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  • Days Of Future Passed Days Of Future Passed Quick View

    $24.99
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    Days Of Future Passed

    November 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

    6. Evening

    7. The Night
    Moody Blues
    $24.99
    Vinyl LP - Sealed Buy Now
  • Moody Blues: Collected Moody Blues: Collected Quick View

    $42.99
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    Moody Blues: Collected

    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


    LP 2
    1. Candle Of Life
    2. Melancholy Man
    3. Question
    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
    10. Driftwood
    11. The Voice

    Moody Blues
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Days of Future Passed Days of Future Passed Quick View

    $31.99
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    Days of Future Passed

    Mastered 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
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Days Of Future Passed Live (Pre-Order) Days Of Future Passed Live (Pre-Order) Quick View

    $29.99
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    Days Of Future Passed Live (Pre-Order)

    Days Of Future Passed Live at the Sony Centre for the Performing Arts, Toronto, 2017.
    The Moody Blues
    $29.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Salad Days Salad Days Quick View

    $25.99
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    Salad Days

    "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 awe

    1. Salad Days
    2. Blue Boy
    3. Brother
    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
    Mac Demarco
    $25.99
    Vinyl LP - Sealed Buy Now
  • The Other Side Of Life The Other Side Of Life Quick View

    $31.99
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    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.


    Enjoy ..


    In Your Wildest Dreams

    1. 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
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • In Search Of The Lost Chord In Search Of The Lost Chord Quick View

    $31.99
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    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
    and Departure.


    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 Someone

    1. 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
    Moody Blues
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Ceremony Ceremony Quick View

    $18.99
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    Ceremony

    It 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
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • POSTER POSTER Quick View

    $17.99
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    POSTER

    The 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
    10. Monitor
    11. Right and Wrong
    12. Trujillo
    Tijuana Panthers
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Satanist (Out Of Stock) The Satanist (Out Of Stock) Quick View

    $44.99
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    The Satanist (Out Of Stock)


    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
    5. Amen
    6. The Satanist
    7. Ben Sahar
    8. In the Absence ov Light
    9. O Father O Satan O Sun!
    Behemoth
    $44.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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