMAN's Golden Monkey, which rivals Ween's underrated Quebec for sheer mind-warping brilliance, proves Freeman's point.


    In order to get to FREEMAN, Aaron Freeman had to make a clean break. If I hadn't left my partnership, there wouldn't be anything, he explains. I'd probably be dead too. I know that at the end of the day, this is the best thing I could've done for me and for every Ween fan. FREEMAN, an album that distills the Aaron Freeman aesthetic-built on equal parts wonder and malaise, frankness and mysticism, defiance and vulnerability-to its headiest essence, proves his point. This man, known for so long by another name, is finally free.

    1. Covert Discretion
    2. The English And Western Stallion
    3. (For A While) I Couldn't Play My Guitar Like a Man
    4. El Shaddai
    5. Black Bush
    6. Gimme One More
    7. More Than the World
    8. All The Way To China
    9. Golden Monkey
    10. Delicate Green
    11. There Is A Form
    12. I Know A Girl
    FREEMAN
    $16.99
    Vinyl LP - Sealed Buy Now
  • Poets Were My Heroes Poets Were My Heroes Quick View

    $19.99
    Buy Now
    x

    Poets Were My Heroes

    Morning Glory is made up of the stuff that the gritty, punk-crust motherland of New York's infamous Lower East Side has been known to spawn. This group of punkers and squatters had very humble beginnings indeed. Already in various other New York punk bands, Morning Glory first became the spark of an idea when Ezra Kire (Leftöver Crack, Choking Victim, INDK) took time off from touring and started to write some tunes in his NYC apartment.



    In 2001, with nothing but a drum machine and an 8-track reel-to-reel, Ezra wrote and recorded the songs that would become Morning Glory's first LP, This Is No Time ta Sleep. Though it was self-recorded, home-released and had no touring support, it still managed to create a small but ubiquitous underground buzz. With a virtuosic range of musical elements such as ska, punk, metal, and even some rhyming, its catchy, anthemic sing-alongs showcased Ezra's flourishing writing talents. And while his lyrics stayed true to the caustic political edge of his other bands, the overall message remained more optimistic and leaned towards the humanistic, personal side of life.



    In 2002, Ezra finally assembled a live band, handpicking musicians from the local NYC punk scene, including members of Nausea, World/Inferno Friendship Society and Stockyard Stoics. This lineup recorded the EP, The Whole World is Watching, released on Blacknoise Records in 2003. While the years that followed were spent recording and touring with Leftöver Crack, Morning Glory took a back seat.



    But after these long years of touring, Ezra finally decided to give Morning Glory the attention it deserved in 2010 and began writing songs for what was to become the epic new album, Poets Were My Heroes. In the summer of 2011, Ezra and the band (with longtime members Early Gates, "Metal" Chris and Lucky Strano alongside new guitarist Adam Schrager) hit the studio with a barrage of new material. Picture the sonic kaleidoscope of punk noise meeting strings, horns, choirs, pianos and organs over a web of distorted guitars and marching, single kick pedal drums.



    These are the sounds that make up Poets Were My Heroes, Morning Glory's Fat Wreck Chords debut and first full-length album recorded with a live band. Re-enlisting producer Jesse Cannon (The Menzingers, Saves the Day), a wealth of material was recorded, with only the very strongest songs being chosen to make up the album. It is both grand and elaborate, with each song evoking a different mood and style, challenging the musicianship of even the most dexterous players, while still maintaining its punk-inspired simplicity.



    While the band itself has described themselves as "somewhere between Oasis and The Clash," they continue to break rules and write music that is true only to themselves, adhering to no genres, creeds or political factions. The sing-along choruses give the band a broader appeal than the standard politi-kill punk acts, but the key message is more subversive: "Think for yourself, decide for yourself, make up your own mind and love your friends. Only you know what is right for you. Together we are what we can't be alone." It's this unity in diversity that makes the band special and not just another punk outfit. Double vinyl includes digital download of full album.

    1. Everything's A Song (To Me)

    2. Shelter From The Spoon

    3. Poets Were My Heroes

    4. March Of The Asylum

    5. Quemar Las Fronteras

    6. Divide By

    7. Orphan's Holiday

    8. Touch

    9. Patiently

    10. Life's A Long Revenge

    11. Another Way (Outside The Walls Of Eden)

    12. Born To December
    Morning Glory
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Savages (Discontinued) Savages (Discontinued) Quick View

    $24.99
    Buy Now
    x

    Savages (Discontinued)

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Deer Tick Vol. 2 Deer Tick Vol. 2 Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 2

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 1 Deer Tick Vol. 1 Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 1

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Ire Works (Colored Vinyl) (Awaiting Repress) Ire Works (Colored Vinyl) (Awaiting Repress) Quick View

    $19.99
    Buy Now
    x

    Ire Works (Colored Vinyl) (Awaiting Repress)

    Limited Edition Electric Blue Vinyl


    Ire Works succeeds in many of the same ways that their previous album did, while branching out creatively. They continue to toy with technical metal, blistering hardcore, jazz breaks, and post-punk, but here they evolve again by adding more twists and turns with additional electronic elements. While the merging of too many styles in hardcore can make for a convoluted result (see Avenged Sevenfold's self-titled release), the added instruments and genre changeups enhance the result rather than acting as ornamental distractions.


    Edgy Aphex Twin-style drill'n'bass drum breaks and stretched and squeezed electro blips feel strangely at home next to the psychotic time-signature changes and manic riffs, especially on the tracks Sick on Sunday, Dead as History, and When Acting as a Wave. Violins, pianos, and trumpets sit nicely in the mix, and the group's willingness to take chances leads to stunning artistic endeavors rather than stale attempts at crossing genres just for the sake of being clever. Original vocalist Dimitri Minakakis makes an appearance, as does Mastodon guitarist Brent Hinds, but the most notable inclusion is drummer Gil Sharone, who proves himself an expert at picking up the slack after the departure of founding member Chris Pennie to play in Coheed and Cambria.


    Undoubtedly, this act added anger to fuel the fire of their heavier numbers. 82588, Fix Your Face, and Party Smasher are as wicked and manic as their most difficult earlier stuff; conversely, the melodic hooks and falsetto of Black Bubblegum and the watery ambience of Mouth of Ghosts balance out the album nicely. It can be inaccessible and terrifying all at once, but in a genre overly saturated with formulaic groups, Ire Works is a true standout. If DEP aren't careful and continue down this innovative path, they could easily be labeled the Radiohead of metalcore- a visceral metal album that pushes the envelope.

    1. Fix Your Face
    2. Lurch
    3. Black Bubblegum
    4. Sick On Sunday
    5. When Acting As a Particle
    6. Nong Eye Gong
    7. When Acting As a Wave
    8. 82588
    9. Milk Lizard
    10. Party Smasher
    11. Dead As History
    12. Horse Hunter
    13. Mouth Of Ghosts
    Dillinger Escape Plan
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Pete Townshend's Classic Quadrophenia Pete Townshend's Classic Quadrophenia Quick View

    $25.99
    Buy Now
    x

    Pete Townshend's Classic Quadrophenia

    As a leading icon of the British music revolution of the 1960s, Pete Townshend made his name by creating the power chord, smashing guitars onstage, and penning anthems of teenage rebellion like My Generation.


    Now, at almost 70 years old and half a century after he penned the archetypal rock lyric Hope I die before I get old , Townshend has created a classical version of one of The Who s landmark albums Quadrophenia for a symphony orchestra, opera singer and choir.


    The new symphonised version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller, a professional composer, orchestrator and singer-songwriter in her own right and also the partner of Pete Townshend.


    It will be released by the Deutsche Grammophon label, internationally renowned for its repertoire of classical and opera music, and launched next summer with a world premiere concert at the Royal Albert Hall, performed by the Royal Philharmonic Orchestra and London Oriana Choir.


    The project is the latest chapter in Townshend s lifelong mission to break the three-minute mould of the traditional pop song and take rock music to a higher artistic level. In the 1960s he defined the concept of the rock opera with Tommy, taking it a stage further with Quadrophenia.
    Conceived and written by Townshend in 1973, Quadrophenia went on to become a feature film and a theatre production, and was performed in its entirety on The Who s most recent live tour. For the last three years Townshend has worked closely with Rachel Fuller on brand-new arrangements for orchestra, soloists and choir.


    Recorded with the Royal Philharmonic Orchestra in October 2014 at London s legendary Air Studios, the new incarnation of this classic rock opera is conducted by Robert Ziegler and features popular British tenor Alfie Boe on vocals, with Townshend himself on electric guitar and performing cameo vocal roles. Townshend will reprise his roles at the live world premiere at the Royal Albert Hall in London on 5 July 2015, alongside the RPO, Ziegler, Boe and other star guests.


    The rock superstar began work on the project as part of his plan to leave a legacy of all his work arranged for orchestra as sheet music, for future generations to enjoy. Townshend hopes the new work will go on to become a regular part of the orchestral repertoire and boost attendance at classical concerts.


    A lot of major symphony orchestras are in trouble because their audience is getting old and the younger audiences prefer softer stuff, such as film soundtrack music, he explains. I think that Quadrophenia would reinvigorate their audiences and bring in people who might not otherwise go to see a symphony orchestra perform without lights and fireworks and a movie screen.


    Rachel Fuller, who was born in the year Quadrophenia was first released, admits she had never heard The Who s album until several years after she first met Townshend in a London recording studio, while he was rehearsing for The Who s 1996 tour of that album and she was working with Ute Lemper.


    I loved it as soon as I heard it about ten years ago, she says. For me it's been an act of love to orchestrate it for Pete. It's also been a joy to work on because it is very orchestral by nature, even as a rock album, so it was very easy to arrange for an orchestra. And I've remained really faithful to the original tracks because he's the composer and I want to honour his work.

    1. I Am The Sea
    2. The Real Me
    3. Quadrophenia
    4. Cut My Hair
    5. The Punk And The Godfather
    6. I'm One
    7. The Dirty Jobs
    8. Helpless Dancer
    9. Is It In My Head?
    10. I've Had Enough
    11. 5:15
    12. Sea And Sand
    13. Drowned
    14. Bell Boy
    15. Doctor Jimmy
    16. The Rock
    17. Love Reign O'er Me
    Pete Townshend
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Set Your Lightning Fire Free Set Your Lightning Fire Free Quick View

    $15.99
    Buy Now
    x

    Set Your Lightning Fire Free

    It's been a busy couple of years since the self-release of Shana Falana's debut EP,
    2011's In The Light. The veteran dream pop artist has toured all over the US and
    Europe. She's released two Bandcamp-only collections of lo-fi works, Channel and
    Velvet Pop, as well as a cassette-only document of her early-career music, Shana Falana
    Sings Herself To Sleep. But for all her globetrotting, archiving, and micro-releasing, this
    is the moment we've been waiting for: Set Your Lightning Fire Free.


    A lightning fire is exactly what it sounds like, the earth at odds with itself, burning
    itself to the ground and starting from scratch. On this record, her debut LP, Shana
    Falana makes a point of breaking her own rules. "I've always kept the different sides
    of my music separate. The ambient ballads, the fuzzed out stuff; they all needed to
    exist as their own statements," says Falana, "I would have two or three bands at one
    time: a sludge rock band; a Bulgarian women's choir; a pretty, dreamy organ and guitar
    duo. This is the first record where I've combined all of that, sometimes in the course
    of one song."


    Rather than spending months in the studio, laboring over arrangements and ideas,
    Falana recorded SYLFF in just over a week. The songs were already compact and fully
    realized from years of touring. Recorded at ISOKON studios in upstate New York
    with producer Dan Goodwin (Devo, Kaki King), SYLFF's working mantra was a) get
    the idea down b) move on c) don't look back. Shana chose to record the vocals herself
    alone in various locations, from her bathroom to a child's bedroom. And for the first
    time, Shana wrote and performed her own lead guitar parts.


    The other noticeable difference is the addition of steady drummer and creative
    companion, Mike Amari. The two met at a garden party. Shana was covering a
    Bauhaus song and the two instantly connected. Soon after they were setting up to
    play together for the first time in an abandoned theater in Kingston, New York.
    Mike's minimalistic and tribal approach to drumming was a perfect fit with Shana's
    droning dream pop, and within six months they were heading out on their first
    national tour.


    Shana and Mike's collaboration has culminated in Set Your Lightning Fire Free, and the
    result is a record of stark confidence. Undaunted guitar riffs and thundering drums
    prevail, while Shana's two decades of songwriting and performing lend authority and
    emotion to one or two word refrains like "Gone," "Go," and "There's a Way."
    "Anything," with its Bollywood strings and industrial groove, climaxes with repeated
    shouts of "No, you didn't take anything from me!" in a way that would make James
    Murphy sweat. Lead single "Heavenstay" takes the lilting "higher, higher, higher"
    refrain of In The Light's "Light The Fire" and absolutely soars with the most explosive
    chorus of the LP. Day-Glo guitars are smeared across this record, and Falana's
    veritable army of vocals stacked and vibrating with her eastern European influences.

    1. Gone
    2. Heavenstay
    3. Go
    4. Anything
    5. Know UR Mine
    6. Shine Thru
    7. Second Skin
    8. There's a Way
    9. Dive
    10. That Girl
    Shana Falana
    $15.99
    Vinyl LP - Sealed Buy Now
  • 1
Go to top