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The Downward SpiralA bleak and unflinching celebration of self-destruction in the form of a concept record that somehow managed to become a multi-platinum worldwide hit. One of the most adventurous and experimental sounding records to ever top the charts.1. Mr. Self Destruct M
4. March Of The Pigs
7. The Becoming
8. I Do Not Want This
9. Big Man With A Gun
10. A Warm Place
13. The Downward Spiral
14. Hurt$34.99Vinyl LP - 2 LPs Sealed Buy Now
Pretty Hate Machine (2010 Remaster)Fans can now revisit the conception of Nine Inch Nails. Trent Reznor's Null Corporation has teamed up with UMe/The Bicycle Music Company to release Pretty Hate Machine: 2010 Remaster on 12/7/2010. After completing the score for David Fincher's The Social Network, Reznor oversaw the digital remastering of Pretty Hate Machine from the newly unearthed original tapes with engineer Tom Baker (whose NIN credits include The Downward Spiral, Broken, The Fragile, With Teeth and Ghosts). This remastered version includes an eleventh track, a cover of Queen's Get Down Make Love, originally the B-side to the Sin single and produced by Al Jourgensen. Rob Sheridan, NIN's longtime art director, has also re-imagined the packaging of Pretty Hate Machine under Reznor's supervision.
As a young musician in Cleveland, Ohia, Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Trackhead). The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album featured the breakthrough singles Sin, Down In It and Head Like A Hole, and ultimately sold over 3 million copies, reaching Triple Platinum sales status. In the wake of the album's inital underground success, NIN soon developed a reputation as one of the best live acts in rock and jointed the inaugural Lollapalooza tour in 1991. NIN have since sold more than 18 million albums, collected Grammy Awards and headline arenas, amphitheaters and festivals worldwide.
The Bicycle Music Company acquired the rights to Pretty Hate Machine from a division of Prudential Securities in the spring of 2010. It was Bicycle's intention from the onset to enable Reznor to regain some control of this lost piece of NIN's legacy, resulting in this artist approved 2010 reissue of one of music's most groundbreaking and influential albums. Note: The previous CD version was reissued in 2005 but was not overseen by Reznor and is now out of print.
Reznor is currently working on new music as a member of the group How To Destroy Angels, continuing his Nine Inch Nails efforts and composing for future film score projects.1. Head Like A Hole
2. Terrible Lie
3. Down In It
5. Something I Can Never Have
6. Kinda I Want To
8. That's What I Get
9. The Only Time
11.Get Down Make Love (Bonus Track in 2010 Reissue)$34.99Vinyl LP - 2 LPs - Sealed Buy Now
New Exclusive Vinyl Remastering
Deluxe Gatefold Jacket Featuring Special Gatefold Insert
Rotting is the second album by the highly influential Sarcofago. Building upon the raw fury of debut I.N.R.I., the album delves deep through an agnostic downward spiral into the darkest recesses of the human psyche. Occult dark desires, maniacal daydreams, and of course, SEX, DRINKS, AND METAL permeate the entire journey.1. The Lust
2. Alcoholic Coma
5. Sex, Drinks and Metal
6. Nightmare$35.99Vinyl LP - Sealed Buy Now
Music For The MassesInitially the title must have sounded like an incredibly pretentious boast, except that Depeche Mode then went on to do a monstrous world tour, score even more hits in America and elsewhere than ever before, and pick up a large number of name checks from emerging house and techno artists on top of all that. As for the music the masses got this time around, the opening cut, Never Let Me Down Again, started things off wonderfully: a compressed guitar riff suddenly slamming into a huge-sounding percussion/keyboard/piano combination, anchored to a constantly repeated melodic hook, ever-building synth/orchestral parts at the song's end, and one of David Gahan's best vocals (though admittedly singing one of Martin Gore's more pedestrian lyrics). It feels huge throughout, like they taped Depeche recording at the world's largest arena show instead of in a studio. Other key singles Strangelove and the (literally) driving Behind the Wheel maintained the same blend of power and song skill, while some of the quieter numbers such as The Things You Said and I Want You Now showed musical and lyrical intimacy could easily co-exist with the big chart-busters. Add to that other winners like To Have and to Hold, with its Russian radio broadcast start and dramatic, downward spiral of music accompanied by Gahan's subtly powerful take on a desperate Gore love lyric, and the weird, wonderful choral closer, Pimpf, and Depeche's massive success becomes perfectly clear.
- Ned Raggett (All Music Guide)1. Never Let Me Down Again
2. The Things You Said
5. Little 15
6. Behind The Wheel
7. I Want You Now
8. To Have And To Hold
10. Pimpf$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-UMG-1422xThe White Buffalo
Shadows, Greys & Evil WaysThe White Buffalo releases his new record 'Shadows, Greys, and Evil Ways' via Unison Music Group. NPR All Songs Considered has called songwriter Jake Smith "an amazing storyteller" and these 14 songs trace the life story of Joey White, a small town outsider who goes to war and returns home only to find more violence as he struggles to readjust to a life away from the front lines and reconcile with the girl he left behind.
"I look at the whole thing as a love story," says Smith. "The beginning is their meeting, and because of his need and want to support her, he goes off to war, which starts his downward spiral."
Recorded at LA's Unison Music Studios and produced by the Grammy-nominated team of Bruce Witkin and Ryan Dorn, 'Shadows, Greys, and Evil Ways' sees the core trio of Jake Smith, bassist Tom Andrews, and drummer Matt Lynott joined by the likes of drumming legend Jim Keltner on "Don't You Want It" and ex-Jayhawk Jessy Greene.
The White Buffalo has had songs included in both 'Sons of Anarchy' and 'Californication,' and his new song "The American Dream" is included on the soundtrack to 'The Lone Ranger,' starring Johnny Depp, next month. Filter has said "influenced by musicians ranging from Bad Religion to Tom Waits, The White Buffalo is ready to break through and stampede into your speakers" and American Songwriter has praised his "deft songwriting chops and a booming whiskey voice."1. Shall We Go On
2. The Getaway
3. When I'm Gone
4. Joey White
5. 30 Days Back
6. The Whistler
7. Set My Body Free
8. Redemption #2
9. This Year
10. Fire Don't Know
11. Joe and Jolene
12. Don't You Want It
14. Pray To You Now$19.99Vinyl LP - Sealed Buy Now
African PianoSouth African pianist-composer Abdullah Ibrahim, still performing at the time of this 1969 live album under the pseudonym Dollar Brand, unleashed a mastery so enticing on African Piano, it's a wonder that any of the folks at the club where it was recorded had the resolve to treat it as background to their dining. By the same token, reinforcement of that fact by constant ambient noises renders Ibrahim's performance all the more sacred by contrast.
Amid a sea of chatter, cleared throats, and sudden intakes of breath, he breaks the surf with the gentle yet hip ostinato of "Bra Joe From Kilimanjaro," working meditative tendrils into the bar light. Over this his right hand brings about an explosive sort of thinking that spins webs in a flash and connects them to larger others. With clarion fortitude, he drops bluesy accents along the way: a trail of crumbs leading to "Selby That The Eternal Spirit Is The Only Reality." Ironically (or not), this is the most solemn blip on the album's radar and blends into the ivory tickling of "The Moon." Here Ibrahim's heartfelt, dedicatory spirit comes to the fore, proving that, while technically proficient, he possesses a descriptive virtuosity that indeed evokes a pockmarked surface lit in various phases, harnessing sunlight as if it were skin in dense, vibrating harvest. The kinesis of this tune is diffused in the tailwind of "Xaba," which then flows into "Sunset In Blue," in which Ibrahim's ancestral awareness is clearest. The level of respect evoked here for both the dead and the living lends a ritualistic quality by virtue of its tight structuring, which despite hooks at the margins flies freely in its magic circle. "Kippy" is a smoother reverie with flickers of flame. A beautiful amalgam of measures and means, it slips an opiate of reflection into its own drink. After this, the intense two minutes of gospel and downward spirals that is "Jabulani-Easter Joy" takes us into "Tintinyana," thereby crystallizing the album's flowing energies. Tracks bleed into one another: they runneth from the same cup, their spiritual resonance deep and true.
African Piano is a gorgeous, thickly settled album, but one that is always transparent when it comes to origins. Such is the tenderness of Ibrahim's craft, which speaks with a respect that transcends the sinews, muscles, and eardrums required to bring it to life. It finds joy in history, connecting to it like an Avatar's tail to steed.1. Bra Joe From Kilimanjaro
2. Selby That The Eternal Spirit Is The Only Reality
3. The Moon
5. Sunset In Blue
7. Jabulani Easter Joy
8. Tintiyana$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
DawningMight the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.
But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."
The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.
Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.
Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.
- Grayson Currin (Pitchfork)1. Lullabye
2. It Swarms
3. Sharpen Your Eyes
4. How Will This End
6. The Other Son$21.99Vinyl LP - Sealed Buy Now
NegotiationsNegotiations, the fifth full-length album written, recorded, and produced by The Helio Sequence, would sound different had it not been for a flood. In 2009, while touring in support of Keep Your Eyes Ahead, singer-guitarist Brandon Summers got an unexpected phone call in the middle of the night. Back home in Portland, OR, the band's studio/practice space was under nearly a foot of water. Heavy rains had caused the building's plumbing to overflow like a geyser. But Summers and drummer-keyboardist, Benjamin Weikel, were lucky: All of their best equipment was either on tour with them, or racked high enough off the studio floor to be spared.
Still, the band needed a new home. After three months of searching, Summers and Weikel settled into a 1500-square-foot, former breakroom-cafeteria in an old warehouse. They no longer had to work their recording schedule around loud rehearsals by neighboring bands, but were free to create late into the night in uninterrupted seclusion. With twice the square footage, the space also had room for more gear, a lot more gear. They decided to use this opportunity to try something different.
Summers and Weikel, who started playing together in 1996 and self-produced their first EP in 1999, have always been gearheads. But it wasn't until the success of Keep Your Eyes Ahead that they could afford to step things up: The duo spent months (and many hard-earned dollars) retooling their studio. They left behind much of the cleaner-sounding modern digital studio equipment and instruments they'd always relied on, and embraced vintage gear that would color their recordings with a warmer, deeper sound: Tape and analog delays, spring and plate reverbs, tube preamps, ribbon microphones, and analog synths.
As the new studio came together, so did the songwriting. It proved to be the most spontaneous, open, and varied writing process they had ever experienced. Weikel, who was listening to minimalist/ambient composers like Roedelius and Manuel Goettsching, had created dozens of abstract synth loops of chord progressions and arpeggios. The two would put a loop on and improvise together with Summers on guitar and Weikel on drums, recording one take of each jam. Other songs like "One More Time", "October" and "The Measure" quickly formed from rough one-minute sketches by Summers, while the down tempo "Harvester of Souls" was completely improvised musically and lyrically in a single take.
Tempering the free form approach to writing was Summers and Weikel's meticulous attention to production and arrangement. Taking cues from the spaciousness, subtlety, and detail of Brian Eno and late-era Talk Talk records, they moved forward. Listening to the recorded live jam sessions, they set to work transforming the ditties into actual songs. "Open Letter," "Silence on Silence", "Downward Spiral" and the title track - some of the spacier, mesmerizing songs on Negotiations - came together in this way. Summers' one-minute demos were brought to life in collaboration by Weikel spending weeks working on sound treatments and synth landscapes to enhance the songs.
Lyrically, Summers affirmed the improvised ethos, working deep into the night ad-libbing alone in front of the mic, abandoning pre-written lyrics and instead preferring to create in the moment. His delivery was largely inspired by the starkness and understated romanticism of Sinatra's Capitol era "Suicide Albums", imparting a more introspective and personal tone. "I used to view a lyric as a statement," he says, "Now, I see it more as a letter you're writing to yourself or a conversation with your subconscious."
This collection of shimmering, reverb-heavy songs is a meditation on those inner dialogues (hence, Negotiations) with solitude, memory, misgivings, loss, atonement, acceptance and hope. Most of all, it's a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.1. One More Time
3. Downward Spiral
4. The Measure
5. Hall of Mirrors
6. Harvester of Souls
7. Open Letter
8. When the Shadow Falls
9. Silence on Silence
11. Negotiations$19.99Vinyl LP - 2 LPs Sealed Buy Now
OfferingsIf a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon's new release. The 14-track record Offeringsis a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.
The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band's fourth studio album, centers on a fictional man who is losing his memory, and in turn, his sense of self. "I've always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don't know where they came from? What is the essential quality of the person if you strip away all memory?" explains singer/songwriter Kyle Morton.
Motivated in part by his own preoccupation with "losing it," Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. "I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini's 8 ½.And there were a lot of books on my nightstand that played into this. It made it's a much darker album for sure," he says.
Offerings is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.
"I wanted this record to be a journey, like Dante's Inferno. It kicks off with 'Wake,' where the character wakes up and he's shitting the bedand doesn't know what's going on. I was going for a specific feel that Samuel Beckett does so well," says Morton, who was reading Beckett's Three Novels, specifically Malloy, while writing the song's lyrics. "Beckett would call it a literature of impoverishment where he'd strip away as much as he could so he could get a feeling of essence and scarcity; that's what I tried to do musically and lyrically here."
Mission accomplished. Morton also masterfully makes a parallel with the character's journey to the state of the world today starting with the second track, "Rorschach," which looks at the age of information and collapse of meaning.
"But, by the third song, 'Empiricist,' there's a regression to the womb where the character is back in his bed at home,talking about his range of motion shrinking. This first movement ends with 'Algernon' [taken from one of Morton's favorite short stories, Flowers for Algernon, by Daniel Keyes], where he's constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn't."
Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character's fear and anxiety. "The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel," says Morton.
To set the right tone for the story, Morton went for a less horns, more guitar approach. "We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it's very guitar-based. It's going back to my rock roots before Typhoon," says Morton.
The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. "I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven't learned the lessons of our past, historically, we can't recognize when elements come back to haunt us, which is what's happening right now," he adds.
One choral part ("Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure") was especially inspired by current politics. "I had Steve Bannon in mind quite a bit when I was writing these choral parts because I'm taking on this world view that I don't agree with, which is that the world needs a bloody struggle to reset -bring on the demolishing of order," he says.
The character's downward spiral continues through the album's second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with "Coverings," which is the first song Morton ever co-wrote with a band member -Shannon Steele, who also sings on it. (Steele lends her vocals to the end of "Bergeron," as well.)
"'Coverings' takes the story into the devil's mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles," he explains.
"At the same time, on the worldly scale," continues Morton, "this is the point where we don't have any public trust and there's no cultural memory, there's just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it's that -Without reference, you have an interesting concept of infinity, which can be really bad."
As the album comes to a close with the acoustic "Sleep," the character decides that instead of taking part of the chaos, he'd rather sacrifice himself. But there is light at the end of this dark, emotional journey. "The secret track, 'Afterparty,' is where he finds peace and freedom. It's his homecoming. He's on the other side of it now and has found his version of Heaven," says Morton.
It's this level of intricacy in Typhoon's storytelling and musicianship that has helped Typhoon become one of indie rock's most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard's Heatseekers Album Chart and got Best of The Year nods from NPR and Paste.Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.
Adds Morton of Offerings, "I kind of wanted to make a dystopian record. If it's nothing else, it's that. If I could write my own one-line review, I'd think I'd want people to say, 'It's disturbing and unfortunately correct."1. Wake
14. Sleep$29.99Vinyl LP - 2 LPs Sealed Buy Now
Veruschka Soundtrack (Out Of Stock)Pressed On Pink & White Colored Vinyl
Ennio Morricone's famous soundtrack composed for the 1971 Franco Rubartelli documentary Veruschka, Poesia di una Donna about the legendary VERUSCHKA, the world's first supermodel, a real 60's/70's icon, who appeared in several cult movies including Blow Up (1966), Salome (1972) and Coleur Chair (1978).
In the Rubartelli movie, we follow the beautiful model in a shockingly surreal journey through the rural countryside of Italy on a downward spiral of self-discovery that leads her through so many whacked out head trips; heavily dark and sad with some of the most stunning psychedelic eye candy you can find from the freak-out era of filmmaking, perfectly tuned with one of Ennio Morricone's best scores.
A true one of a kind of experience!LP 1
2. Intervallo I
3. La Bambola
4. Astratto I
5. La Spiaggia
6. Dopo L'Intervista
7. Poesia Di Donna
8. Le Fotografie
9. La Bambola (#2)
1. Intervallo II
3. Astratto III
4. Veruschka (#2)
5. Astratto II
6. Veruschka (#3)
7. Astratto IV
8. La Bambola (#3)
9. Astratto V
10. Poesia Di Donna (#2)
11. La Spiaggia (#2)
12. Astratto VI
13. Poesia Di Donna (#3)
14. La Bambola (#4)
15. Veruschka (#4)$45.99Colored Vinyl LP - 2 LPs Sealed Temporarily out of stock