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Day Of The Dead'
Day Of The Dead (Box Set)Limited 10xLP Vinyl Box Set
Each Disc On A Different Color Vinyl
4AD are pleased to announce the release of Day of the Dead, a celebration of the Grateful Dead's music.
Day of the Dead was created and curated by brothers Aaron and Bryce Dessner of The National. The compilation is a wideranging tribute to the songwriting and experimentalism of the Dead which took four years to record, features over 60 artists from varied musical backgrounds, 59 tracks and is almost 6 hours long.
All profits will help fight for AIDS/ HIV and related health issues around the world through the Red Hot Organization, a 501(c)3. This is the 20th album of original music produced by Red Hot to further its mission. Day of the Dead is the follow up to 2009's Dark Was The Night (4AD), a 32-track, multiartist compilation also produced by Aaron and Bryce for Red Hot. Dark Was The Night has raised over 1.5 million dollars for the organizations fighting AIDS to date.LP 1
1. Touch of Grey (The War on Drugs)
2. Shakedown Street (Unknown Mortal Orchestra)
3. Loser (Ed Droste, Binki Shapiro & Friends)
4. Jack A Roe (This Is The Kit)
5. Peggy O (The National)
6. Bird Song (Bonnie 'Prince' Billy & Friends)
7. Brown Eyed Woman (Hiss Golden Messenger)
8. Sugaree (Phosphorescent with Jenny Lewis & Friends)
1. Help On The Way (Bela Fleck)
2. Franklin's Tower (Orchestra Baobab)
3. King Soloman's Marbles (Vijay Iyer)
4. Box of Rain (Kurt Vile & J Mascis)
5. Friend of the Devil (Mumford and Sons)
6. Wharf Rat (Ira Kaplan & Friends)
1. Cassidy (Moses Sumney, Jenny Lewis & Friends)
2. Candyman (Jim James & Friends)
3. Clementine Jam (Orchestra Baobab)
4. Paying in the Band (Tunde Adebimpe, Lee Ranaldo & Friends)
5. Eyes of the World (Tal National)
1. Terrapin Station (Suite) (Daniel Rossen and Christopher Bear)
2. Ship of Fools (The Tallest Man On Earth & Friends)
3. Estimated Prophet (The Rileys)
4. Morning Dew (The National)
1. Me and My Uncle (The Lone Bellow)
2. China Cat Sunflower / I Know You Rider (Stephen Malkmus & The Jicks)
3. If I Had the World to Give (Bonnie 'Prince' Billy & Friends)
4. Dark Star (Cass McCombs, Joe Russo & Friends)
5. Nightfall of Diamonds (Nightfall of Diamonds)
6. Dark Star (The Flaming Lips)
1. Rubin & Cherise (Bonnie 'Prince' Billy & Friends)
2. Althea (Winston Marshall and Shura)
3. Mountains of the Moon (Lee Ranaldo & Friends)
4. Stella Blue (Local Natives)
5. Standing on the Moon (Phosphorescent & Friends)
6. To Lay Me Down (Perfume Genius)
1. Uncle John's Band (Lucius)
2. High Time (Daniel Rossen and Christopher Bear)
3. Dire Wolf (The Lone Bellow)
4. New Speedway Boogie (Courtney Barnett)
5. Cumberland Blues (Charles Bradley)
6. Black Peter (Antony & yMusic)
7. Easy Wind (Bill Callahan)
1. Here Comes Sunshine (Real Estate)
2. Rosemary (Mina Tindle & Friends)
3. Drums > Space (Man Forever / So Percussion / Oneida)
4. Transitive Refraction Axis for John Oswald (Tim Hecker)
5. What's Become of the Baby (s t a r g a z e)
6. Garcia Counterpoint (Bryce Dessner)
1. Brokedown Palace (Richard Reed Parry with Caroline Shaw [featuring Garth Hudson])
2. Till the Morning Comes (Luluc with Xylouris White)
3. Attics of My Life (Angel Olsen)
4. Cream Puff War (Fucked Up)
5. Truckin' (Marijuana Deathsquads)
1. Going Down The Road (Lucinda Williams)
2. Black Muddy River (Bruce Hornsby & DeYarmond Edison)
3. Ripple (The Walkmen)
4. And We Bid You Goodnight (Sam Amidon & Friends)
5. St. Stephen (live) (Wilco with Bob Weir)
6. I Know You Rider (live) (The National with Bob Weir)$188.99Colored Vinyl LP Box Set - 10 LPs Sealed Buy Now
Pussy's Dead30th Century Records first signing, Los Angeles trio Autolux turned a new page before burning the book. Greg Edwards, Carla Azar and Eugene Goreshter have patiently maintained their commitment to experimentation- fearlessly transforming pop songs into pure sonic and emotional explorations.
Pussy's Dead, the band's follow up to Transit Transit, is a bold reunification. The mood is strange and inimitable while the drumming is a time machine: meeting funk in the future and remembering what rhythm can do.1. Selectallcopy
2. Soft Scene
3. Hamster Suite
4. Junk For Code
7. Listen To The Order
9. Change My Head
10. Becker$24.99Vinyl LP - Sealed Buy Now
Creepshow: Original 1982 Score (Colored Vinyl)'Kill Lights' Deep Red with Blue Smoke Colored Colored Vinyl
Heavyweight Casebound Tip-on Gatefold Jacket With A Satin Coating
Director Essay From George A. Romero & Composer Essay From John Harrison
A Built-in Booklet Featuring Production Stills, Artwork, And Liner Notes
A Satin Coated 12x12 Art Print Of The Creeper
Full Album Packaging Artwork By Ghoulish Gary Pullin
Waxwork Records is thrilled to announce their next LP release to the 1982 horror anthology classic, CREEPSHOW. The film was directed by George A. Romero and written by Stephen King. The score was composed and performed by John Harrison (DAY OF THE DEAD, TALES FROM THE DARKSIDE).
This definitive release of the film score has never before been released. The original master tapes of the CREEPSHOW film score were lost for over 30 years, but with the efforts of composer John Harrison and Waxwork Records, the tapes were located in the attic of Jeree Recording Studios in New Brighton, PA. The tapes remained in remarkable shape over the years and were re-mixed and re-mastered for vinyl. The CREEPSHOW score has never sounded this good.1. Prologue
2. The Creepshow Welcomes You
3. Henry Is Told The Family Secrets
4. She Bashed His Head In
5. Bedelia Arrives
6. Where's My Cake? I Want My Cake
7. Nate Comes Out Of The Grave
8. Henry Goes Looking
9. Henry Meets Nate; Henry Gets Crushed
10. I Got My Cake
11. Sylvia On A Platter - A Meteor Arrives
12. Jordy Discovers His Meteor
13. Jordy Hallucinates And Takes A Bath
14. From The Farm To The Beach
15. Get In The Hole Harry
16. If You Can Hold Your Breath
17. Richard Watches Them Drown
18. From The Beach To The College
19. Mike Discovers The Crate
20. Dex And Mike Move The Crate$38.99Colored Vinyl LP- Sealed Buy Now
Day Of The Dead (Deluxe)Hollywood Undead is an American rap rock band from Los Angeles, California.1. Usual Suspects
2. How We Roll
3. Day Of The Dead
4. War Child
5. Dark Places
6. Take Me Home
8. Does Everybody In The World Have To Die
10. Party By Myself
11. Live Forever
12. Save Me
13. Guzzle, Guzzle
14. I'll Be There
15. Let Go$35.99Vinyl LP - 2 LPs Sealed Buy Now
Workingman's DeadRanked 262/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Grateful Dead's first seminal release of 1970 finds the band in an uncharacteristic acoustic setting paying homage to their country, blues and folk roots. Featuring concise songs and tighter arrangements, the timeless Workingman's Dead exhibits the band's true essence as American songwriters of the highest order and that their restless ambition existed in the studio as much as it did in concert. Workingman's Dead introduced such all-time Dead classics as Uncle John's Band and Casey Jones among others.1. Uncle John's Band
2. High Time
3. Dire Wolf
4. New Speedway Boogie
5. Cumberland Blues
6. Black Peter
7. Easy Wind
8. Casey Jones$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Grateful DeadOriginally released in March of 1967 on Warner Bros. Records, The Grateful Dead's self-titled debut album features seven folk/blues standards from the likes of Sonny Boy Williamson and Jessie Fuller along with a pair of originals in The Golden Road (To Unlimited Devotion) and Cream Puff War. The set unabashedly flaunts the Dead's musical roots and influences while simultaneously showcasing the promising songwriting that would subsequently help define an entire genre.1. The Golden Road
2. Beat It On Down the Line
3. Good Mornin' Little School Girl
4. Cold Rain and Snow
5. Sittin' On Top Of the World
6. Cream Puff War
7. Morning Dew
8. New, New Minglewood Blues
9. Viola Lee Blues$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Workingman's DeadSublime, Stripped-Down 1970 Americana Classic Steeped in Country, Blues, and Folk
You've Never Heard This Roots-Based Marvel Sound Better: Mastered from the Original Master Tapes and Given Extra-Wide Grooves on 45RPM LP
Ranked #264 on Rolling Stone's List of the 500 Greatest Albums of All Time: Airy Harmonies, Simple Structures, Concise Arrangements, and Burnished Tones Anchor Songs
Workingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this first-ever 45RPM version. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures that furnish the songs a transcendence associated with timeless American music. Colorful, relatable characters seemingly torn from working-class histories and old-time fables inhabit the narratives.
Mastered from the original master tapes and pressed on 180g LPs at RTI, Mobile Fidelity's numbered limited edition of this period-defining recording renders the stripped-down fare with immense detail, rich airiness, and reach-out-and-touch-it realism. Longtime Deadheads and newcomers alike will hear significantly more information, experience wider and deeper soundstages, and become swept away by incredible tonal and vocal balances-traits made possible by the format's wider grooves. Instrumental melds and refined accents, such as guest David Nelson's nimble fills on "Cumberland Blues," are part of a larger whole that gives the impression you are witness to the world's coziest campfire session. Frontier tales and refined performances further this feeling.
The first Grateful Dead album to eschew cosmic jams and complex signatures, Workingman's Dead stakes its existence to great songs, homespun warmth, and bare essentials. Its wistful, relaxed state-immediately apparent via the innocent album-opening invitation "Will you come with me?" on "Uncle John's Band"-owes to the circumstances and conditions surrounding its creation. At the time, the Dead owed a considerable financial debt to Warner Bros. and were hobbled by a recent drug bust and financial scandal. Most significantly, the band was recovering from-and reacting to-the tragic events of the Altamont Music Festival and symbolic end of the peace and love era.
As such, Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning "Cumberland Blues," pastoral ballad "Dire Wolf," and bluesy "Easy Wind" hit the mark. Leader Jerry Garcia's occasional pedal-steel underpinnings arrive as a bonus.
Of course, aside from the economical concision and thematic consistency, the genius of Workingman's Dead resides in the group's expressive harmonies. Taught by Crosby, Stills and Nash, the Dead produce live "air blends" of multi-part vocal harmonies that provide the foundations of nearly every track. "Uncle John's Band," "High Time," "New Speedway Boogie" (with the iconic refrain "One way or another/This darkness has got to give" referencing the ill wind that greeted the new decade), and the radio favorite "Casey Jones" practically float on the ensemble's communal vocal beds.
Mobile Fidelity's 45RPM edition renders these invigorating, refreshing, and engaging characteristics in three-dimensional sound that transports you to the event. Recordings don't get more lifelike. Workingman's Dead-an iconic, ageless record that drew countless listeners to the band's unique style because of its accessibility and charm-deserves nothing less. Neither do you.
This title is not eligible for discount.1. Uncle John's Band
2. High Time
3. Dire Wolf
4. New Speedway
5. Cumberland Blues
6. Black Peter
7. Easy Wind
8. Casey Jones$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Dead LanguageIf you spent every minute, every penny of your adult life on the road, you might make a record like Dead Language.
There's something that happens when four people have been playing music together, day in and day out, for ten years. In every basement, every colossal concert hall, every small European nation that would have them, the same four people playing the same four instruments. A full decade of plane tickets and van repairs and hangovers and fast food. At some point, the interaction between instruments, between members, transcends the brotherly love of most touring bands and enters the terrifying realm of twin telepathy. The Flatliners aren't just four dudes banging out riffs five hundred miles from home every night. They're four dudes banging out riffs in the hallways of the Overlook Hotel just like the unsettling twin girls in the The Shining. You see what I'm getting at yet?
It's been three years since Cavalcade (2010), The Flatliners' most successful album to date. A behemoth of a record, it brought famous friends like A Wilhelm Scream and Dillinger Four into the fold for huge songs like "Shithawks" and "Bleed."
Which is why Dead Language is the perfect response - it's the brutally crisp sound of four people in a room, the sonic payoff of a decade of learning how to play as one fierce unit. Its strength doesn't come from racks of guitars or bass drops, but from its sparse precision. The band's songwriting chops are as honed as their playing, allowing them the freedom to bang out their point quickly ("Young Professionals") or take their time to make an impact ("Ashes Away").
The Flatliners' records have always been an accurate, honest portrait of where the band lived, from the youthful explosion of Destroy to Create (2005) to the nuance of blooming adulthood on The Great Awake (2007), Which is why Dead Language, the band's most direct and vital record to date, is the monument to the honesty of ten years in the trenches that it has to be.1. Resuscitation of the Year
2. Bury Me
3. Birds of England
4. Drown in Blood
5. Sew My Mouth Shut
6. Caskets Full
7. Ashes Away
9. Dead Hands
11. Tail Feathers
12. Young Professionals
13. Brilliant Resilience$15.99Vinyl LP - Sealed Buy Now
Already DeadNew York punks Timeshares will release their second full-length record "Already Dead" on April 28 via SideOneDummy Records. The record is out just before the band's headlining European tour that will take them through France, Germany, Austria, Italy, the UK and more, including two weeks supporting Astpai and a stop at Belgium's longstanding punk festival, Groezrock.
- Dying Scene$17.99Vinyl LP - Sealed Buy Now
Play DeadMUTEMATH's highly anticipated fifth studio album is titled Play Dead. The GRAMMY-nominated electro-experimental rock band takes an unhinged and unguarded approach, while also pulling inspiration from previous albums including, 2011's fan-favorite Odd Soul. Entertainment Weekly said lead single 'Hit Parade' brings back the band's 'brand of chilled-out, soul-inflected psychedelic rock' and Fast Company called it 'a behemoth of a record.'1. Hit Parade
2. Pixie Oaks
3. Stroll On
4. Break the Fever
6. Placed On Hold
7. Everything's New
9. Achilles Heel
10. Marching To the End$22.99Vinyl LP - 2 LPs Sealed Buy Now
Dead ReflectionPressed On Colored Vinyl
While it's difficult for any artist to find and gain success, the real struggle comes with sustaining it. Silverstein are one of those rare artists that have found a way to stand the test of time. Their formula is no secret: they have been going at full speed, nonstop fort he past 17 years. They've taken no breaks between touring and recording, and have consistently produced quality albums and played sold out shows across the world. Since their inception, they've played over 1,800 shows and sold over 1 million albums. The band's most recent headline tour resulted in 90% sell out business, while playing 1,000 capacity venues in 40 US major markets. Silverstein will also be appearing on the entire 2017 Vans Warped Tour, proving that the band's relevance is still thriving.
Silverstein's newest album, "Dead Reflection" is one of the band's strongest albums to date. These 12 songs are each uniquely crafted to showcase the band's signature mixture of emotional screams and soaring melodies. Every band writes one record that truly captures their essence and showcases their character. It is the album immediately recommended when discovering a band's discography. This will become Silverstein's trademark album.
"Dead Reflection" is a timeless album. This is Silverstein at the top of their game, and they are proving that after 17 years of continued success, they can still bring something newa nd exciting to the table.1. Last Looks
3. Lost Positives
6. Mirror Box
8. The Afterglow
9. Cut And Run
10. Secret's Safe
12. Wake Up$18.99Colored Vinyl LP - Sealed Buy Now
Dead Can DanceThe uncompromising eponymous debut, Dead Can Dance (1984), harnessed a bewitching barrage of sounds (including the distinct sound of the yangqin) with the then five-piece interchanging instruments to leave the vocals of Lisa Gerrard and Brendan Perry as the only constant. The album's cover was important as an introduction too, a Papua New Guinean mask that some believe when worn, a life force can be put into the inanimate wood - the dead can dance.
The 2016 LP version is a repress of the original release.1. The Fatal Impact
2. The Trial
6. East Of Eden
8. A Passage In Time
9. Wild In The Woods
10. Musica Eternal$21.99Vinyl LP - Sealed Buy Now
The King Is DeadThe King Is Dead is a mostly-acoustic set of 10 concise, Americana-based songs, that marks a deliberate turn towards simplicity after the Decemberists wildly ambitious and acclaimed 2009 song-cycle The Hazards Of Love. Produced once again by Tucker Martine, The King Is Dead features special guest appearances by Americana luminary Gillian Welch and legendary R.E.M. guitarist Peter Buck.
The King Is Dead showcases the ways in which The Decemberists; Colin Meloy, Chris Funk, Jenny Conlee, Nate Query, and John Moen, sound just as glorious in simple, stripped-down compositions as they do on the elaborate structures that have defined their work for years. The album was recorded in a converted barn at Pendarvis Farm, an 80 acre estate of lush meadows, forest, and Mt. Hood views outside of Portland, and it was the concept of the barn, as recording space and as attitude, that informed the making of the album.1. Don't Carry It All
2. Calamity Song
3. Rise to Me
4. Rox in the Box
5. January Hymn
6. Down by the Water
7. All Arise!
8. June Hymn
9. This is Why We Fight
10. Dear Avery$24.99Vinyl LP - Sealed Buy Now
UNIM-ATO-9111xRodrigo Y Gabriela
9 Dead AliveAcoustic rock maestros Rodrigo y Gabriela's 9 Dead Alive was recorded and produced by Rod and Gab at their studio in Ixtapa, Mexico. Mixing was handled by Andrew Scheps (Black Sabbath, Adele, Metallica, Lana Del Rey) in Los Angeles.
9 Dead Alive sees Rodrigo y Gabriela playing face to face, guitar versus guitar, bursting with melodic energy and rhythmic invention. Recorded at their Pacific Coast hideaway in late summer, the album captures the warmth and spontaneity of two great musicians locked in together; perfectly distilled into nine new songs teeming with desire, elegance and gusto.1. The Soundmaker (inspired by Antonio de Torres Jurado: 1817 - 1892)
2. Torito (inspired by animals and nature)
3. Sunday Neurosis (inspired by Viktor Frankl: 1905 - 1997)
4. Misty Moses (inspired by Harriet Tubman: 1820 - 1913)
5. Somnium (inspired by Sor Juana Ines de la Cruz: 1651 - 1695)
6. Fram (inspired by Fridtjof Nansen: 1861 - 1930)
7. Megalopolis (inspired by Gabriela Mistral: 1889 - 1957)
8. The Russian Messenger (inspired by Fyodor Dostoyevsky: 1821 - 1881)
9. La Salle Des Pas Perdus (inspired by Eleanor of Acquitane: 1122 - 1204)$19.99Vinyl LP - Sealed Buy Now
Honey's Dead (Gold Vinyl)Limited Edition Gold Vinyl
Originally released in 1992, Honey's Dead is the fourth studio album from Scottish brothers Jim and William Reid. The title refers to one of the band's early hits, Just Like Honey and the complete departure from their earlier musical style. Honey's Dead was recorded and mixed in the band's London studio with famed engineers Alan Moulder and Flood. Alternative radio stations picked up Far Gone And Out which remains one of the band's most popular singles to date while the album's first single Reverence attracted some controversy for the lyrics I want to die just like Jesus Christ and I want to die just like JFK. On gold vinyl.1. Reverence
2. Teenage Lust
3. Far Gone And Out
4. Almost Gold
5. Sugar Ray
8. Good For My Soul
10. I Can't Get Enough
12. Frequency$25.99Colored Vinyl LP - Sealed Buy Now
Dead Letter OfficeDead Letter Office is a collection of rarities and b-sides by R.E.M. featuring additional recordings, outtakes and flip
side international single releases. Quite a few tracks are favorite cover versions indicating the band's direct
influences and musical tastes including three Velvet Underground covers and songs by Aerosmith, Pylon and Roger
Miller. This reissue is pressed on standard weight vinyl.1. Crazy
2. There She Goes Again
3. Burning Down
4. Voice Of Harold
5. Burning Hell
6. White Tornado
7. Toys In The Attic
8. Wind Out
9. Ages Of You
10. Pale Blue Eyes
11. Rotary Ten
13. Femme Fatale
14. Walter's Theme
15. King Of The Road$19.99Vinyl LP - Sealed Buy Now
Play Dead (Colored Vinyl)Opaque Orange Colored Vinyl
MUTEMATH's highly anticipated fifth studio album is titled Play Dead. The GRAMMY-nominated electro-experimental rock band takes an unhinged and unguarded approach, while also pulling inspiration from previous albums including, 2011's fan-favorite Odd Soul. Entertainment Weekly said lead single 'Hit Parade' brings back the band's 'brand of chilled-out, soul-inflected psychedelic rock' and Fast Company called it 'a behemoth of a record.'1. Hit Parade
2. Pixie Oaks
3. Stroll On
4. Break the Fever
6. Placed On Hold
7. Everything's New
9. Achilles Heel
10. Marching To the End$35.99Colored Vinyl LP - 2 LPs Sealed Buy Now
The Beat Is DeadNina Diaz, lead singer of popular punk trio Girl In A Coma, debuts her solo record The Beat Is Dead. This interpersonal album shows a varied attack from what her fans have been used to. From Electro Rock Trick Candle to 80's John Hughes movie anthem Queen Beats King, to singer-songwriter introspection January 9th, Diaz shows a range of emotions and influences not heard before.1. Trick Candle
2. Queen Beats King
4. January 9th
5. Fall In Love
6. Young Man
7. Screaming Without A Sound
11. For You$18.99Vinyl LP - Sealed Buy Now
Wanted Dead Or AliveFirst release of 1979 concert.
The New Barbarians were a rock band that played two concerts in Canada and eighteen shows across the United States in April and May 1979. One of which was in Oakland, Ca. in the Coliseum Arena where the Golden State Warriors have played, May 1979. In August 1979, the band also supported Led Zeppelin at the Knebworth Festival 1979.
The group was formed and led by Rolling Stones and Faces guitarist Ronnie Wood, primarily to promote his latest LP Gimme Some Neck. The line-up included Rolling Stones member Keith Richards, bassist Stanley Clarke, former Faces keyboardist Ian McLagan, Rolling Stones confederate and saxophonist Bobby Keys and drummer Joseph Zigaboo Modeliste of The Meters. For the Knebworth show Clarke was replaced on short notice by bassist Phillip Chen, who had to learn all the songs in one day.
The band played a mix of classic rock & roll, R&B, blues and country music, along with Ron Wood solo material and Jagger/Richards songs. Wood sang lead on most numbers (with Richards, McLagan and Clarke providing back-up vocals), as well as playing guitar, pedal steel, harmonica and saxophone.1. Sweet Little Rock 'n' Roller
2. Buried Alive
3. F.U.C. Her
4. Mystifies Me
6. Rock Me Baby
7. Band Intro / Breathe on Me
8. Let's Go Steady
9. Apartment No. 9
10. Worrield Like Blues$20.99Vinyl LP - Sealed Buy Now
Hip Hop Is Dead1. Money Over Bullsh*t
2. You Can't Kill Me
3. Carry On Tradition
4. Where Are They Now
5. Hip Hop Is Dead
6. Who Killed It?
7. Black Republican
8. Not Going Back
9. Still Dreaming
10. Hold Down The Block
11. Blunt Ashes
12. Let There Be Light
13. Play On Playa
14. Can't Forget About You
16. Hope$24.99Vinyl LP - 2 LPs Sealed Buy Now
Dead As TruthMore info soon!1. Inferno
6. Hopeless$19.99Vinyl LP - Sealed Buy Now
Saves The DaySaves the Day is dead. Long live Saves the Day.
Of course, with the departure of long-time lead guitarist Dave Soloway prior to the release of Daybreak in 2009, that may have been the moment that marked the final days of an early 2000s emo powerhouse. But even that album felt more like a body of work you could have expected from Chris Conley and company in the past.
The band's newest self-titled release marks a well-documented departure from the days of Stay What You Are, In Reverie, and, hell, even Sound the Alarm. Whereas previous entries in the band's catalogue have dealt with the anxious, even nerve-wracking realities of the young and socially awkward, Saves the Day instead starts off on a power-pop riff and hardly strays from it (not that anyone's complaining.)
The first two tracks, "Remember" and "In the In Between," set the tone for the rest of the LP. The fast-paced, poppy tunes are care-free ventures, something missing from Conley's writing since In Reverie.
Oddly enough, Saves the Day sounds more like the bands that have fondly proclaimed that Can't Slow Down, Through Being Cool and Stay What You Are inspired their own sounds. That sentiment becomes even more pronounced as the album plays on.
"Beyond All of Time" slows things down a bit before "Ain't No Kind of Love" kicks the tempo back up a bit. Both tracks flow into each other nicely. And although neither stands out on its own, the songs reinforce the mood of the album.
"Lucky Number" plays much the same, fitting into the album nicely as a piece of the puzzle, but without offering much on its own merit.
The song "Xenophobic Left Hook" by title alone demonstrates that Conley hasn't yet lost his lyrical style. But the sound that accompanies his vocals is drastically different than ever before and it can be directly attributed to the band's ever-changing lineup.
"The Tide of Our Times" is one of the album's truly outstanding tracks. It's catchy. It's fast. It's less than two-and-a-half minutes long and it's emblematic of everything Saves the Day does right in this album.
"Supernova" is, lyrically, the closest we might come to a traditional Conley track. The imagery and metaphors are wonderfully woven throughout the ballad.
"Verona" picks the pace back up, leading nicely into another of the album's best tracks: "Ring Pop." The pace is fast and the lyrics recall carefree days when a ring pop may have sufficed as a symbol of courtship. It's the essence of what makes some of Conley's best music, harkening to a past with the sentimentality ramped up to 11.
"Stand in the Stands" is, by far, the most up-beat and optimistic album closer Saves the Day has ever composed. Standing in stark contrast to even the band's sunnier albums and closers like "Firefly" and "Tomorrow Too Late," the track starts with a bouncy melody and doesn't let up for the nearly four minutes it plays out.
Although Daybreak was the first album where Conley was the last of the band's founding members left, it carried hints of Sound the Alarm and Under the Boards, primarily because of those three albums' conceptual ties (They were designed as a trilogy that started with 2006's Sound the Alarm).
If Conley's way with words is what drew you to the band, this will be right up your alley. Saves the Day may not be the band you remember, but Conley's presence maintains the only lyrical and moody consistency that we really need.
- Eder Campuzano (Daily Emerald)1. Remember
2. In The In Between
3. Beyond All Of Time
4. Ain't No Kind Of Love
5. Lucky Number
6. Xenophobic Blind Left Hook
7. The Tide Of Our Times
10. Ring Pop
11. Stand In The Stars$16.99Vinyl LP - Sealed Buy Now
Same Thoughts Different DayLegendary Canadian punk group Subhumans emerged from the 1978 font of creativity that produced DOA and The Pointed Sticks. They have been part of the Alternative Tentacles family since being included on the infamous Let Them Eat Jellybeans compilation and played shows with Dead Kennedys, Minor Threat, Black Flag, and Bad Brains.
Their first album Incorrect Thoughts was released on Vancouver label Friends Records in 1980. They always planned to make their older material available again, but a now defunct San Francisco label had issued an unauthorized version of Incorrect Thoughts in the '80s which substituted some remixes without the band's knowledge, included tracks which hadn't made the cut for the original album, and changed the cover art. It was an unpleasant mystery for the band and three decades later the former owner of that label was asserting ownership over the original album, preventing its re-release without an expensive and contentious legal tussle.
The Subhumans decided to meet the challenge to their ownership of their own material by rerecording all of the songs from the Incorrect Thoughts album, which they proceeded to do at the Hive Studios in Vancouver, assisted by Jesse Gander. Original members Brian Goble (vocals), Gerry Hannah (bass), Mike Graham (guitar), and newly-recruited drummer Jon Card (formerly with Personality Crisis, SNFU, and DOA among others) got together in 2005 to record a new album of original material, New Dark Age Parade, for Alternative Tentacles (Virus366) and the band had reactivated into a live entity. The intent was neither to slavishly recreate the old recordings nor to radically reinterpret the songs, but updating the sounds and the recording techniques while maintaining the original spirit of the album. As a bonus, Subhumans recorded six additional songs from the same period for the second 12 of a two LP set, some of which had never been recorded before!1. Big Picture
2. Dead at Birth
3. Firing Squad
4. Urban Guerrillas
5. The Scheme
6. War in the Head
7. Model of Stupidity
8. Death to the Sickoids
9. New Order
10. Slave to My Dick
12. Greaser Boy
13. Let's Go Down to Hollywood
14. I Gotta Move
15. Out of Place
16. Escalator to Hell
17. Out of Line
18. Behind the Smile
19. Twenty-First Century
20. We're Alive$14.99Vinyl LP - 2 LPs Sealed Buy Now
Love From With The DeadWith the Dead - Love From With the Dead
Doom is all around us. The optimism of a new millennium has steadily disintegrated. The light at the end of the tunnel turned out to be a burning tower block and the powers-that-be are dancing in the smouldering ruins. Humanity is eating itself and we're all terminally fucked. As a result, it makes perfect sense that the emergence of British doom metal mavens With The Dead would strike a dissonant chord with so many people. Formed in 2014 by former Cathedral/Napalm Death frontman and Rise Above Records boss Lee Dorrian and ex-Electric Wizard/Ramesses bassisit/guitarist Tim Bagshaw, the band coalesced in a monetary burst of spontaneity and shared fury, resulting in the release of their eponymous debut album in 2015: one of that year's most widely acclaimed releases and a welcome shot in the arm for fans of merciless, unrelenting sonic despair.
"We were very happy with the way the first album was received," says Lee. "To be honest, there were no real expectations with the first LP. It's hard to explain. We just got together and did it. There was no big anticipation. We knew it was going to be well received by certain people, just because of the sheer heaviness of it, but we didn't think it would get the reaction it did. It sold really well and got a good response all around. It came together so strangely and so fast. We hadn't gone round, sweating in the clubs, although we've all done that previously. The record came out on Rise Above so it was easy and there were no demands from anyone except ourselves. The important thing is, we didn't want it to be seen as some novelty project band."
Hell-bent on staking a further claim to be doom metal's most intense and remorseless practitioners, With The Dead have now completed work on their second album, Love From With The Dead. Comprising tracks recorded during two separate sessions with celebrated studio guru Jaime Gomez Arellano, the new material represents the first fruits of the band's recently retooled line-up. Joining Lee and Tim are bassist Leo Smee and drummer Alex Thomas, who replaces the departed Mark Greening. As Lee explains, the band's new incarnation generated great chemistry from the start.
"Tim came over from New Jersey, where he still lives, and we booked four nights' rehearsals with Leo and Alex to see how it was going to work. Literally, on the first night, they had the whole set nailed within three or four hours. It sounded better than ever before, too. So the next three nights were pointless and we didn't need them, so we spent the time going over ideas for new songs and by the end we had four brand new songs. It was crazy. Then we thought 'While Tim's over, let's go in the studio and record them ' Luckily, Gomez was free and we went over to his studio and recorded the four new tracks, they're the last four on the album, and it was all done just like that. The other three tracks were recorded nearly a year later, again with just one night's rehearsal. It was all done super quick."
For those who flinched at the sheer, unforgiving brutality of With The Dead's first record, the songs on Love From With The Dead are liable to cause major emotional trauma. Darker, denser, more despondent and sickeningly heavy in numerous senses of the word, this is an album that re-establishes doom as a genre that embraces the extreme and not just some cosy, nostalgic reimagining of the early '70s. From opener Isolation's slithering howl of torment and the crushing, schizophrenic barrage of Egyptian Tomb through to the expansive, drone-driven horrors of the closing CV1 (a mournful lament to Lee Dorrian's home city of Coventry that features a guest appearance by home-town comrade and electro-noise maverick Russell Haswell), Love From With The Dead grimly extinguishes the light of hope and hammers home the hatred and futility that plagues our brief and brittle lives.
"The thinking was that the first LP was meant to be the heaviest we could possibly make, but then what do you next?" Lee muses. "Well, the only thing you can do is make the next one even heavier. So that was the ambition and the intention, to make it even more crushing. But to be able to do that you have to be crushed yourself. This last couple of years have been quite soul-destroying. There's been a lot of personal shit going on, and during this whole process so much fucking bad shit has happened in my personal life and other people's personal lives. Everything you hear on this LP, the angst is very real. I've never felt so disillusioned with life and the world around me, not since the first Cathedral album!"
Irrefutable evidence that With The Dead are a formidable and substantial proposition, the quartet's second album could hardly provide a more apposite soundtrack to the deeply fucked up and irrevocably dysfunctional state of the world in 2017. Both a fine example of the simple, savage power of the riff and an authentic outpouring of anger, bitterness, bile and vivid existential dread, it is the living, breathing, screaming embodiment of heaviness itself. Cometh the hour, cometh the bringers of doom
"I'm 50 next year and you're supposed to mellow out when you get older, but why?" Lee asks. "I don't feel like mellowing out. The world's getting worse, the atmosphere is getting heavier, people treat each other like shit and there's so much negativity, how are you supposed to chill out when all that's going on? I'm in a privileged position to be able to be in a band like this, so why fuck around? The band's called With The Dead and it's a doom band, why would you want to mellow out? It's got to be pure nihilism or nothing."
Dom Lawson, July 2017.1. Isolation
2. Egyptian Tomb
3. Reincarnation of Yesterday
4. Cocaine Phantoms
5. Watching the Ward Go By
7. CV1$29.99Vinyl LP - Sealed Buy Now