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Drake And Future'
What A Time To Be AliveWhat a Time to Be Alive is a collaborative mixtape by hip hop recording artists Drake, and Future. It was originally released on September 20, 2015.1. Digital Dash
2. Big Rings
3. Live From The Gutter
4. Diamonds Dancing
6. Plastic Bag
7. I'm The Plug
8. Change Locations
11. 30 for 30 Freestyle$19.99Vinyl LP - Sealed Buy Now
The Documentary 2.0 (Limited Edition)180 Gram Limited Edition Red Colored Vinyl
Features Kanye West, Drake, Lil Wayne and Kendrick Lamar!
The Documentary 2 sounds effortless and winds up awesome because of it, with singles like 100 featuring Drake and Summertime with its Mike WiLL Made It beat both coming off as cool-headed classics. Dre and Ice Cube show up for the key cut Don't Trip, while appearances from Ab-Soul, Future, and DeJ Loaf prove the Game is up on current events. Somewhere in between are appearances from Kanye West, Kendrick Lamar, and Q-Tip, all assisting the MC on this worthy and downright exciting sequel.
Ten years after what's widely considered to be GAME'S best album, the Compton rapper is now on his 6th album, and he thinks the DOCUMENTATRY 2 will be his best yet, saying, "The Old Me Was Wack! I'm better than that now." - HOTNEWHIPHOP1. Intro
2. On Me Featuring Kendrick Lamar
3. Step Up Featuring Dej Loaf & Sha Sha
4. Don't Trip Featuring Ice Cube, Dr. Dre & will.i.am
5. Standing on Ferraris Featuring Diddy
6. Dollar and a Dream Featuring Ab-Soul
7. Made in America Featuring Mvrcus Blvck
8. Hashtag Featuring Jelly Roll
9. Circles Featuring Q-Tip, Eric Bellinger & Sha Sha
10. Uncle Skit
11. Dedicated Featuring Future & Sonyae
12. Bitch You Ain't S-
13. Summertime Featuring Jelly Roll
14. Mula Featuring Kanye West
15. The Documentary 2
16. New York, New York
17. 100 Featuring Drake
18. Just Another Day
19. LA Featuring Snoop Dogg, will.i.am & Fergie$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Evening Visits...And Stays For YearsBorn of the small but vibrant Brisbane punk/new wave scene of the late Seventies, Peter
Milton Walsh began to cultivate the mysterious, moody myth that would follow him through
out his career that has taken him around the world. But before setting out abraod, Walsh
certainly made his mark on the Brisbaine scene. His band, The Apartments, formed in 1978
and spent the next year playing ample amounts of shows around Brisbaine. With a reputation
that preceeded him, Walsh was saught out by Robert Forster and Grant McLennan,
members of one of Brisbaine's most noteworthy bands, The Go-Betweens. Having been
offered an 8 album deal by Beserkly Records, Forster and McLennon asked Walsh to join
The Go-Betweens as their fourth member in late 1978. The union was, however, short lived.
There were personality differences, which led McLennon to famously say "Walsh is night, we
are day. We're sun, he's rain.".
After the deal with Beserkly fell through, Walsh returned to The Apartments, leaving The
Go-Betweens as a three piece. They went on to affectionately write a song for Walsh,
entitled "Don't Let Him Come Back", which included the line "Here he comes, with his twelve
o'clock junk...who's that dressed in black? Who's that in his apartment?". Things weren't sour
between the two bands and The Apartments recorded their first EP, "Return of the Hypnotist"
on The Go-Between's Able Label. But before the EP was even released, The Apartments
broke up and Walsh left for New York City. During his time in NYC, Walsh played
mustic with a number of bands and recorded many songs that would serve as demos for
future releases for the still defunct Apartments.
Returning to Australia in 1984, Walsh got the band back together and recorded a few
singles, including "All You Wanted". All the while the band were also recording demos, which
led to a record deal with London's legendary Rough Trade Records, prompting Walsh to
move to London. It was there that he recorded his first proper LP, "The Evening Visits... And
Stays for Years". The album received strong praise and drew comparisons to a wide range of
acts such as Cocteau Twins, Nick Drake and Bob Dylan. The NME said of the record ""after
whetting our appetites with last year's classic import single 'All You Wanted' The Apartments
have stunned us to a reverential silence. This album is a pure heart-wrencher, and should
only be listened to after dark.".
Although The Apartments and Walsh continued to tour and record with a variety of line ups,
it is these early works that provide a definitive look at their sound. Available all together
for the first time, Captured Tracks are pleased to present "The Evening Visits... And Stays for
Years" along with "The Return of the Hypnotist", the "All You Wanted" single and a collection
of demos from "The Evening Visits...". Complete with liner notes by Robert Forster and Walsh
himself, this increadible collection of Walsh's first seven years of recordings is not to be missed.LP1: The Evening Visits... And Stays for Years:
1. Sunset Hotel
2. Mr. Somewhere
3. What's the Morning For?
4. All the Birthdays
5. Great Fool
6. Speechless with Tuesday
7. Cannot Tell the Days Apart
8. Lazarus, Lazarus
9. The Black Road Shines (On Rainy Nights)
LP2: The Last Look is a Stare:
2. Nobody Like You
4. All You Wanted
5. Fever Elsewhere
6. Sunset Hotel
7. What's the Morning For?
8. All the Birthdays (Demo)
9. Great Fool (Demo)
10. The Black Road Shines (On Rainy Nights) (Demo)$32.99Vinyl LP - 2 LPs Sealed Buy Now
Souled Out (Awaiting Repress)JhenÉ Aiko's full-length is a testament to the power of patience. Though she's only 26, the Los Angeles native has been at it for more than a decade - first, inauspiciously, as a satellite artist hovering in the orbit of prefab new-jack teens B2K. When pretending to be Lil' Fizz's cousin didn't bring her R&B domination, she took time off to finish school, start a family, and develop her songwriting chops, which led to increasingly high-profile collaborations with the likes of Drake, Miguel, and Kendrick Lamar.
Much of Souled Out is far more pop-friendly than last year's Sail Out EP (which yielded ''The Worst,'' her first Billboard Hot 100 moment), but Aiko's lush, glowing compositions do take time to reveal themselves. Take ''W.A.Y.S.,'' which opens with a lazily strummed guitar, then welcomes in a distant, ominous drum march. Slowly, everything widens and deepens as Aiko croons like a millennial shaman, ''You have got to lose your mind/Just to find your peace of mind.''
That process repeats itself throughout Souled; the more you give in to tracks like the hypnotic, undulating ''To Love & Die'' and the gently lapping ''Eternal Sunshine,'' the more they take hold. Had Aiko followed the muse she was chasing as a teen, ''The Pressure'' would probably have been turned into a disposable piece of Hot 100 radio bait. Instead, like much of Souled Out, it's an otherworldly neck-snapper - the coolest party soundtrack for a parallel dimension where the future of R&B arrived a long time ago.
- Kyle Anderson (Entertainment Weekly)1. Brave
2. To Love & Die (Feat. Cocaine 80s)
3. Beautiful Ruin
4. It's Cool
5. Lyin King
7. The Pressure
8. Eternal Sunshine
9. Limbo Limbo Limbo
12. Pretty Bird$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Come On Die Young (Deluxe Edition) (Awaiting Repress)
Includes Previously Unreleased Takes From Early Chem19 Sessions Of 'Waltz For Aidan', 'Christmas Steps', 'Rollerball' & '7-25' Which Featured On 'Zidane: A 21st Century Portrait'
Includes 7 Remixed/Remastered Tracks From CAVA, Pre-Dating The Final Tarbox Sessions As Well As Two Previously Unreleased Tracks 'Satchel Panzer' & 'Spoon Test'
Includes Rarities 'Nick Drake', 'Hugh Dallas' & The 3 track 'Travels In Constants EP' As Well As The Original, Previously Unreleased Version Of 'Helps Both Ways'
Includes A1 'San Siro' Poster For Mogwai's Barrowland Ballroom Show From October '99
Two Chem19 Demos Are Exclusive To The Boxset: 'Christmas Steps' & '7-25'
Boxset Includes A DVD With 320kbps MP3s & Lossless WAV Audio Files
Arriving in March 1999 with an album cover that referenced The Exorcist and a title scalped from a well-known Glasgow gang slogan, you'd have expected Mogwai's 'Come On Die Young' to be an apocalypse-harbouring, pre-millennial assault on the senses. Instead, we were treated to a darkly elegiac - surprisingly restrained - response to the aural fireworks of their 'Young Team' debut from two years earlier.
Recorded and mixed at Dave Fridmann's Tarbox Road Studios in Upstate New York, 'Come On Die Young' begins with a sample of Iggy Pop eulogizing the genius of punk rock and ends with a track entitled 'Punk Rock/Puff Daddy/Antichrist'. This thoughtful and irreverent diptych enclosed an hour of music that was as beautiful as it was blistering and as poignant as it was unpredictable: preconceptions of what to expect from a Mogwai album, disassembled at a stroke.
'Come On Die Young' was - and remains - a hugely accomplished, elegant and important album, setting a benchmark for the fierce intelligence that would characterize Mogwai's future body of work. The reissue of 'Come On Die Young' - fifteen years after it originally hit the shelves - recognizes the vital role this album played in Chemikal Underground's development as the label approaches its 20th anniversary in 2015. This deluxe edition of 'Come On Die Young' has been painstakingly put together by the band and label, unearthing more than an hour of bonus material.LP 1
1. Punk Rock
3. Helps Both Ways
4. Year 2000 Non-Compliant Cardia
6. Waltz For Aidan
7. May Nothing But Happiness Come Through Your Door
1. Oh! How The Dogs Stack Up
4. Christmas Steps
5. Punk Rock/Puff Daddy/Antichrist
LP 3 (Bonus Material)
1. Nick Drake
2. Waltz For Aidan (Chem19 Demo)
3. Christmas Steps (Chem19 Demo) - *exclusive to boxset
4. Rollerball (Chem19 Demo)
5. 7-25 (Chem19 Demo) - *exclusive to boxset
6. Untitled (Travel In Constants EP)
7. Quiet Stereo Dee (Travel In Constants EP)
8. Arundel (Travel In Constants EP)
LP 4 (Bonus Material)
1. Cody (Cava Sessions)
2. Ex Cowboy (Cava Sessions)
3. Spoon Test (Cava Sessions)
4. Punk Rock: (Cava Sessions)
5. Helicon 2 (Cava Church Live)
6. Satchel Panzer (Cava Sessions)
7. Kappa (Cava Church Live)
8. Helps Both Ways (Original Version)
9. Hugh Dallas$99.99180 Gram Audiophile Virgin Vinyl LPs - 4 LPs Sealed AWAITING REPRESS Buy Now
GratefulGrateful is the tenth studio album by American music producer DJ Khaled, set for release via Epic Records. The album features guest appearances from a wide array of artists, including Future, Travis Scott, Rick Ross, Migos, Chance the Rapper, Nicki Minaj, Kodak Black, Alicia Keys, BeyoncÉ, Jay-Z, Justin Bieber, Lil Wayne, Drake, Rihanna, Sizzla, Mavado, Nas, Calvin Harris and Betty Wright, among others.LP 1
1. (Intro) I'm so Grateful (feat. Sizzla)
2. Shining (feat. BeyoncÉ & JAY Z)
3. To the Max (feat. Drake)
4. Wild Thoughts (feat. Rihanna & Bryson Tiller)
5. I'm the One (feat. Justin Bieber, Quavo, Chance the Rapper & Lil Wayne)
6. On Everything (feat. Travis Scott, Rick Ross & Big Sean)
7. It's Secured (feat. Nas & Travis Scott)
8. Interlude (Hallelujah) (Betty Wright)
9. Nobody (feat. Alicia Keys & Nicki Minaj)
10. I Love You so Much (feat. Chance the Rapper)
11. Don't Quit (with Calvin Harris feat. Travis Scott & Jeremih)
1. I Can't Even Lie (feat. Future & Nicki Minaj)
2. Down for Life (feat. PARTYNEXTDOOR, Future, Travis Scott, Rick Ross & Kodak Black)
3. Major Bag Alert (feat. Migos)
4. Good Man (feat. Pusha T & Jadakiss)
5. Billy Ocean (feat. Fat Joe & Raekwon)
6. Pull a Caper (feat. Kodak Black, Gucci Mane & Rick Ross)
7. That Range Rover Came With Steps (feat. Future & Yo Gotti)
8. Iced Out My Arms ( feat. Future, Migos, 21 Savage & T.I.)
9. Whatever (feat. Future, Young Thug, Rick Ross & 2 Chainz)
10. Interlude (Belly)
11. Unchanging Love (Mavado)
12. Asahd Talk (Thank You Asahd) (Asahd Khaled)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Santa Rosa Fangs (Pre-Order)Santa 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 PRE-ORDER Buy Now
We MoveWritten in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."
The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.
The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.
Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.1. Rising Water
2. I Lie Awake Every Night
3. Last Story
4. One Thousand Times
6. Get Low
7. Killer Whales
8. Seek Another
10. Lost Angles$19.99Vinyl LP - Sealed Buy Now