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Days Of Future Passed'
Moody Blues: CollectedImport
4 Page Booklet With Liner Notes And Photos
Solid Selection Of Songs By The Band's Career, Including Go Now, Nights In White Satin, Never Comes The Day, Gypsy, I Never Thought I'd Live To Be A Hundred, I'm Just A Singer (In A Rock 'n Roll Band) And Many More
The Moody Blues formed in the early 1960s in Erdington, Birmingham, England. Ray Thomas, John Lodge, and Michael Pinder had been members of El Riot & the Rebels. They disbanded when Lodge went to college and Pinder joined the army. The pair recruited guitarist/vocalist Denny Laine, band manager-turned drummer Graeme Edge, and bassist Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964.
It was the single, Go Now (released later that year), which launched their career. The single became a huge hit in the U.K. and landed the number 1 spot in the charts. The band soon realised that their style of R&B-derived rock and pop was not working for them and decided to develop an original new style, featuring the symphonic sounds of the mellotron and Ray Thomas' flute.
Assigned to make a rock and roll version of Antonin Dvorák's New World Symphony, Moody Blues insisted that they be given artistic freedom and be left without supervision. The result was Days of Future Passed (1967), which combined the band's tracks with orchestral interludes arranged and conducted by Peter Knight. The album plus two singles, Nights in White Satin and Tuesday Afternoon, became substantial hits.
Their follow-up album was In Search of the Lost Chord (1968). The album was again a big success with hits as Ride My See-Saw and Voices in the Sky. Their next album On a Threshold of a Dream (1969) featured the sensitive ballad Never Comes a Day and was their first number 1 album in the U.K.
The band's music continued to become more complex and symphonic, resulting in 1969's To Our Children's Children's Children, a concept album. It closes with the fan-favorite Watching and Waiting. To Our Children's Children's Children was also the first release of the group's own founded label, Threshold Records.
Released in 1981, Long Distance Voyager was a success, reaching number 1 on Billboard and top 5 in the U.K. The album featured the hit, The Voice, written by Hayward.
The remaining Moody Blues trio continues to tour and to this day the Moody Blues are one of classic rock's most enduring institutions, with world-wide sales of nearly 80 million albums and a following that continues to support the band. COLLECTED by Moody Blues is a careful selection of the distinctive sound of the band, presenting the different periods the band has gone through.LP 1
1. Go Now
2. Boulevard De La Madeleine
3. Nights In White Satin
4. Tuesday Afternoon (Forever Afternoon)
5. Voices In The Sky
6. Dr. Livingstone, I Presume
7. Ride My See-saw
8. Legend Of A Mind
9. Never Comes The Day
10. Dear Diary
11. Gypsy (Of A Strange And Distant Time)
12. Watching And Waiting
13. I Never Thought I'd Live To Be A Hundred
1. Candle Of Life
2. Melancholy Man
4. The Story In Your Eyes
5. Isn't Life Strange
6. I'm Just A Singer (In A Rock 'n Roll Band)
7. Emily's Song
8. King And Queen
9. Had To Fall In Love
11. The Voice$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Days of Future PassedMastered by Joe Reagoso from the original Deram Records tapes!
The Moody Blues Days In The Future Passed was an artistic crowning achievement for the ages. Containing 2 hits with Tuesday Afternoon and the monumental Nights In White Satin, which not only charted in 1967 but then again in 1972! Friday Music is very proud to announce The Moody Blues 180 Gram Audiophile Vinyl Series with our first installment of their mind blowing classic 45th Anniversary Edition of Days Of Future Passed. This limited edition classic will be a much welcomed and important addition to your collection.1. The Day Begins
2. Dawn: Dawn Is a Feeling
3. Morning: Another Morning
4. Lunch Break: Peak Hour
5. Tuesday Afternoon (Forever Afternoon)
6. Evening: the Sun Set: Twilight Time
7. Night: Nights in White Satin$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Days Of Future PassedNovember 2017 is the 50th Anniversary of The Moody Blues' Days of Future Passed, one of the first albums to fuse rock music with an orchestra, DOFP is now regarded as one of the albums that gave birth to Progressive Rock.1. The Day Begins
2. Dawn: Dawn Is A Feeling
3. The Morning: Another Morning
4. Lunch Break: Peak Hour
5. The Afternoon
7. The Night$24.99Vinyl LP - Sealed Buy Now
Days Of Future Passed LiveDays Of Future Passed Live at the Sony Centre for the Performing Arts, Toronto, 2017.$29.99Vinyl LP - 2 LPs Sealed Buy Now
The Other Side Of Life
Celebrate 3 Decades of The Moody Blues' Wildest Dreams!
First Time 180 Gram Vinyl & Gatefold Presentation
Mastered impeccably by Joe Reagoso (The Moody Blues)
Mastered Impeccably By Joe Reagoso From The Original Threshold Records Tapes
In 1986, The Moody Blues' "The Other Side of Life" album and their top charting hit single "Your Wildest Dreams," truly made this one of the most important chapters in their stellar career. Not only did millions of fans support this incredible masterwork, but it also received accolades from the young fans of MTV, which garnered the legends a Billboard Video of the Year award for the smash hit song. "The Other Side Of Life" Lp features nine stunning performances from the talents of Justin Hayward (guitar/vocals), John Lodge (bass/vocals), Patrick Moraz (keyboards & formerly of Yes), Ray Thomas (flutes/vocals) and Graeme Edges (drums/vocals).
The top ten album achieved platinum status, with even more smashes like "Rock and Roll Over You" and the brilliant "The Other Side Of Life", which takes the listener back to their "Days Of Future Passed" into the modern era of "Long Distance Voyager."
Power ballads were always Justin Hayward's specialty as "I Just Don't Care Anymore" chalks up another home run, along with the hard rockin' "Running Out Of Love" both of which made this one of The Moodies most popular albums.
Friday Music is honored to announce the 30th Anniversary Limited Edition of The Moody Blues masterpiece "The Other Side Of Life." Mastered impeccably by long time friend and fan Joe Reagoso, this superlative first time 180 Gram Audiophile Vinyl Lp is also featured in a first time gatefold cover presentation for a very limited time.
In Your Wildest Dreams1. Your Wildest Dreams
2. Talkin' Talkin'
3. Rock 'N' Roll Over You
4. I Just Don't Care
5. Running Out Of Love
6. The Other Side Of Life
7. The Spirit
8. Slings And Arrows
9. It May Be A Fire$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
In Search Of The Lost Chord
The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!
Celebrate 4 Decades Of Their Legendary Psychedelic Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!
Mastered Impeccably By Joe Reagoso From The Original Deram Records Tapes
In Search of the Lost Chord was another huge platinum plus smash for The Moody Blues and a stellar continuance
of their progressive rock sound for the fans of this legendary English quintet. Featuring the original award winning lineup of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/flutes), Ray Pinder
(lead vocals/keyboards) and Graeme Edge (drums/vocals), In Search of the Lost Chord is undoubtedly one of their biggest
selling albums and also one of the finest offerings in their huge catalog.
Buoyed by the success of the hit single Ride My See-Saw, their definitive follow up to Days of Future Passed, In Search of the Lost Chord was filled with more hypnotic rockers like the powerful Ray Thomas classic Legend of a Mind, John Lodge's masterpiece House of Four Doors, plus the legendary Justin Hayward's prog-rock
champion Voices in the Sky.
The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
the acid rock sounds of The Best Way to Travel and the album's stellar closer Om, as well as the ever talented Graeme
Edge's distinctive drum work throughout the LP and his lyrical prowess with the album's well known classics The Word
The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, In Search of the
Lost Chord became the album of choice for radio programmers in 1968. All in all, a hypnotic and spirited set from this
very important and much loved classic rock band.
This amazing album has been out of print on vinyl for many years, that is until now
Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
with their masterpiece In Search of the Lost Chord. Mastered impeccably from the original Deram Records tapes by Joe
Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.
For this special limited edition, we have also included the original full color album cover in gatefold style for the first
time since it was released in 1968, complete with the great music you will always remember from this historic classic.
In Search of the Lost Chord from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from your friends at Friday Music We're All Looking For Someone1. Departure
2. Ride My See-Saw
3. Dr. Livingstone, I Presume
4. House of Four Doors
5. Legend of a Mind
6. House of Four Doors (Part 2)
7. Voices in the Sky
8. The Best Way to Travel
9. Visions of Paradise
10. The Actor
11. The Word
12. Om$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Beak & Claw (Discontinued)Comes with a digital download card! Stranger things have happened, but rarely do they make such beautiful music. The three esses that comprise the enigmatically titled s / s / s are as follows: Sufjan Stevens, he of the Fifty States Project and various baroque folk-pop opuses; Serengeti, the wry-witted rapper known for in-depth on-record character studies; and Son Lux, silken-voiced singer, studio wizard and singular beatsmith. The project's roots reach back to 2009's Dark Was the Night compilation, where Stevens and Geti met over a Buck 65 remix of a song written by psych-folkie Castanets. Continuing in the spirit of (unlikely) collaboration, the pair passed beats and raps back and forth, eventually enlisting Son Lux to dream Beak and Claw into fruition.
While this momentous EP comprises a mere four songs, each covers an immense stretch of sonic territory and emotional range. At six minutes, "Museum Day" may be the most adventurous and also the most satisfying, opening with a swath of AutoTuned heartache courtesy of Stevens, cresting with the darkly detailed raps of Geti, and closing in a hail of crashing cymbals, orchestral glitch and haunted coos from Son Lux. "Beyond Any Doubt" exchanges that taut splendor for deeper grooves whose farthest-out moments bring to mind Shabazz Palaces' cracked futurisms, albeit spiked with a falsetto'd pop hook. Fuzzy bass and industrial clang crash into lines about unrealized escapism and unpaid bills. Shara Worden of My Brightest Diamond lends "If This Is Real" its Andrews Sister-like chorus, an immaculate contrast to the aural chaos that eventually overtakes the song. Meanwhile, Doseone (Subtle, Themselves) lends a similar buoyancy to "Octomom," an electrospackled, mostly spoken piece that plays like a Laurie Anderson track for the reality television generation (also featuring jaw harp and harmonica by Ohio folk vet Hal Walker). Because of its subject matter, this final song goes a long way to illustrating Beak and Claw's strange magic and, ultimately, why s / s / s works at all. Geti's humor and humanity are matched by playfulness and poignancy every step of the way. In the end, sublime confluence prevails.1. Museum Day
2. Beyond Any Doubt
3. If This Is Real
4. Octomom$13.9912 Vinyl LP - Sealed Buy Now
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now
POSTERThe Tijuana Panthers are from Long Beach, a great band, staring at the sea, staring at the sand... POSTER is their latest album. POSTER? As in Post Punk? Post Surf? Post Cowpunk? How about post any wave that has come and gone and will come back and go again? Post all that. How about putting the 'post' back in posterity? POSTER is another great record by the Tijuana Panthers! Not just for posterity's sake - for RIGHT NOW! Earlier Tijuana Panthers albums were urgent - as if cranking out the hits was objective number one. They cranked out the hits and they did it true. From point A to point B. But POSTER is the Tijuana Panthers now, at their most confident and present minded. They have arrived. They've stepped out of the past or future and into the now. Go back if you must to revisit the hits, but POSTER is now, I say! There is no longer a race against time. On this album the hit feeling is all around you. They are exploring the time and space of that feeling. Sounds come and go, maybe to return, maybe not. This is the Tijuana Panthers freed from the tried and true structure. They have freed themselves only to be trapped again and again, in this moment, making noise, stretching out, letting odds and ends fall where they may. After all, this album was recorded in just two days! No time for fallacy! No time for façade! POSTER is but a moment to be lived and continually re-lived! What else do we have? Truth itself?! All I know - and can ever know - is this moment now, POSTER, apartment windows opening and closing, lyrics passing like ads on buses, tones swelling and crashing through breezeways.1. Foolish
2. Church Bell
3. Set Forth
4. Send Down the Bombs
5. Power Plant
6. Miss You Hardly Know Me
7. Gated Patio
8. I Hate Saturday Nights
9. Front Window Down
11. Right and Wrong
12. Trujillo$17.99Vinyl LP - Sealed Buy Now
Santa Rosa FangsSanta Rosa Fangs is a stirring, stunning, and cinematic look and listen into the sometimes autobiographical, sometimes fictional journey of the venerable California musician Matt Costa through the tangled groves and grapevines of his home state.
Throughout the album's twelve songs, Costa illuminates what he has learned and how he has grown in the past 15 years of his career. His music has taken him around the world, allowing him to work with diverse, respected artists and to connect with people everywhere-from his albums released on Brushfire Records to recording with Belle and Sebastian in Glasgow, to penning film scores and releasing a variety of genre-bending EP's, and to finally coming home to Los Angeles's Dangerbird Records for his first new proper full-length release in nearly five years. A rebirth in a sense, through his keen pop sensibility, studious songwriting, technical mastery, and a modern-meets-vintage sound bursting with bite, Costa has recorded the album of his career, one sure to reach new shores and sailors alike.
"In the past 15 years of my career, I feel I've continually been breaking through, speaking out, and reaching different people," Costa says. "If one of my songs connects now to someone who didn't connect before, then we have a dialogue together. That's the point of music, to have that dialogue and tell a story, and to entertain with a sound that has depth."
He began the recording of Santa Rosa Fangs over a year and a half ago, though some songs here predate that mark. Over the past few years, Costa had challenged himself to explore new terrain, from the acoustic-fingerpicking/lo-fi garage/experimental sounds of 2015's EP's to the acid-washed and reverb-laden soundtrack to the film Orange Sunshine to another complete album that never saw the light of day. Realizing he sought a collection of dyed-in-the-wool songs rather than sonic experiments, in July of 2017 he and producers Peter Matthew Bauer (The Walkmen) and Nick Stumpf (French Kicks) entered a studio to begin work.
"There's a difference when I sit down to write sonic textures and when I sit with a guitar or piano and write a song," he says. "These new songs went back to a traditional sense, and when stripped back to their purest form, they still work. They tell a story, the melodies aren't leaning on anything, and they make instrumentation around them come to life in a new way, but their core is strong. My goal for the EP's was to develop conceptual ideas, making each one in a short period and with their own concepts; Orange Sunshine was a bigger exercise in that. Now, this record is all of those things I was exercising come into their own. It's more of a visualized record that takes you into the world of the Santa Rosa fangs."
The tale of Santa Rosa Fangs centers around a young woman named Sharon, her two brothers Ritchie and Tony, and their story of love, loss, and coming of age in a timeless yet contemporary California. It is replete with long distance love affairs and nostalgic romances woven through the loom of tragedy and time. Interestingly, rather than setting out to create a specific narrative, Costa began noticing a theme in the new songs as he wrote them: an unconscious embodiment of the surroundings in which he himself had grown up. According to Costa, the titular teeth refer to that inescapable feeling of a romantic, tragic, and eternal bite that certain places and events will always hold on us.
"I've interwoven my own stories into a fictional idea of what 'Santa Rosa Fangs' is, from my own time spent living in Northern and Southern California and years driving up and down the coast, seeing the landscape and where life can pull you within one state," Costa says. "It is all these things-the 'bite that is eternal, the smile in the neon'-and it has fangs. They stick with you: the romantic, the tragic, all that. It's the characters' story and my story, too, contemporary but still tortured by the past. It's a window into a time period but spoken as if it's the present. The beauty of love and loss doesn't have a date on it; it's timeless."
The album follows the siblings as they search for love and meaning in their lives, which are ultimately cut short by the passing of both brothers in unrelated accidents. Sharon, left battling with her own mortality and forced to see through a shattered lens, becomes the story's grieving, guarded hero and, as Costa says, is "a little bit me, and a little bit everyone." Similarly, the origin of the characters has one foot in reality and one in the ether. The song "Ritchie" is based on a true family saga, as two of Costa's cousins were twin brothers who died within a year of each other in motorcycle and car accidents in the early 1980s. Likewise, "Phosphorescent Letter" is the story of a local friend's daughter who endured a long-distance, online relationship with a boyfriend in Australia; in that dramatic situation Costa saw a through-line for Sharon's tale. "Because she is so tortured by loss she's afraid of love, so she sets herself up for a distant relationship, illuminated on her phone," he says. "It's a real-love thing that happens frequently these days."
Other concrete inspirations found their way into Santa Rosa Fangs as well. Costa imagined his creations in a setting similar to that of a Jim Jarmusch film, with dramatic events unfolding around them as they attempt to go about their daily lives as earnestly as possible. He also cites Bruce Springsteen's Nebraska as an influence for its songs and characters as well as its moments of sparseness. Like that iconic record, the cover of Santa Rosa Fangs is a stark black-and-white photograph tinged with deep red text, featuring three youths running along a freeway overpass. It's not clear whether the trio-Costa's real-life Orange County neighbors-are sprinting for joy or to escape some unknown entity; Costa hints that to him they are running away from the grabbing hands of time. "The song 'Time Tricks' is about that, too: it's inevitable and coming for you."
Costa also found inspiration in working with Bauer and Stumpf, whom he had previously admired from a distance and whose music resumes he respects greatly. "I really connected with Pete and Nick and took their lead on several ideas," he says. "That's why you partner with someone-you want their input. I shaped things a little differently by listening through their ears than I would have otherwise." Costa cites "Real Love," an upbeat, heavy tune written in 5/4 time, as such a moment of collaboration. Originally intended as an acoustic song, he was encouraged by his producers to approach it from a fresh direction. "I had done that sort of thing before, a Nick Drake, fingerpicking type thing," he says. "Pete and Nick inspired me to take it to a new place. To write a driving rock song in 5/4 is a real challenge, but I had the basis in my pattern and we all drove it home with a really strong beat. On my own I might have stuck with a simpler take, but it felt good to tackle some new ground."
In another circumstance, Costa again came up with two variations of the same song, but rather than being forced to choose between the two, he simply used both. As a result, "I Remember It Well" bookends the album, first as a rollicking, piano-driven number that sets the record's tone and pace, and second as a sparser, quiet version to end it. The latter was the initial version and was also the first song written for the album some four years ago. "That song is both the entrance and exit to this world, and also shows the process of how you can take a song, do it two ways, and both can be impactful and give you different feelings."
No matter how his process or approach may change-in the present moment or in any era of coming-of-age throughout his decade-and-a-half-long career-Costa recognizes that one unique thing in his work will always stay the same: his perspective. "Essentially, what it comes down to is this: I sit down with a guitar, and these are songs," he says. "I've worked hard to understand how to produce them in certain ways. You can try to dress up a song and put a different sound to it, but if the song isn't that kind of song then it's not going to work. I've had to exercise both of those qualities equally-to know how to develop these sounds sonically, and then when I know sonically where I want it to go, I have to write to that. I guess that knowledge comes with 15 years of songwriting experience. I couldn't have made this record any other time than now."
For Matt Costa, the world of Santa Rosa Fangs is the past, present, and future of his life all rolled up into one long stretch of sunlit California coastline.1. I Remember It Well
4. Pacific Grove
5. Santa Rosa Fangs
6. Time Tricks
7. Coming Around
9. Phosphorescent Letter
10. Windy Smile
11. Real Love
12. I Remember It Well #2$20.99Vinyl LP - Sealed Buy Now
The Satanist (Awaiting Repress)
Exclusive Bonus Track
Double Gatefold Jacket
24-Page LP Sized Book
"The Satanist is magic. It's dangerous. It's adventurous, and it's organic," states Nergal, the driving force behind Behemoth since their inception in 1991, and brief exposure to the band's tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing, densely layered, brutally violent and sinister record, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention, offering ever greater sonic and emotional depths with every listen. "You may hear the title and think it's very primitive and one-dimensional, and yes it is, but when you look beyond that it's as primitive as it is complex and multidimensional, and that applies to everything about the record."
It has been a rocky road leading to the realization of the album. Having dropped 2009s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world, and playing some of the best shows of their lives the band seemed truly unstoppable. But, in August 2010 Nergal was diagnosed with leukemia, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation. "I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can't control. The sooner you realize which is which it's going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference."
Rather than immediately getting down to working on a new album, the band - also comprised of drummer Inferno, bassist Orion, and guitarist Seth - set out to complete the abandoned touring cycle for Evangelion, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal's mind. "I was a fucking wreck, and I almost didn't make it to the end of the set. The venue was really smoky, and that was stuffing my nose and my lungs, and physically I felt that I couldn't pull it off. I did, but I was close to passing out on stage. I was literally shocked by this, I remember thinking while we were playing shit, what if I can't do this anymore? I'm just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident, and aware of the fact that yes, we will do this."
Having returned to full force the band were ready to once more move forward, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful - and successful - as Evangelion Nergal faced no such doubts. "I don't race myself, and I don't need to prove anything to anyone. Evangelion was a very important record to us, and yes, it was very successful too, but in making The Satanist it wasn't a point of beating that. The point was to do what was organic, and make a natural and honest and sincere album, and that's it. Now the record is finished I like to think of it as an album that is just so different that you can't really compare it to our previous works, which is the best outcome I could hope for." One thing is inarguable, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density, but there is intricacy to this, and nothing is forced or contrived. "I don't have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them, but there's never a one hundred percent guarantee he's going to become a lawyer and not a serial killer. It's the same story with the records - we supply the elements but we just don't know how these elements mixed together are going to come out, and I think it's fortunate that we don't have one hundred percent control over it! It makes for something special."
The title of the record itself is undeniable in its power, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. "To me it's not pretentious at all. It's very straight up, very sincere, and a devastating, conquering statement. There's no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it's a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you're going to hear a hundred different opinions, which they can then discuss and fight over." Likewise, Nergal views the lyrical content of the record as similarly open to interpretation, encouraging this. "There's a lot of symbolism and reflections and impressions in there, and it's using millions of metaphors to express a certain very sinister and very captivating atmosphere, but there are no answers. People always like to have a deeper insight into what we do, but that's not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire, but what we're doing is just giving you the matches, giving you the spark, what you want to do with it is up to you. Personally, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts, it's a never ending process, and that's exciting to me."
Twenty-three years and ten albums into their career, that Behemoth is still in the ascendant is a statement to their commitment, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song, but don't expect them to disappear any time soon. "I remember before we we had a record deal I was having a conversation with Baal, the band's original drummer, and we said okay, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more, and there was something about that that had an appeal, but y'know what, it doesn't work like that for individuals like myself. Hunger has always driven me through life, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now, over two decades later it's the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art - but then again, I remember that conversation with Baal, and I know it doesn't work like that, so I know there will probably be other incarnations of our artistic identity, one way or another. All I know is I love being here and now, and I just want to underline that I couldn't be more proud and happy with my own music. It really drives me through the day, and now I just want to sit back and hear any and all opinions of it."1. Blow Your Trumpets Gabriel
2. Furor Divinus
3. Messe Noire
4. Ora Pro Nobis Lucifer
6. The Satanist
7. Ben Sahar
8. In the Absence ov Light
9. O Father O Satan O Sun!$44.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Salad Days (Out Of Stock)"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's
second full-length LP 'Salad Days,' the follow up to 2012's lauded 'Mac DeMarco 2.'
Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone
for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the
positives and negatives of their current situation at the ripe old age of 23.
Written and recorded around a relentless tour schedule (which picked up all over again as
soon as the LP was done), 'Salad Days' gives the listener a very personal insight into what
it's all about to be Mac amidst the craziness of a rising career in a very public format. The
lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like
"...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same
record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes
from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful
crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration.
Standout tracks like these show Mac's widening sound, whether insights into future
directions or even just welcome one-off forays into new territory.
Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through.
The same crisp John Lennon / Phil Spector era homegrown lush production that could have
walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's
completely of right now. "Brother," a complete future classic, is Mac at his most soulful and
easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco.
"Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning
vocal melodies, effortless chords that come along only after years of effort, and the other
elements seriously lacking in independent music: sentiment and heartfelt sincerity.
We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this
and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or
preparing for one... or maybe already writing new music. A relentless work ethic is something
to be admired in today's indie music scene, but when it's of the quality Mac is giving us time
and time again, it starts to turn from admiration to awe1. Salad Days
2. Blue Boy
4. Let Her Go
5. Goodbye Weekend
6. Let My Baby Stay
7. Passing Out Pieces
8. Treat Her Better
9. Chamber Of Reflection
10. Go Easy
11. Jonny's Odyssey$25.99Vinyl LP - Sealed Temporarily out of stock