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  • Everything Now (Day Version) Everything Now (Day Version) Quick View

    $26.99
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    Everything Now (Day Version)

    Everything Now is Arcade Fire's fifth album and first release under its new partnership with the global media and e-commerce platform Everything Now in synergy with the Sony Corporation.

    The album was recorded at Boombox Studios in New Orleans, Sonovox Studios in Montreal, and Gang Recording Studio in Paris, and produced by Arcade Fire, Thomas Bangalter, and Steve Mackey, with co-production by Markus Dravs.

    1. Everything Now (Continued)
    2. Everything Now
    3. Signs Of Life Arcade Fire
    4. Creature Comfort
    5. Peter Pan
    6. Chemistry
    7. Infinite Content
    8. Infinite_content
    9. Electric Blue
    10. Good God Damn
    11. Put Your Money On Me
    12. We Don't Deserve Love
    13. Everything Now (Continued)
    Arcade Fire
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Everything Feels Better Now Everything Feels Better Now Quick View

    $16.99
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    Everything Feels Better Now


    Limited Edition Pink / Lime Green Colored Vinyl


    "Drawing a bit from the Ben
    Gibbard school of vocalization,
    a little slice of pop perfection"
    - A.V. Club


    "With velvety vocal
    arrangements and punch lyrics
    that explore the abstract
    meanings of life and death
    Absent Sounds is barefaced,
    American alt-rock done
    exceptionally well." - Nylon


    From Indian Lakes return with their 3rd full length Everything Feels Better Now. The new full length was recorded with producer
    Kevin Augunas (Edwards Sharpe & The Magnetic Zeros, Cold War Kids, Needtobreathe) at the legendary Sound City Studios
    a.k.a. Fairfax Recording. From Indian Lakes took a very different approach on this record with songwriter and singer Joey
    Vannucchi recording all instruments and vocals for the album. "I feel like I had to write a ton of songs before I could get to this
    sound, took time off from doing anything really. When it came time to record I wasn't sure what to expect. Every time I think I've
    gone as deep as I can, I peel back skin and discover another layer that's been there waiting. That's what this album is" Vannucchi
    said about making the record. Everything Feels Better Now picks up where Absent Sounds left off and adds an element of dream
    pop to an already expansive sound.

    1. Happy Machines
    2. The Monster
    3. Blank Tapes
    4. Bare It
    5. Hello
    6. Feel Love
    7. American Dreams
    8. Nome
    9. Sunlight
    10. Come Back
    11. Lose Myself
    12. Rid Of It
    From Indian Lakes
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Now That Everything's Been Said Now That Everything's Been Said Quick View

    $22.99
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    Now That Everything's Been Said

    We all know the Carole King who wrote some of the biggest hits of the '60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between-and not nearly as well known-is King's band, The City, and their album, Now That Everything's Been Said.


    By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s.


    Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track "Wasn't Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.


    King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years-partly at King's request. Even so, its failure was a surprise to those concerned. "I was 26 when Now That Everything's Been Said was released in 1968," King says of the album. "[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album's success as if it had already happened. Danny and Charlie kept telling each other, 'It's a great album. The City is gonna be Number 1 with a bullet!'


    Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It's not so much an oddity in King's work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.

    1. Snow Queen
    2. I Wasn't Born To Follow
    3. Now That Everything's Been Said
    4. Paradise Alley
    5. Man Without A Dream
    6. Victim Of Circumstance
    7. Why Are You Leaving
    8. Lady
    9. My Sweet Home
    10. I Don't Believe It
    11. That Old Sweet Roll (Hi-De-Ho)
    12. All The Time
    The City
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Search For Everything The Search For Everything Quick View

    $29.99
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    The Search For Everything

    On his 10th album, The Search For Everything, John Mayer meditates on getting older. "Time's been talking to me/Whispering in my ear," he sings on "Changing," a wistful song about embracing life's complexities. While some of the album's songs read like diary entries from a man in reflection, others display a forward momentum. Shrugging off some of that inner torment in the name of fun, The Search For Everything is loose, lively, and delightfully diverse, finding him dabbling in funk, folk, blues, and soul, with support from the John Mayer Trio.


    It's taken John Mayer two decades to sound this peaceful, and now, he wants us to go with the flow, too.

    LP 1
    1. Still Feel Like Your Man
    2. Emoji Of A Wave
    3. Helpless
    4. Love On The Weekend
    5. In The Blood
    6. Changing


    LP 2
    1. Theme From The Search For Everything
    2. Moving On And Getting Over
    3. Never On The Day You Leave
    4. Rosie
    5. Roll It On Home
    6. You're Gonna Live Forever In Me

    John Mayer
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Fuck Off Get Free We Pour Light On Everything Fuck Off Get Free We Pour Light On Everything Quick View

    $25.99
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    Fuck Off Get Free We Pour Light On Everything


    Marks The 15th Anniversary Of The Band, Founded And Led By Efrim Menuck Of Godspeed You! Black Emperor


    First New SMZ Full Length Since GYBE's Return To Action In 2011


    Recorded In Quebec By Greg Norman (electrical Audio)


    Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of
    genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with
    Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly
    instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed
    You! Black Emperor, in which group all three founding SMZ members also played (and
    continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and
    shifted towards an increasing use of lead and group vocals, with Menuck penning politically charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified
    guitars against a 4-piece string section of violins,cello and contrabass.


    Most recently, SMZ has pared back to five players, with Menuck's massive spectrum spanning electric guitar sound emerging as the spine around which two violins, bass (now
    more often electric than acoustic) and drums are deployed. SMZ have managed a handful
    of short tours in the past couple of years (in the gaps between GYBE commitments) and
    as anyone who has seen the band in its recent incarnation can attest, their current sound
    is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage
    and dark metal influences that have nothing to do with anything so quaint as "post-rock"
    (a tag the group has always and rightly rejected).


    Fuck Off Get Free We Pour Light On Everything is the first definitive document of
    the band's newfound sound and style as a quintet. It's also their first single LP-length
    work since the band's debut record as a trio almost 15 years ago, and features road tested pummeling rock-outs "Fuck Off Get Free (For The Island Of MontrÉal)", "Take
    Away These Early Grave Blues" and "What We Loved Was Not Enough" alongside the
    previously unheard lullabyes/minuets "Little Ones Run" and "Rains Thru The Roof At Thee
    Grande Ballroom (For Capital Steeze)" and the album centerpiece "Austerity Blues" with
    its closing lyric "Lord let my son live long enough to see that mountain torn down"
    sung in varying incarnations throughout the second half of this 14-minute epic.


    This lyric in many ways encapsulates Menuck's unflinching take on a world replete with
    shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance
    and defiance. There are few other musicians who deliver social critique with the courage
    and honesty of lines like "All our cities gonna burn / All our bridges gonna snap / All our
    pennies gonna rot / Lightning roll across our tracks / All our children gonna die". Feel-good
    music this is not; but neither can it reductively be tagged apocalyptic or world-weary.
    Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly
    unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working
    today, that there is much to fight for and against, and plenty more fight songs to sing.

    1. Fuck Off Get Free (for The Island Of Montreal)
    2. Austerity Blues
    3. Take Away These Early Grave Blues
    4. Little Ones Run
    5. What We Loved Was Not Enough
    6. Rains Thru The Roof At The Grande Ballroom (for Capital Steez)
    Thee Silver Mt. Zion Memorial Orchestra
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Old World Underground, Where Are You Now? Old World Underground, Where Are You Now? Quick View

    $19.99
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    Old World Underground, Where Are You Now?

    They say there's no time like the present; what they really mean is there's no such thing as the present. Five seconds into the future will be five seconds in the past once you finish reading this sentence. Translated into rock 'n' roll, terms, it means you're either ahead of your time or past your prime. And we're cool with that. We like categories and demographics and timelines because they allow us not to think; everything can be explained with the check of a box or a dot on a graph. But Metric don't let you off that easy. Their measures are decidedly cubist: eternal, multilayered portraits of instantaneous moments, the luminous blur of street life rendered as a freeze-tableaux, daily rituals portrayed in a fantastical light. This is music born out of sly, considered observation instead of gratuitous introspection - which makes it refreshingly anomalous in an era when so much popular music fudges the line between self-absorption and self-parody. Their debut album, OLD WORLD UNDERGROUND, WHERE ARE YOU NOW? launched Metric's career and helped to usher in a wave (or New Wave) of Canadian indie bands such as Broken Social Scene and Arcade Fire. They have since gone on to sell over a million singles and 500,000 albums worldwide.Finally available on vinyl, the album sounds as urgent and timeless today as it did in 2003 and like all of Metric's music to date, OLD WORLD UNDERGROUND, WHERE ARE YOU NOW? isn't so much a summation of influences as experiences. The old world underground they so romanticize; they're not sure if it ever truly existed.
    1. IOU
    2. Hustle Rose
    3. Succexy
    4. Combat Baby
    5. Calculation Theme
    6. Wet Blanket
    7. On a Slow Night
    8. The List
    9. Dead Disco
    10. Love Is a Place
    Metric
    $19.99
    Vinyl LP - Sealed Buy Now
  • These Are The JBs These Are The JBs Quick View

    $24.99
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    These Are The JBs

    The Unreleased Album By James Brown's Backing Band: The Bootsy Collins-lead JB's


    Never-before-heard James Brown and J.B.'s originals and covers of Jimi Hendrix, Kool & the Gang, the Meters. Contains a 12-page booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos.


    This album is the Rosetta Stone of funk's dominant idioms, yet its existence has barely been a rumor. In 1970 James Brown perfectly captured a definitive moment in modern music when he ordered Bootsy Collins into the studio to record the tracks that would be test pressed on King Records as These Are The J.B.'s. This album is the epitome of funk music, Brown's innovation that influenced everything that came after it, from Afro-beat to disco to hip-hop. And if there is any funk ensemble as influential as Brown's, in the post-"Cold Sweat" musical landscape, it's the Parliament/Funkadelic contingent. Those two streams, as Grammy Winning James Brown historian Alan Leeds details in this album's liner notes, converged for the first time here.


    This link between Brown's funk and all that followed features Bootsy and his young band running through twelve-minute instrumental take of Marva Whitney's "It's My Thing," replete with blues chord changes, alongside interpretations of the Meters, Kool and the Gang and none other than Jimi Hendrix. This is a young band's James Brown-turned-on-his-head style of funk that they nail in a one-minute vamp that pre-dates their obscure but important work as the Houseguests ensemble and embodies the essence of the psychedelic-flavored music that would propel them into the orbit of
    George Clinton and his mothership, where they poked cosmic holes in funk's polyrhythmic ozone layer in the mid-1970s.


    There are only two extant copies of the original King Records test press LP of These Are The J.B.'s. This, the first commercial issue of this album, was overseen by Now-Again's Egon alongside Leeds and Universal Music Group's James Brown expert Harry Weinger. It was mastered specifically for vinyl by Elysian Master's Dave Cooley from the original two-track stereo master that James Brown and his engineer Ron Lenhoff delivered to production forty-four years ago. It comes with a 12-page booklet with liner notes by Leeds and Egon and many unpublished photographs and ephemera.

    1. These Are The JBs (Part 1 & 2)
    2. I'll Ze
    3. The Grunt (Part 1 & 2)
    4. When You Feel It, Grunt If You Can
    The J.B.'s
    $24.99
    Vinyl LP - Sealed Buy Now
  • Movie Music Volume One Movie Music Volume One Quick View

    $21.99
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    Movie Music Volume One

    From their inception in 1993, Braid released nearly as many songs on 7's, split 7's, and compilations as on its three albums. The idea of finding all of the original masters to the songs and releasing them was conceived by Braid as early as 1997. Movie Music Volume One is a complete collection of songs from the group's many 7 singles. Braid was notorious for keeping much of their best material off of the full-length releases, so this collection is of no small interest. Like volume two, Movie Music, Vol. 1 is chronologically sequenced, thus allowing listeners an opportunity to chart the band's growth. Established fan favorites like I'm Afraid of Everything and Now I'm Exhausted are not only release highlights, but also career standouts. Available here as a deluxe double gatefold 180g edition for the first time. Includes liner notes, rare photos and lyrics.
    1. Sounds Like Violence
    2. Motion Light
    3. Perfect Pitch
    4. I'm Afraid of Everything
    5. Radish White Icicle
    6. Now IÆm Exhausted
    7. Fire Makes the House Grow
    8. Niagara
    9. That Car Came Out of Nowhere
    10. (Strawberry Ann) Switzerland
    11. What a Wonderful Puddle
    12. First Day Back
    13. Hugs From Boys
    14. Forever Got Shorter
    15. Please Drive Faster
    16. Circus of the Stars
    17. You're Lucky To Be Alive
    Braid
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Violence, Violence Violence, Violence Quick View

    $16.99
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    Violence, Violence

    After a well received demo and a debut 7 that sold 2,000 copies in less than a year, Ceremony gives us Violence Violence, their 15 song debut full length. If Ruined was their declaration, Violence Violence is their first wave assault, a soundtrack to wage war. A war against everything that hardcore has stood against, but now has been co-opted into its ranks. There's no TRL song on here, there's nothing that'll be heard at a school dance. Hardcore for the hardcore.
    1. Violence
    2. Ghosts
    3. Living Hell
    4. My Hands Are Made Of Spite
    5. Along
    6. Nail
    7. Bite Down
    8. Cross Them Out
    9. Violence
    10. Clouds Of Fire
    11. Pressure's On
    12. Walking Home
    13. Asleep
    Ceremony
    $16.99
    12 Vinyl LP - Sealed Buy Now
  • Sunken Condos Sunken Condos Quick View

    $24.99
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    Sunken Condos

    Clear Vinyl!


    Donald Fagen's (one half of Steely Dan),  fourth solo album for Warner Reprise, Sunken Condos, will be released on October 16. His first three solo albums, The Nightfly, Kamakiriad and Morph the Cat comprised the project known as the Nightfly Trilogy. Sunken Condos begins a new chapter in in the creative evolution of this innovative artist, whose career is still going strong after forty years.


    The nine tracks on Sunken Condos were co-produced by Michael Leonhart and Donald. All but one track, an Ashkenazi recasting of Isaac Hayes' Out of the Ghetto, are new Fagen originals. Some familiar names from the Steely Dan family of players are on hand (Jon Herington, the Steely Dan horns, Freddie Washington) plus some new faces. The word is that, from now on, everything Donald does has got to be funky.

    1. Slinky Thing
    2. I'm Not the Same Without You
    3. Memorabilia
    4. Weather in My Head
    5. The New Breed
    6. Out of the Ghetto (Isaac Hayes cover)
    7. Miss Marlene
    8. Good Stuff
    9. Planet D'Rhonda
    Donald Fagen
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • 1000 Palms 1000 Palms Quick View

    $22.99
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    1000 Palms

    1000 Palms marks a return to Surfer Blood's DIY ethos. Abandoning the big time
    studio, the band decided to head back home to self-record and self-produce their
    third full-length album. Free of major-label-influence, Surfer Blood has delivered a
    uniquely compelling album, unlike anything in their catalog.


    The story of 1000 Palms began on January 1st 2014, after playing a New Year's show in
    Portland, OR. The band decided to stick around for the rest of the month, renting a
    practice space and sorting through a backlog of ideas. By February, as their lease ran
    out, Surfer Blood had recorded demos for most of the tracks that are now featured
    on their third LP.


    After a frustrating time at their previous home, Warner Brothers, the quartet was
    beyond ready to return to a more DIY recording process, completely void of the
    middlemen scrutinizing every bar of previous LP, Pythons. With the band
    self-recording, it was in the glamorous setting of an attic studio above a doctor's office
    where drums were committed to tape. Of the work, frontman John Paul Pitts states
    "fortunately none of us are strangers to DIY recording, so this seemed like the kind of
    challenge well-suited to our band".


    The making of 1000 Palms also owes a lot to the kindness of friends and family, with
    the remaining instrument sessions taking place at the home of drummer Tyler
    Schwartz's parents, while they were on vacation. Following a few days of very little
    sleep and after the band pooled resources and called in favors, the band had
    managed to craft everything you now hear on the upcoming record.

    1. I Can't Explain
    2. Death And The Maiden
    3. Grand Inquisitor
    4. Island
    5. I Can't Explain
    6. Feast - Famine
    7. Point of No Return
    8. Saber-Tooth & Bone
    9. Covered Wagons
    10. Dorian
    11. Into Catacombs
    12. Other Desert Cities
    13. NW Passage
    Surfer Blood
    $22.99
    Vinyl LP - Sealed Buy Now
  • Smoke Ring For My Halo Smoke Ring For My Halo Quick View

    $22.99
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    Smoke Ring For My Halo

    Philadelphia singer/songwriter Kurt Vile returns with his second proper album (2008s Childish Prodigy was a compendium of sorts). Smoke Ring For My Halo is a gorgeously layered record. Ranging from the tender breezy folk in Jesus Fever to the tuff urban guitar riff of Puppet To The Man, Viles distinctive Philly-accented vocal ties together a sweeping and evocative project, a true American psychedelic folk album.


    This is no pastoral listening experience however, when Vile sings, society is my friend: he makes me lie down in a cool bloodbath, he sounds both exhausted and distanced from the ringing harmonics of his guitar and Mike Zanghis pounding drums. Even the gentler songs, such as On Tour and Babys Arms have a distinctly dark lyrical tone. The closest that Vile gets to some kind of acceptance is in the central track, the rueful In My Time, where he sings, I know when we get older, Im dying, but I got everything I need here now, and thats fine, now...thats fine.


    Recorded at the Magic Shop by John Agnello, Smoke Ring For My Halo is a massive step forward for one of the countrys most beloved rock songwriters.

    1. Baby's Arms
    2. Jesus Fever
    3. Puppet To The Man
    4. On Tour
    5. Society Is My Friend
    6. Runner Ups
    7. In My Time
    8. Peeping Tomboy
    9. Smoke Ring For My Halo
    10. Ghost Town

    Kurt Vile
    $22.99
    Vinyl LP - Sealed Buy Now
  • Sweeten The Distance Sweeten The Distance Quick View

    $17.99
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    Sweeten The Distance

    The first line of the title track on Neal Casal's tenth studio effort Sweeten The Distance says much about where the storied singer/songwriter/guitarist finds himself in his career: Nothing's gonna stop you now, everything you want is coming in good time. After 20-plus years of writing songs, recording albums and touring the world, there's a confidence and patience in his latest work that reveals an artist in full creative flight.


    Produced by Thom Monahan (Fruit Bats, Devendra Banhart, Vetiver), Sweeten The Distance is indeed a defining moment in Casal's discography. Rich acoustic textures and sophisticated melodies of songs like Bird With No Name, and Need Shelter and Gyrls of Wynter give way to a psyched-out ambience on White Fence Round House, Feathers for Bakersfield and How Quiet It Got.


    The depth of production, with its purposefully layered sounds and oceanic atmospherics, makes Sweeten The Distance as much a multi-dimensional headphone experience as a soul-stirring modern songwriter record. And as such, Casal emerges as an essential voice in the new cosmic California movement.


    In addition to his critically acclaimed solo work, Neal Casal made a name for himself as the lead guitarist in Ryan Adams & The Cardinals, with whom he recorded four albums: Easy Tiger, Follow the Lights, Cardinology and III/IV. Currently he serves as a central component of the Chris Robinson Brotherhood with whom he contributes lead guitar and vocal harmonies. Over the last year, Casal also added guitar and vocals to Ryan Adams Ashes & Fire, Fruit Bats Tripper, The Jayhawks Mockingbird Time, Vetiver The Errant Charm and a forthcoming recording by Beachwood Sparks.

    1. Sweeten The Distance
    2. Bird With No Name
    3. Need Shelter
    4. Let It All Begin
    5. White Fence Round House
    6. So Many Enemies
    7. Feathers For Bakersfield
    8. Time & Trouble
    9. How Quiet It Got
    10. The Gyrls of Wynter
    11. Angel and Youre Mine
    Neal Casal
    $17.99
    Vinyl LP - Sealed Buy Now
  • Victory Lap Victory Lap Quick View

    $19.99
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    Victory Lap

    The first thing to know, if you want to know about Propagandhi, is that they came here to rock. Right from the snarling opening riff of their seventh album,Victory Lap, that much is clear. For everything else that swirls around the band now, and for the last 31 years - the politics, the people and, lately,a gnawing sense of despair - the sheer volume of it all hasn't changed.

    Frontman Chris Hannah and bassist Todd Kowalski experienced a big change in the band when after nine years with Propagandhi, guitarist DavidThe Beaver Guillas left the band for a teaching position and the band added a new member , Sulynn Hago, a seasoned guitar-slinger from Tampa,Florida. (That said, Guillas is still all over Victory Lap, contributing licksto four songs.)

    So what do you do, when you're an unapologetically political band in a time when political speech seems more fractured than it has been in years? When the darkness looms and the rapacious maws of power seem to devour more by the day? You can't stop the violence; you can't save the world. But neither can you stand to sit back, and just watch it all burn. So here's what you do: you strap up a guitar and get ready to rock.

    1. Victory Lap
    2. Comply/Resist
    3. Cop Just Out of Frame
    4. When All Your Fears Collide
    5. Letters to a Young Anus
    6. Lower Order (A Good Laugh)
    7. Failed Imagineer
    8. Call Before You Dig
    9. Nigredo
    10. In Flagrante Delicto
    11. Tartuffe
    12. Adventures in Zoochosis
    Propagandhi
    $19.99
    Vinyl LP - Sealed Buy Now
  • Congrats Congrats Quick View

    $21.99
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    Congrats

    A cyborg dance party for a broken future that's closer
    than you think - Pitchfork


    Off Your Face Euphoria - The Line of Best Fit


    hypnotic, electronic climax-rock - SPIN


    scuzzy, funk-fuelled energy - FACT Mag


    Holy Fuck took the world by surprise around 2005 because there was
    just nothing like them-a hardcore thrift-store found-object punk
    band with a relentless commitment to rhythm and a sense for
    atmosphere better matched to a close encounter of the third kind
    than a simple rock concert. Think EinstÜrzende Neubauten re-inspired
    by Fela Kuti with Brian Eno working as keyboard tech and every
    channel on the mixer set to max power. It was the best ride out there
    while it lasted, up to and including their 2010 full-length Latin,
    recorded largely in too-brief breaks while on the road. That album
    cemented Holy Fuck's sound and reputation for unapologetic
    instrumental noise but at the end of yet another insane touring cycle,
    it was time to take a break which turned into a hiatus which turned
    into a chance to explore other projects and production work. (Like the
    bands Lids, Dusted and Etiquette, or production for Metz, Alvvays and
    Viet Cong.)


    They'd been moving faster than they'd ever expected, especially after
    a 2007 sophomore release that came close to securing Canada's
    prestigious Juno and Polaris Music Prize. (Not to mention festival slots
    at All Tomorrow's Parties, Glastonbury, Coachella and more-plus Lou
    Reed said they were the best band he'd seen at SXSW.) The strategy
    was just to stay busy, says founder and noisemaster Brian Borcherdt,
    but soon they started to feel like Indiana Jones running from that
    boulder: "He had to step aside and let things settle!"


    But there's nothing Indiana Jones does better than the shock reveal, is
    there? And so in 2016 Holy Fuck suddenly announced the release of
    Congrats, a surprise full-length two years in the making that is by any
    scientific measure their holiest fuckiest release ever: "When you're
    sitting still in a van and staring out the windows, you start to dream
    about all the other things you want to do," says Borcherdt. "This album
    is exactly what we couldn't do then."


    Checking into a "proper" studio, rather than the barn in rural Ontario
    where most of Holy Fuck's records were made, Congrats was
    recorded by the same lineup that recorded Latin: Borcherdt, Graham
    Walsh, Matt "Punchy" McQuaid, and Matt Schulz. As they worked, they
    discovered that Congrats was a process of refining things, Walsh
    says-both physically and philosophically. Their ad hoc arsenal of
    low-budget hi-tech toys has been streamlined down to what he calls
    the nervous system of the band: "What gets run through our system is
    the seed of the idea for our music, and the system is what we play. This
    record is almost a beginning-the first stage of a new way for us."


    So consider those previous albums prelude to Holy Fuck's true
    breakthrough, and recognize Congrats as the moment when Holy
    Fuck take the chaos and craziness (and charm) that have always been
    at the heart of their band and not so much control it as concentrate it.
    Now they're heavier, wilder, leaner, sharper, more daring and more
    unpredictable than ever before, on fire with the power of inspired
    outsiders like Suicide, Silver Apples, Can, Mission of Burma or the
    Monks or even Sun Ra, says Borcherdt, whose pursuit of his own kind
    of musical purity is exactly what Holy Fuck are after. Yes, it took them
    a few years, which in 2016 is supposed to be the career suicide, but
    they took that time to take chances. "We were told we did everything
    wrong," Borcherdt says now, laughing-but really Congrats is the
    sound of a band doing absolutely everything right.

    1. Chimes Broken
    2. Tom Tom
    3. Shivering
    4. Xed Eyes
    5. Neon Dad
    6. House Of Glass
    7. Sabbatics
    8. Shimmering
    9. Acidic
    10. Crapture
    Holy Fuck
    $21.99
    Vinyl LP - Sealed Buy Now
  • No More Shall We Part No More Shall We Part Quick View

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    No More Shall We Part

    No More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.

    - Thom Jurek (All Music)
    1. As I Sat Sadly by Her Side
    2. And No More Shall We Part
    3. Hallelujah
    4. Love Letter
    5. Fifteen Feet of Pure White Snow
    6. God Is in the House
    7. Oh My Lord
    8. Sweetheart Come
    9. The Sorrowful Wife
    10. We Came Along This Road
    11. Gates to the Garden
    12. Darker with the Day
    Nick Cave And The Bad Seeds
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Genius Sings the Blues The Genius Sings the Blues Quick View

    $34.99
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    The Genius Sings the Blues

    Numbered Limited-Edition 180g LP from Mobile Fidelity



    1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era



    Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP



    Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.



    From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.



    Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.



    Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.



    Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet ErtegÜn said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.



    Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.


    This title is not eligible for discount.

    1.Early in the Mornin'
    2.Hard Times (No One Knows Better Than I)
    3.The Midnight Hour
    4.(Night Time Is) the Right Time
    5.Feelin' Sad
    6.Ray's Blues
    7.I'm Movin' On
    8.I Believe to My Soul
    9.Nobody Cares
    10.Mr. Charles' Blues
    11.Some Day Baby
    12.I Wonder Who
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Binary Binary Quick View

    $24.99
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    Binary

    "My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."

    With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.

    She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)

    "When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"

    "When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"

    On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.

    "I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"

    She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."

    Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.

    "Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."

    The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."

    Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."

    For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.

    Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.

    "While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."

    "I'm trying to figure it out daily," says Ani DiFranco. "Just like always."

    1. Binary
    2. Pacifist's Lament
    3. Zizzing
    4. Play God
    5. Alrighty
    6. Telepathic
    7. Even More
    8. Spider
    9. Sasquatch
    10. Terrifying Sight
    11. Deferred Gratification
    Ani DiFranco
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Turns Turns Quick View

    $18.99
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    Turns

    Ben Browning is set to follow up his 2012 EP Lover Motion with his debut album entitled 'Turns.' The self produced album is a collection of songs Browning wrote and recorded in between touring with Cut Copy. Browning performed and sang nearly everything on the record himself with his longtime friends Gus Franklin, Mark Wilson and Lachlan Dickie providing some additional vocals, bass and drums. The album was recorded in Melbourne and Washington DC where Browning now resides.
    1. Back To The Start
    2. Make It Easy
    3. Friends Of Mine
    4. Life Dudes (Tripping Through Royal Park)
    5. You Can Be There
    6. Are You Acting?
    7. Don't Wait Your Turn
    8. Beaches Of Love
    9. Don't Forget The Night
    10. Azizam
    Ben Browning
    $18.99
    Vinyl LP - Sealed Buy Now
  • Rock Steady Rock Steady Quick View

    $24.99
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    Rock Steady


    Ranked 316/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    They say you can never go home again.


    Yet, on their new Interscope Records release and fifth album, Rock Steady, No Doubt has embarked on a globe-spanning musical adventure that proves, once and for all, that home is where the heart is.


    At the heart of the quartet's fifteen-year musical journey is a sound, a style and a sensibility that celebrates their enduring bond with millions of fans worldwide: the sheer pleasure of pure pop - danceable, hummable, instantly accessible songs that have become indispensable additions to the soundtrack of our life and times. And now with Rock Steady, that soundtrack signals a return to some of the key creative elements that have made No Doubt one of today's most popular and enduring bands. Simply put, No Doubt is ready to party.


    "It's the hardest thing in the world just to be simple, to let the music and the words speak for what you're feeling and, hopefully, to share that feeling. And the feeling we all shared on this album turned out to be pretty simple, too: we were in a good mood."


    So says vocalist, lyricist and glorious gamine Gwen Stefani on the inspiration that ignited the dozen deliriously entertaining new tracks comprising Rock Steady. With all-original material penned by Gwen and No Doubt's dynamic songwriting duo of Tony Kanal and Tom Dumont and a roster of producers that pretty much covers the cutting edge of the studio art, Rock Steady, recorded in such far flung locations as London and Los Angeles, San Francisco and Jamaica, is without question the most eclectic, wide-ranging and stylistically diverse offering in the band's extraordinary career. It is also a loving tribute to the musical roots that have nourished No Doubt from their very inception.


    "We were on tour pretty much all of last year," explains drummer Adrian Young, "and whenever we had some down time, we found ourselves listening to lots of dancehall. It was kind of like getting back to where we once belonged." Dancehall, the exuberant evolution of reggae, ska and calypso currently rocking the clubs and studios of Jamaica, proved a potent point of departure for the group when they convened in early 2001 to begin work on a new album. "We were part of the whole ska revival back when we first got together," continues Adrian. "The fact is, we had to work hard to prove we had a wider range, and I guess we did that. Because this time around we didn't feel like we had anything to prove. The whole point was to follow the music, wherever it led."


    "Following the music" would lead the quartet to a variety of exotic locales as they indulged their instincts and experimented with sounds and settings that would capture the sensational new music beginning to emerge. "This album was less about technique and more about attitude," asserts Tony. "We took it one day at a time and it became a very spontaneous process. Tom had set up a studio at his place in L.A. and we'd meet there just to try out different ideas. Whereas before we'd write everything with a guitar or bass, this time we started with just beats and grooves and keyboards and built from there. After a week or two of songwriting, Gwen had a trip planned to London. Since we were having such a good time we just packed up and followed her over there. We knew we were onto something."


    "It felt like starting over," is Tom's assessment. "We had spent two years working on Return Of Saturn because we felt it was important to prove we could do a record that had depth and substance. Once we got that out of our system it was time to have some fun."


    Return Of Saturn, the group's smash 2000 release, did indeed establish No Doubt's ability to fashion songs of substance as well as style. It also conclusively demonstrated that the group's 1995 breakthrough release, Tragic Kingdom was more than a flash in the pan, although it was a distinctly dazzling flash that elevated the group to world class status with a solid string of hit singles. "We'd already done most of what we'd set out to accomplish," continues Tom. "We wanted try something fresh."


    Something fresh and, as it turned out, something tried and true. "With all the dancehall we'd been listening to it was only natural that some of that rhythm would seep into our new songs," Gwen adds. "We ended up going to Jamaica without really knowing exactly what we'd find when we got there. That was the whole plan from the beginning not to have a plan."


    What No Doubt found in the lush musical environs of the island was a creative collaboration with some of Jamaica's most revered producers including the legendary team of Sly & Robbie who sat behind the board for the album's debut single "Hey Baby" and "Underneath It All," a tune written by Gwen with Eurthymics mainstay Dave Stewart during the group's London sojourn. They would also go on record with the fast rising dancehall duo of Steely & Clevie, who worked their magic for the incendiary selection, "Start The Fire." Remarks Tom, "Going to Jamaica and working with the great artists there had always been a dream of ours. Having that opportunity is one the best things about having some success. It's more important than any amount of fame or fortune."


    As the spring of 2001 turned to summer the pace of recording stepped up, along with the group's increasingly bold ventures into new creative territory. In Los Angeles they added hip-hop to the mix with the streetwise sensibilities of The Neptunes, co-writers on the album's opening track, the scorching "Hella Good." Next they huddled with high-profile mixmaster Nellee Hooper on Rock Steady's title track as well as such standout selections as "In My Head," "Running," "Detective" and the above mentioned "Hella Good." Along the way they logged time with William Orbit for "Making Out," Ric Ocasek on "Platinum Blonde Life" and "Don't Let Me Down," and the inimitable Prince who co-produced and provided backing vocals on the drop dead gorgeous "Waiting Room."


    But mixing and matching songs and producers was only part of the creative evolution that took place with Rock Steady. Says Tony, "Our attitude from the beginning was that we'd do whatever it took to make the music work. We've always been a very self-contained unit. This time we wanted to open it up, to find out what other people could bring to the party."


    "The whole album was an exercise in spontaneity," adds Gwen, "and that challenged me to write more directly from my thoughts and feelings. I threw away my thesaurus and put aside my influences, everyone from Joni Mitchell to Sylvia Plath. I wanted to write songs about how it felt to be alive right now and that feeling, despite everything that going on in the world, is optimistic and full of hope. This is a time to affirm what's good and positive in our lives and if we can convey even a small part of the fun and excitement we had making this music, then we've done what we set out to do."


    Hot on the heels of Rock Steady's release comes news of an extensive touring schedule that includes select dates with U2 as well as an extensive itinerary of international headlining dates. "We're primarily a live band," comments Tony. "That's how we started and that's how we maintain contact with our fans. Over the past couple of years, as the No Doubt machine got bigger, it's been more difficult to maintain that connection. But this time around,we're determined to stay true to the spirit of the music. It's about having a good time, about dancing in aisles and singing along. We all need that and it's what this tour is going to be about."


    "After fifteen years together you naturally create all kinds of rules about how things should be," concludes Gwen. "There comes a time when you've got to throw the rules out and start all over again. That's what keeps it fun and interesting. For us that time has come."


    It's a sentiment that gets to the heart of the brilliant music on Rock Steady, an album that finds No Doubt comfortable at home with the risks and rewards of true originality. It's also proof positive that, when No Doubt throws a party, everyone's invited.

    LP1
    1. Intro
    2. Hella Good
    3. Hey Baby
    4. Making Out
    5. Underneath It All

    6. Detective
    7. Don't Let Me Down


    LP2
    1. Start The Fire
    2. Running
    3. In My Head
    4. Platinum Blonde Life
    5. Waiting Room
    6. Rock Steady

    No Doubt
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Black Masses Black Masses Quick View

    $43.99
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    Black Masses

    Import


    Electric Wizard are back! Their seventh full-length album for Rise Above Records sees this now legendary band enter into a new era. Still the heaviest band on the planet, this time around there is a stronger emphasis on song structure and musicianship than on previous outings. Black Masses is an encyclopedia referencing the history heavy metal from the Kinks to right through to Bathory, thematically governed by occult knowledge passed down from their ancestors.


    A trip through every aspect of everything thats cool about underground drug-rock from the head-spinning Satanic Psychedelia of Patterns of Evil through to the NWOBHM on LSD churning of Turn off your Mind Black Masses is the album Electric Wizard always threatened to make. Its here, and listening to the end of the world was never meant to sound this good!

    1. Black Masses
    2. Venus in Furs
    3. Night Child
    4. Patterns of Evil
    5. Satyr IX
    6. Turn off your Mind
    7. Scorpio Curse
    8. Crypt of Drugula
    Electric Wizard
    $43.99
    Vinyl LP - 2 LPs Buy Now
  • Mess Mess Quick View

    $25.99
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    Mess

    "When (Angus) Andrew closes everything down... it's like watching someone rediscover their fearless
    approach to art in real time." - Pitchfork on "Mess On A Mission"


    Mess is Liars SEVENTH album. This follow up to 2012's WIXIW
    is an angry, ecstatic, primal burst of ritualistic synth-rock that
    sacrifices self persecution for potent, purposeful abandon.


    Explains singer Angus Andrew, "We are a reactionary, or maybe a
    better word is schizophrenic band. We go from one extreme to the
    other. Working on the last record was really doubtful and paranoid,
    and that's fine, but it just meant that when work started on this
    one, it was the exact opposite. It was way more instinctual, fun
    and confident."


    Liars' career has seen the band rattle through pigeonholes in an
    attempt to avoid them all together: brittle yet taught punk funk;
    liminal no-wave; ecstatic noise-pop; 21st-century garage rock;
    post-millennial post-rock; delicate electronics; reaching here,
    where Angus Andrew, Aaron Hemphill and Julian Gross now find
    themselves.

    1. Mask Maker
    2. Vox Tuned D.E.D.
    3. I'm No Gold
    4. Pro Anti Anti
    5. Can't Hear Well
    6. Mess On A Mission
    7. Darkslide
    8. Boyzone
    9. Dress Walker
    10. Perpetual Village
    11. Left Speaker Blown
    Liars
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Poetry In Motion Poetry In Motion Quick View

    $21.99
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    Poetry In Motion

    SOJA, the internationally acclaimed GRAMMY-nominated eight-piece from Washington D.C., will release its new album 'Poetry in Motion' via ATO Records.


    SOJA's core sound an uplifting meld of reggae, go-go, D.C. hardcore, Latin, rock, and hip-hop is as tight and compelling as it's ever been in the group's 20-year history, but now the group digs deeper on its message of finding peace and understanding in the world caught in tribulation. For the band, having fun and social awareness can, and should, co-exist.


    Lead singer Jacob Hemphill explains, 'Poetry in Motion is about us, the human race. We're beautiful. We're the caretakers of this earth and everything that lives here, calls it home. But something is wrong. Something in us is lost. That's the focus - how to get back to the beauty and away from... well, this.'

    1. Moving Stones
    2. I Can't Stop Dreaming
    3. Tried My Best
    4. More
    5. Fire In The Sky
    6. Everything To Me
    7. Life Support
    8. Bad News
    9. To Whom It May Concern
    10. Sing To Me
    11. I Found You
    SOJA
    $21.99
    Vinyl LP - Sealed Buy Now
  • Condolences (Gray w/Black Splatter) Condolences (Gray w/Black Splatter) Quick View

    $29.99
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    Condolences (Gray w/Black Splatter)

    Pressed On Gray Vinyl With Black Splatter


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
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