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Frozen The Songs'
Frozen: The SongsSongs from the 2013 Disney animated film, Frozen.
Featuring the voices of Kristen Bell and Idina Menzel, Frozen is the coolest comedy-adventure ever to hit the big screen. When a prophecy traps a kingdom in eternal winter, Anna, a fearless optimist, teams up with extreme mountain man Kristoff and his sidekick reindeer Sven on an epic journey to find Anna's sister Elsa, the Snow Queen, and put an end to her icy spell. Encountering mystical trolls, a funny snowman named Olaf, Everest-like extremes and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction. (c) Disney1. Frozen Heart (Cast)
2. Do You want To Build A Snowman (Kristen Bell, Agatha LeeMonn and Katie Lopez)
3. For the First Time In Forever (Kristen Bell, Idina Menzel)
4. Love Is An Open Door (Kristen Bell, Santino Fontana)
5. Let It Go (Idina Menzel)
6. Reindeer Are Better Than People (Jonathan Groff)
7. In Summer (Josh Gad)
8. For the First Time In Forever (reprise) (Kristen Bell, Idina Menzel)
9. Fixer Upper (Maia Wilson & Cast)
10. Let It Go (Demi Lovato Version)$19.99Vinyl LP - Sealed Buy Now
Songs From Frozen (Picture Disc)Songs From Frozen features all 10 songs from the Oscar-winning film on picture disc vinyl. Original songs are written by Kristen Anderson-Lopez and Tony winner Robert Lopez.1. Frozen Heart (Cast)
2. Do You want To Build A Snowman (Kristen Bell, Agatha LeeMonn and Katie Lopez)
3. For the First Time In Forever (Kristen Bell, Idina Menzel)
4. Love Is An Open Door (Kristen Bell, Santino Fontana)
5. Let It Go (Idina Menzel)
6. Reindeer Are Better Than People (Jonathan Groff)
7. In Summer (Josh Gad)
8. For the First Time In Forever (reprise) (Kristen Bell, Idina Menzel)
9. Fixer Upper (Maia Wilson & Cast)
10. Let It Go (Demi Lovato Version)$21.99Vinyl LP Picture Disc - Sealed Buy Now
Frozen ThroneFollowing the summer release of his Feel The Heat EP, Groundislava is set to release his ten song concept LP and third studio album, Frozen Throne. Part of the LA-based collective and record label known as WEDIDIT, the 24 year old self-described cyberpunk producer has taken
influence from 80s culture, TV, technology, sci-fi and video games and transformed it into a unique blend of minimal techno, house, R&B, trance and pop,
that is equal parts nostalgia and shiny futurism.1. Girl Behind the Glass (feat. Rare Times)
2. Terminate Uplink
3. Frozen Throne (feat. Rare Times)
4. Under the Glow (feat. Rare Times)
5. The Descent
6. Feel the Heat (feat. Rare Times)
7. October Acid
8. A Way Out
9. October Pt. 2 (feat. Rare Times)
10. Steel Sky (feat. Rare Times)$21.99Vinyl LP - Sealed Buy Now
LP Pressed To 120 Gram Red Translucent Vinyl
As their name implies, when Spider Bags hook into you,
it's hard to shake the hold. --PITCHFORK
Formed in 2005, Chapel Hill, North Carolina's Spider Bags were largely a
revolving cast, with only Dan McGee (guitars, vocals) persevering through
the various incarnations of the band. But during the 2011 recording of Shake
My Head, the current lineup consisting of Steve Oliva (bass) and Rock Forbes
(drums) was finally solidified. Building upon the foundation laid down by
its predecessor, Frozen Letter rocks with the clairvoyance of three musicians
who have spent a lot of time recording and touring together over the last few
years. "When we started this record, we weren't even thinking about it being
released. We just did it to have fun and keep moving forward," says Forbes.
This approach allowed the band to push itself further out into the
psychedelic frontier than ever before, aided by engineer/producer Wesley
Wolfe. Recorded mostly live over the course of a few days, there's an
exhilarating urgency to the record, as heard in riff-driven rockers like "Back
With You Again in the World" and "Chem Trails." The band brings the
tempo down a notch for "Coffin Car," which finds them mining an ominous
morbidity over one of their prettier chord patterns. "We Got Problems"
comes on like a true acid trip, alternating between utter terror and unfettered
joy. Featuring a heavy and repetitive pattern, a slew of effected guitars, and
searing guest leads from Superchunk's Mac McCaughan, the song
encapsulates an entire Spider Bags epoch in under six minutes. Frozen Letter is
the band's fourth full-length record overall and first for Merge Records.1. Back With You Again in the World
2. Japanese Vacation
3. Chem Trails
4. Summer of '79
5. Coffin Car
6. Walking Bubble
7. We Got Problems
8. Eyes of Death$18.99Colored Vinyl LP - Sealed Buy Now
REDI-MEM-5204xPaul Smith & Peter Brewis
Frozen by SightDrawing inspiration from disparate musical and poetic sources, two Mercury Prize nominees have come together in a playful departure from their respective work with Field Music and Maximo Park. Based around text from Paul Smith's travel writing, and Peter Brewis's chamber-band arrangements, the pair have collaborated on a suite of songs, creating a restrained yet richly descriptive sound-world.1. Old Odeon
2. Santa Monica
3. Exiting Hyde Park Towers
4. Barcelona (At Eye Level)
5. L.A. Street Cleaner
6. A Town Called Letter
7. Mount Wellington Rises
9. Perth To Bunbury
12. St Peter's$18.99Vinyl LP - Sealed Buy Now
REDI-YEP-7812xThe Baseball Project
Volume 1: Frozen Ropes and Dying Quails (Awaiting Repress)Rock n' roll vets Scott McCaughey (The Minus 5, R.E.M., Young Fresh Fellows) and Steve Wynn (The Dream Syndicate, Gutterball, Danny & Dusty, Miracle 3) have an unhealthy love for music undermined only by an even more unhealthy love of baseball. The compatriots blend their two passions with The Baseball Project Volume 1: Frozen Ropes and Dying Quails, an album of buzzing guitars and baseball back stories.
The heroes and villains of America's (in)famous pastime are explored with cutting wit and fanboy detail in songs that satisfy both the summer's need for rock anthems and sweltering afternoon double-headers. Drummer Linda Pitmon (Miracle 3, Golden Smog) and R.E.M.'s Peter Buck round out the squad, as they spin tales of ill-fated drinking binges (The Yankee Flipper, The Death of Big Ed Delahanty), near mythical icons (Ted Fucking Williams), folk heroes (Fernando, Satchel Paige Said) and on Gratitude (For Curt Flood), the overlooked man who changed the game.
A passionately funny and sarcastically reverent commentary on the state of the sport, The Baseball Project provides a hip soundtrack to the backstage party at America's game1. Past Time
2. Ted Fucking Williams
4. Broken Man
5. Satchel Paige Said
7. Long Before My Time
8. Jackie's Lament
9. Sometimes I Dream Of Willie Mays
10. The Death Of Big Ed Delahanty
11. Harvey Haddix
12. The Yankee Flipper
13. The Closer$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
We Were WonderersWilliams Shift is a new project from Matthew Stone (Soporus, Saxon Shore) and Stephen Roessner (Saxon Shore, Small Signals). We Were Wonderers was recorded in various home studios, produced and mixed by Grammy award winning producer Roessner in conjunction with Stone, and features the vocalist Jill Purdy. Williams Shift comes to life as an outgrowth of the poppiest elements incorporated in songs recorded as members of the instrumental band Saxon Shore combined with the concept of the "Williams Shift" where defenders would align themselves to better field naturally pulled hits from Boston slugger Ted Williams. The band blends soaring synth pop influences with an ever-expanding and spiraling Williams mythology and weight of the Cosmos. Captivated by theories of human cryonic suspension and the cagey details post- Williams mortem, the band embraces an actively dreaming suspended head and an alternate future of Williams' awakening. His frozen head orbits the earth on a satellite with other cryonically frozen beings, a tragic Greek chorus echoing Williams' thoughts through Brian Wilson-esque (musician, not reliever) melodies. This is an ode to melody, love lost, remembrance, baseball, Ted Williams' legacy, and the universe with a hefty dose of artistic license and imagination and the resulting existential and philosophical ramifications. We Were Wonderers was predominantly conceived as a studio side-project, but Stone and Roessner have assembled a live band that is currently practicing and preparing Williams Shift tracks for live shows later in 2015. We Were Wonderers is available on both cd and 2xLP. The 2xLP features a 4th side etching from John Ringhofer (Halfhanded Cloud) representing some of the album's thematic elements. The vinyl is pressed on blue vinyl with white marble veins and white vinyl with blue marble veinsand presented in a gatefold jacket. Additionally, there is a limited edition cassette featuring the instrumental version of We Were Wonderers and released in conjunction with our good friends at Flannelgraph Records in Bloomington, IN.1. Permanent Glue
2. The Heads And The Bodies
4. Floating Heads
5. Dock Ellis Spirit Animal
6. Tuning Into You (A Love Song From Voyager)
7. Peace Is Our Profession
8. They All Can't Be As Right As Us
9. Einstein's Ghost
10. The Bodies And The Heads
11. And In The End, We Will Return To The Stars$18.99Vinyl LP - 2 LPs Sealed Buy Now
Woman To WomanI was sitting in a hotel room in Spearfish, SD learning to play a Townes Van Zandt tune called Loretta, and as I was singing the words, I started to get angry, says Esme Patterson on the inspiration behind her new album 'Woman to Woman.' I started thinking how one-sided and aubjective a lot of 'love songs' are, and how a lot of women immortalized in songs might tell a different side of the story if anyone ever asked.
That realization inspired Patterson to write an album of response songs that aims to give voice to seven women from popular music: Jolene (Dolly Parton), Alison (Elvis Costello), Loretta (Townes Van Zandt), Caroline (The Beach Boys), Eleanor Rigby (The Beatles), Evangeline (The Band), and Irene (Leadbelly).
They are archetypes from songs, frozen forever in black and white, she says. I did my best to add some color and give them some humanity.
Well known for her work as a vocalist for Denver, CO's Paper Bird, Patterson also appeared on Anais Mitchell's 'Hadestown,' has performed on both Letterman and Leno as a backup singer for Tennis, and has collaborated with artists like Shakey Graves, Nathaniel Rateliff, Nick Jaina, and Reed Foehl. 'Woman to Woman' is her second solo release.1. Valentine (Elvis Costello - 'Alison')
2. Never Chase A Man (Dolly Parton - 'Jolene')
3. Tumbleweed (Townes Van Zandt - 'Loretta')
4. The Glow (The Beach Boys - 'Caroline, No')
5. Bluebird (The Beatles - 'Eleanor Rigby')
6. Louder Than the Sound (The Band - 'Evangeline')
7. A Dream (Leadbelly - 'Goodnight Irene')$14.9910 Colored Vinyl LP - Sealed Buy Now
Still LifeDawn Golden is the work of Los Angeles-based producer Dexter Tortoriello. He gained exposure in 2010 when his other (much more serene) project, Houses began getting wide spread attention. Dawn Golden is it's opposite. Influenced by everything from doom metal bands like Neurosis to avant noise artists such as Xiu Xiu, the songs pound with a calm, but dire urgency. The project began in Tortoriello's bedroom as an experiment in different recording techniques, and quickly escalated as vocals were added and ideas rounded out. Dawn Golden released his first EP, Blow, in April 2011. The effort, which featured standouts like "Blacks" and "White Sun," received critical acclaim from NPR and Pitchfork. Post-Blow, Tortoriello started recording albums for both Dawn Golden and Houses, releasing Houses' A Quiet Darkness in May 2013. During this period, he continued working on the songs for what would become Dawn Golden's debut LP, Still Life. The album was recorded over the last three years at the Mad Decent studios in Los Angeles.
Still Life is built around stream-of-conscious craft that explores the doleful voids of addiction, love, and death. Led by its first single "All I Want," Still Life gains its stark emotional perspective through some of the most unique production you're likely to hear this year. There's heavy exploration of sonic texture, and Tortoriello uses frozen cut-ups and creative vocal editing to flip a traditionally-futuristic sound into something that oozes feeling.1. Discoloration
2. All I Want
3. Sleight Orchestra
4. I Won't Bend
6. The Beekeeper
7. Still Life
9. Last Train
10. Brief Encounter$19.99Vinyl LP - Sealed Buy Now
Never Really Been Into ItThe legacy of North Carolina's Ashrae Fax seems destined to be
appreciated in retrospect, in no small part given to the
tremendous power of the group's 2003 release Static Crash!,
reissued twice from its initial CD-R run before appearing on
Mexican Summer last year. The Goth/ethereal duo of vocalist
RenÉe Mendoza and producer/guitarist Alex Chesney had built a
long, strange and mostly undocumented legacy prior to that
release, and Never Really Been Into It extends the tale back even
further: ten songs, sketched out in the late '90s, most of which
were never completed and remained unheard until now. "This
would've been our first full-length," reflects vocalist RenÉe
Mendoza, "if we had any idea what we were doing [back then]."
Rescued from a shoebox of ephemera from the band's earliest
days, when Mendoza and guitarist Alex Chesney drifted out of
high school and into the uncertainties of early adulthood, these
songs were the product of a band whose members had nothing
but time and ambition, influence and desire to transcend their
humble beginnings. Pieced together and re-recorded over a five-month period in 2013 by RenÉe Mendoza in her home studio,
from mere stems and forgotten takes preserved on decades-old
minidisc recordings, the songs on Never Really Been Into It reflect
disquiet, uncertainty, hope and numbing, absolute beauty, along
teenage obsessions with The Cocteau Twins, The Cure, and
perhaps the Projekt Records roster, refracted through the lens of
latter-day experience - pristine musicianship, gorgeous vocals,
cryogenically frozen until now. Had these songs been properly
released when initially conceived, Ashrae Fax would have no
doubt found themselves in the midst of the upswell of ethereal
pop bands of the '90s (The Underflowers, Ultracherry Violet, The
Curtain Society). As such, their moment keeps happening, and
never ends.1. Dreamers Tied to Chairs
3. The Big Lie
4. Fits and Starts
6. Hurricanes in a Jar
7. You Make Me Question My Mind (in a thousand words about time)
9. Seconds Chances
10. In Motion$13.99Vinyl LP - Sealed Buy Now
SlowmotionaryEthan Gruska's solo debut, the luminous Slowmotionary, embraces a range of sounds and styles, with influences from jazz and folk to ambient and alternative, Slowmotionary integrates everything into a whole that is original, idiosyncratic and embraces its own imperfections. I really tried to let that humanity in and to not only leave these quirky blemishes in, but to highlight them, says Gruska. I didn't want perfect. I wanted true. I wanted honest. He made room for a little serendipity in his creative process, sensing that too calculated an approach would diminish the impact of the music. That spontaneity provided a wonderful counterpoint to his thoughtful and revealing lyrics. Showcasing Gruska's hushed vocals and subtle arrangements, these songs resonate with the intimacy of an internal monologue, as though we're sharing in his darkest worries.
The goal was to have it be like a sound collage that I had made. It was really exploratory, with a lot of sampling and reversing-techniques I had tried in the past but had never gotten to fully explore. The results are beautifully minimalist: songs as whispered confidences, with what Gruska calls an arctic sound, windswept and cold, befitting lyrics that depict moments frozen in time. I didn't want to hide behind anything. That's why it's produced and arranged the way it is. It's very barren at certain moments. These songs slow down time for me, which is why I called it Slowmotionary. I needed to put myself out there musically and lyrically.
And that meant not making it perfect. It meant making these songs sound like the results from something other than a studio. It meant conveying the sense of music that is being written at the same moment you hear it. A lot of the record is mysterious, even to me. It's not something you always tap your foot to. You're listening to my thought process.1. The Valley
2. Me Who Wasn't Trying
3. Reoccurring Dream
4. Short Film
5. Rather Be
6. Crowded City Street
7. Grand Lies
9. What Are You Thinking Of?
10. Time Is The Healer
11. The Egotist
12. Illuminate$18.99Vinyl LP - Sealed Buy Now
ADAD-TEA-3910xThe Felice Brothers
Yonder Is The ClockThe Felice Brothers (Simone, Ian, and James) and their long time friends and band mates Greg Farley and Christmas Clapton, come to us from the Catskill Mountains, where a homegrown sound has been working its way through the bloodlines for generations. Titled with a phrase drawn from the pages of Mark Twain, Yonder Is The Clock is a nod to all of the American ghosts that lend their narrative and characters to the Felice BrothersÆ forthcoming release. Their studio was built from the remains of an abandoned chicken coop and it was there over the summer and fall of 2008 that they wrote and recorded this new collection of songs. Yonder Is The Clock is teaming with tales of love, death, betrayal, baseball, train stations, phantoms, pandemics, jail cells, rolling rivers and frozen winter nights. This is music that hasnÆt lost sight of the history of the land from which it came, and that quality alone makes The Felice Brothers the next great American band.1. The Big Surprise
2. Penn Station
3. Buried In Ice
4. Chicken Wire
5. Ambulance Man
6. Sailor Song
7. Katie Dear
8. Run Chicken Run
9. All When We Were Young
10. Boy from Lawrence County
11. Memphis Flu
13. Rise and Shine$21.99Vinyl LP - 2 LPs Sealed Buy Now
Their songs are full of rich, rural details: frozen lakes, swaying
trees, highway lights glowing in the deep night. - Rolling Stone
Milia's lyrics roll like rich literature and are just as visually
descriptive. - All Music Guide
As a band steeped in the rose tint of the early 90's, the
references to a collective history we all hold fondly are intrinsic to
Frontier Ruckus' songcraft. The band embarked upon a trilogy of
records surrounding these themes of place: the rust of a
Midwestern suburbia anywhere and the edifice of those oft
crumbling surroundings baked with the deeply passionate
memories they evoke. The Orion Songbook (2008), Deadmalls &
Nightfalls (2010), and Eternity of Dimming (2013) served as a trinity
of sorts to the gravity of those View-Master cartridge visions. In
listening one clicks thru song-slides of Matthew Milia's densely
worded sermons, if you will, belted and cooed with a timbre that is
full and fragile all at once, held together with netting from long-time
friend David Jones' angular banjo throes, and fleshed out by a
thick quasi-orchestra of brass, chord organ, and saw by Zachary
Nichols. Long-time vocalist Anna Burch returns to touring with
the band, providing a honey-sweet gelatin that firmly bases yet
sets each song into a full-throated fire.
Time has settled things, the fossils of those first records remain,
but a new rolling house has been built upon it by the band, as if
pulled from show to show, tour stop to tour stop. Milia and
company aren't stopping. There's some place to be. Now 6 years
on from their first full length, lauds from NPR, Paste, Rolling Stone,
and Daytrotter in the rear-view, and remnants of tours to Europe
and each corner of these United States scattered in fanny-packs
and hollow-body guitar cases, Sitcom Afterlife speaks with a more compact and frontal
approach. In these new songs Frontier Ruckus isn't retreading
those two-lane highways they've came on, but leaning forward -
there's a structured forward motion to this collection, a sense of
urgency toward the present, and a brevity that speaks of
immediate passion - not disregarding that lived-in past but also
not forlornly dragging it behind this shiny-new Airstream trailer that
is Sitcom Afterlife.1. The Splendid World
2. Bathroom Stall Hypnosis
3. Sad Modernity
4. Very Well
5. Crabapples In The Century's Storm
6. Darling Anonymity
7. Down In The Morning We Thought We'd Never Lose
8. Little Henrietta
10. A&W Orange and Brown$20.99Vinyl LP - Sealed Buy Now
DunesOver the past three years,the Santa Barbarian comrades that make up Gardens &Villa -Chris Lynch,Adam
Rasmussen, Levi Hayden, Shane McKillop, and Dusty Ineman - went from playing local bills to being
veterans of the road.After releasing their self-titled debut on Secretly Canadian in 2011, they pushed their
van's odometer into the six-digit range, zigzagging North America and Europe with over 350 shows in just 2
years. Gardens & Villa emerged a wiser, crystallized version of themselves.
Those experiences planted the seeds for the band's new batch of cohesive, personal, and beautifully layered
pop songs - homegrown in the confines of the band's beach side practice space. When it came time to
record, they searched out acclaimed producer Tim Goldsworthy (Cut Copy, DFA Records, LCD
Soundsystem, Hercules & Love Affair) and these five surf-town natives found themselves traveling to the
unlikely locale of Benton Harbor, MI (pop. 10,040) in January. There they landed at the Key Club, located
deep in the recesses of a converted locksmith's building where they would record what would become their
second full-length, Dunes.
Gardens &Villa burrowed into the Key Club's retro-themed studio and living space, only leaving the facility
five times over the next month. The disconnect between Santa Barbara's familiar sunny beaches and
Michigan's snow-covered lake shore led to the group's creative unraveling in the studio. The band lost track
of the hours, days, and weeks as blinking analog machines captured the intense journey. In the process,
Dunes was poured through Sly Stone's original custom-built Flickinger recording console.
With just a week left before deadline, Gardens & Villa sought a brief refuge from the studio where their
progress had stalled. They went on a trip,traversing winding roads past frozen tundra and barren trees and
into the wilderness of the nearby state park's tall dunes. The group climbed to the top and collapsed into a
combination of sand and snow.Simultaneously reminded of home as well as their distance from it,their jaws
dropped as they turned to see Lake Michigan's majestic and surreal expanse stretching toward the horizon.
Supported by Goldsworthy's guidance, the band went back to the studio and ultimately emerged with a
record beaming with dystopian energy, subconscious lyrics, and uncompromising sincerity. Lynch has
seamlessly integrated his bansuri flutes and Rasmussen has fleshed out his looming synths alongside shades
of '80s cult films soundscapes that lurk just underneath the songs in an unnoticeable-yet-omnipresent
fashion.Like the awe-inspiring clarity of sitting atop Michigan's dunes,the band's forthcoming record shares
a clear and evocative vision of where Gardens & Villa's members have traveled, what they've learned, and
what lies ahead.1. Domino
2. Colony Glen
3. Bullet Train
6. Purple Mesas
9. Thunder Glove
10. Love Theme$17.99Vinyl LP - Sealed Buy Now
Good Mood FoolIn the winter Luke Temple moved into a cottage, a small one, in upstate New York. The snow fell quietly. He had frozen blueberries and bread and eggs and Coors Original. He sang and drank and played and drank and ate and shoveled snow and when the snow melted and the roads cleared he had his friends. Eliot Kirmsky (Glass Ghost) and Mike Johnson (Dirty Projectors) dug into Luke's hut and together they built a fire. Luke called it Good Mood Fool.
Originally from Cape Anne, Massachusetts, Luke moved to the North West, sleeping rough in the woods,
working in a candy store and as a janitor at a suburban mall. While in Seattle Luke met some people headed down the coast. All of his aimlessness lasted a year and half before Luke had had enough. He enrolled in school of the Museum of Fine Arts and spent five years painting portraits, after which Luke moved to New York and worked as a muralist and plasterer. As painting drifted from the foreground little songs started to emerge. He tried them out at the famous Sidewalk CafÉ Monday open mic and the people there liked it.
After recording two critically acclaimed albums for Mill Pond, to little commercial reception, Luke was at the point of quitting a career in music. In 2008, feeling free in his new state, he made what would become the first Here We Go Magic album, forming the band and releasing the self-titled debut in 2009. Positive critical and commercial response to the record kept Luke busy with Here We Go Magic through touring and recording two more full lengths and an EP. Since Here We Go Magic's 2012 release, A Different Ship, Luke has returned to his original solo ideas.
In a sense Good Mood Fool is an extension of the first self-titled Here We Go Magic record. It was recorded with the same sense of freedom and joy. The meat of the record finds Luke taking a sharp turn in order to keep himself interested. First single Katie is a prime slice of mid-80s intelligent pop, almost So-era Peter Gabriel in its rhythms and sound. Meanwhile, Florida is a blue-eyed soul hit, a lazy sunny evening of summer beauty. Good Mood Fool draws from myriad influences, from the hushed soulful wail of Curtis Mayfield to the dense
harmonies of Gill Evans and the Bulgarian Women's Choir. It is meant to be clear in production and in content, hiding nothing.1. Hard Working Hand
4. Those Kids
5. Jessica Brown Findlay
7. Terrified Witness
8. Love Won't Receive
9. Hardest Working Self Made Mexican$17.99Vinyl LP - Sealed Buy Now
Bad BloodUS Version Includes Three Bonus Tracks
Bad Blood, the full-length debut from Bastilleis released by Virgin Records. Bastille is the top-selling debut act of 2013 in the U.K., where Bad Blood entered the albums chart at No. 1 earlier this year and has remained in the Top 20 ever since.
The U.S. version of the album will include three bonus tracks - "The Silence," "Weight of Living, PT. I" and "Laughter Lines."
Bastille will made its U.S. television debut on "Conan" July 24. The U.K. band played a sold-out show at the Troubadour in Los Angeles and will return to the States in the fall of 2013 for its first North American tour.
Haunt, Bastille's four-song EP debuted at No. 1 on Billboard's Heatseekers Albums chart after being released digitally. "Pompeii," the lead single, is already Top 20 at Modern Rock, and has been added by numerous stations, including KROQ-Los Angeles, 98/7-Los Angeles, Live 105-San Francisco, Q877-Chicago, KTCL-Denver, WRFF-Philadelphia, KTBZ-Houston, DC101-Washington DC and SiriusXM's Alt Nation. The "Pompeii" video has more than 30 million views.
Dan Smith, the founder of Bastille, envisioned the "Pompeii" clip as the novel I Am Legend if it were shot by the director of Drive, which hints at how inextricably intertwined music, film and literature are in his creative process. Rounding out Bastille's lineup are Will Farquarson, Kyle Simmons and Chris "Woody" Wood. The four musicians have been playing and touring together for more than two years and while each has his main role in Bastille, they effortlessly trade places on vocals, keyboards and percussion. The band's spring 2013 U.K. headline tour sold out immediately, with all 44,000 tickets gone in a day, and they are playing major festivals in the U.K, Europe and Japan this summer. Bastille's performance of "Pompeii" at Glastonbury can be seen here.
While Bad Blood sounds lush, it was actually recorded in a tiny room on limited equipment - apart from a day spent recording strings in the legendary Abbey Road Studios. Smith, working with producer Mark Crew, aimed to approach each song differently.
"I wanted each to be its own story with its own atmosphere which brings in different sounds and elements of production, incorporating aspects of the different genres and styles that I love: hip hop, indie, pop and folk," he explains. "Film soundtracks can be broad and varied, but tied together by the film itself. I hope the album will be something like that, but held together by my voice and the songwriting, each song a scene or part of a bigger picture."
"Pompeii" is an epic in miniature, a conversation between two charred bodies, frozen in time, caught in the ash that engulfed the Roman city of sin while songs like the title track and "Things We Lost in Fire" touch on the changing dynamics of relationships. "'Bad Blood' is an album crafted in one of modern pop's greatest refineries," observed Artrocker, awarding it five stars, while BBC Music said, "Bastille really deliver." Q named "Overjoyed" as "Track of the Day," noting, "[Bastille's] bewitching mixture of softly delivered vocals and glitchy tracks creates an impressive atmosphere."1. Pompeii
2. Things We Lost in the Fire
3. Bad Blood
5. These Streets
6. Weight of Living, Pt. II
10. Daniel in the Den
11. Laura Palmer
12. Get Home
13. The Silence
14. Weight of Living, PT. I
15. Laughter Lines$29.99Vinyl LP - Sealed Buy Now
The DietDiets? Who needs 'em? Well, if you're like Buddy Hackett, or us you do. A few years ago, I came across a 45-second monologue about trying to lose weight, performed by the comedian Buddy Hackett. It was on a 78 RPM record on the Coral Records imprint. It occurred to me that it could make an interesting dance recording given the right situation and circumstance. Equally inspirational was the book Love Saves the Day: A History of American Dance Music Culture 1970-1979 by Tim Lawrence. In reading it, I saw parallels between the dance culture of that era and the indie-rock/punk/experimental music culture. It unlocked in my mind a genre of music long dormant in memory yet an influence so prevailing in a variety of current musical genres. Woe be it unto the man whose tastes are frozen forever, for given time, space, and understanding, such things become reborn and reimagined as we search for a creative kernel of truth. I went about the realization of this idea with fellow Lambchops and electronic-minded musicians Ryan Norris (Coupler) and Scott Martin (Hobbledeions). Together we became HeCTA.
Using the idea of combining the notion of "song" and elements from stand-up comedy, and electronic music and a shared love of the electronic form and its many permutations, we respectfully, playfully explored and experimented. It was to be an equal sharing of ideas, influences, and missteps. We were looking for a new way of making songs incorporating these things, to make something concise on beat. The form is not such a surprise when you consider other electronic collaborations I've been involved with: Zero 7's remix of Lambchop's "Up With People" and co-writing X-Press2's "Give It." The results became The Diet, and those songs are with us now. As HeCTA, we take our approach seriously and are respectfully aware of the great electronic music created throughout its history continuing into the present-so much so that when it came time to mix these recordings, we reached out to some of the central figures of the genre. Such greats as Morgan Geist, John McEntire, and Q all had a hand in shaping the refined sound we present to you. With invaluable creativity and engineering by Jeremy Ferguson at Battle Tapes in Nashville, we together created what we consider to be a collection of songs that move and move through you, from the dashboard to the dance floor, from Decatur to Dornburg, from Dorchester to Detroit. Suck it up, hippies. This music is our attempt to extend the boundaries of our expression and have some fun. It's not Americana, house, techno, trap, juke, or blaze. Why would it be? And like any good diet, it will be reviled then ultimately loved by all who give it a chance to work its way into their lives. We love you for trying, and we're trying to love you back. -kurtx1. Till Someone Gets Hurt
2. Sympathy for the Auto Industry
4. Like You're Worth It
5. The Concept
6. Change Is In Our Pocket
7. We Are Glistening
8. Give Us Your Names
9. We Bitched We Bovvered and We Buildered$18.99Vinyl LP - Sealed Buy Now
No More Shall We PartNo 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
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$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
La Petite Mort (Awaiting Repress)Manchester's finest make a welcome return with 'La Petite Mort', the first new full length James album in six years. Produced by Max Dingel (Killers. Muse, White Lies) and written as ever, by the band, with Tim Booth lyrics, this new disc ranks among their finest in their 30 year career.
Highlights include the mighty first single 'Moving On', the anthemic 'Curse Curse' and 'Frozen Britain.'
Max Dingel is the latest in a long line of first class producers the band have worked with including Brian Eno, Gil Norton and Youth.
From first signing with the infamous Factory Records, to an illustrious career of albums released through Rough Trade, Sire Records and Mercury, James have now agreed an exciting new joint venture label partnership with BMG Chrysalis and Cooking Vinyl.
'La Petite Mort' was recorded in the wake of Tim Booth losing his mother and best friend in quick succession and understandably many of the songs deal with mortality, hence the album title. However, 'La Petite Mort', is an incredibly uplifting record.
Since forming in 1982, James are, without doubt, one of Britain's most influential indie bands, enjoying a prestigious career that spans over 30 years. Their classic hits include 'Sit Down', 'She's A Star', 'Laid' and 'Getting Away With It (All Messed Up)' amongst their 20 top 40 UK singles. They have released 12 studio albums and have sold over 12 million albums worldwide.
James are: Tim Booth (vocals), Jim Glennie (bass), Larry Gott (guitars), Saul Davies (guitar, violin), Mark Hunter (keyboards), David Baynton-Power (drums) and Andy Diagram (trumpet).1. Walk Like You
2. Curse Curse
3. Moving On
4. Gone Baby Gone
5. Frozen Britain
7. Bitter Virtue
8. All In My Mind
9. Quicken the Dead
10. All I'm Saying$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now