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  • Go Farther In Lightness (Pre-Order) Go Farther In Lightness (Pre-Order) Quick View

    $26.99
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    Go Farther In Lightness (Pre-Order)


    White Opaque Vinyl


    Go Farther in Lightness is the second studio album by Australian alternative band Gang of Youths. The album was originally released on 18 August 2017 and debuted at number 1 on the ARIA Charts. It was nominated for 8 awards at the ARIA Music Awards of 2017, winning 4: Album Of The Year, Best Group, Best Rock Album and Producer of the Year (Gang of Youths & Adrian Breakspear).

    LP 1
    1. Fear and Trembling
    2. What Can I Do If the Fire Goes Out?
    3. Atlas Drowned
    4. Keep Me In the Open
    5. L'imaginaire
    6. Do Not Let Your Spirit Wane
    7. Go Farther In Lightness
    8. Achilles Come Down
    9. Persevere


    LP 2
    1. Le symbolique
    2. Let Me Down Easy
    3. The Heart Is a Muscle
    4. Le rÉel
    5. The Deepest Sighs, the Frankest Shadows
    6. Our Time Is Short
    7. Say Yes to Life

    Gang of Youths
    $26.99
    Colored Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Wild in the Streets (200 Gram) Wild in the Streets (200 Gram) Quick View

    $30.99
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    Wild in the Streets (200 Gram)


    200g Black Vinyl Numbered


    Limited To 1000 Copies


    Mastered For Vinyl By Masterdisk


    Manufactured At Quality Record Pressings


    The litany of SoCal hardcore classics continues at Drastic Plastic Records with the reissue of one of the all time greats: Wild in the Streets by the Circle Jerks.


    The Circle Jerks have come to typify the last great youth movement in America: The hardcore punk movement of he late 1970s and early '80s. Wild in the Streets, the band's second album, is the Jerks in classic form: poignant, political, sarcastic and raunchy. And the cover features a gang of youths led by none other than Mike Ness, of Social Distortion. Wild in the Streets proceeds Golden Shower of Hits also available on Drastic Plastic Records.


    ORIGINAL MASTER: Our Wild in the Streets reissue was mastered from the original, Jerks-approved mix which only appeared on the first vinyl pressing in 1982, and never on CD.

    1. Wild in the Streets
    2. Leave Me Alone
    3. Stars and Stripes
    4. 86'd (Good as Gone)
    5. Meet the Press
    6. Trapped
    7. Murder the Disturbed
    8. Letter Bomb
    9. Question Authority
    10. Defamation Innuendo
    11. Moral Majority
    12. Forced Labor
    13. Political Stu
    14.Just Like Me/Put A Little Love in Your Heart
    Circle Jerks
    $30.99
    200 Gram Audiophile Virgin Vinyl LP Buy Now
  • Wounded Rhymes Wounded Rhymes Quick View

    $21.99
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    Wounded Rhymes

    Produced by Bjorn Yttling of Peter, Bjorn & John and recorded in Stockholm, Wounded Rhymes is the follow up to Lykke Li's critically-acclaimed debut, Youth Novels. Channeling the demise of The Shangri-La's Leader of the Pack, women under the influence, ladies and gentlemen of the canyon, a Kung-fu Marianne Faithful, and an armed Nancy Sinatra on peyote, Lykke Li has created a ten song album that sounds like no other. The record is packed full of pounding, voodoo drums, girl group gang vocals, sparkling guitar lines, woozy keyboards, love unrequited, hope reignited and her own very powerful voice, sounding bigger and bolder than ever before.
    1. Youth Knows No Pain
    2. I Follow Rivers
    3. Love Out Of Lust
    4. Unrequited Love
    5. Get Some
    6. Rich Kids Blues
    7. Sadness Is A Blessing
    8. I Know Places
    9. Jerome
    10. Silent My Song
    Lykke Li
    $21.99
    Vinyl LP - Sealed Buy Now
  • Venomous Rat Regeneration Vendor Venomous Rat Regeneration Vendor Quick View

    $24.99
    Buy Now
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    Venomous Rat Regeneration Vendor

    In April, horror rock mogul ROB ZOMBIE returns with his fifth solo album, and in his words, "It merges the old days of WHITE ZOMBIE with the future of what I am doing now this is the perfect combo of both worlds." Much more than self-serving hyperbole, this is the Devil's truth! 'The Girl Who Loved The Monsters' harkens back to La Sexorcisto, whereas 'Behold, The Pretty Filthy Creatures' would be right at home on The Sinister Urge. Throughout the 12 songs, pretty much every aspect of Zombie's musical career is touched upon; Venomous Rat Regeneration Vendor is almost like a Greatest Hits comprised of entirely new material. First single 'Dead City Radio And The New Gods Of Super Town' is a fiery, barn-burner of a track highlighting "wasted youth - an angel of odd in her birthday suit." That being said, the award for worst song title of the year goes to 'Ging Gang Gong De Do Gong De Laga Raga'. Musically, it's actually quite a good piece, but that title and chorus - what were you thinking Rob? Then there's 'Rock And Roll (In A Black Hole)', centered around a tedious, electronic syncopated drum beat. All signs lead to dull and dreary, but when this kicks in, it'll knock you on your ass! 'Theme For The Rat Vendor' is an unexpected 62-second instrumental immersed in middle-eastern sounds. Pulling a decapitated rabbit out of the hat, Zombie and cohorts John 5 on guitar, Piggy D on bass, and Ginger Fish on drums rock the shit out of GRAND FUNK RAILROAD's 'We're An American Band'; talk about a job well done! And if there really is a fallen angel in hell, Zombie will play 'Lucifer Rising' every night on tour. Bound to be a fan-favourite, this makes you move and groove uncontrollably; it's damn near irresistible. 'Trade In Your Guns For A Coffin' ends this illicit affair with the perfect amount of sex, sleaze and violence. Forget the Pied Piper, it's time to embrace, cherish and worship those Venomous Rats!-- Aaron Small
    1. Teenage Nosferatu Pussy
    2. Dead City Radio And The New Gods Of Supertown
    3. Revelation Revolution
    4. Theme For The Rat Vendor
    5. Ging Gang Gong De Do Gong De Laga Raga
    6. Rock And Roll (In A Black Hole)
    7. Behold, The Pretty Filthy Creatures
    8. White Trash Freaks
    9. We're An American Band
    10. Lucifer Rising
    11. The Girl Who Loved The Monsters
    12. Trade In Your Guns For A Coffin
    Rob Zombie
    $24.99
    Vinyl LP - Sealed Buy Now
  • Venomous Rat Regeneration Vendor (Picture Disc) Venomous Rat Regeneration Vendor (Picture Disc) Quick View

    $35.99
    Buy Now
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    Venomous Rat Regeneration Vendor (Picture Disc)

    Picture Disc


    Horror rock mogul ROB ZOMBIE returns with his fifth solo album, and in his words, "It merges the old days of WHITE ZOMBIE with the future of what I am doing now this is the perfect combo of both worlds." Much more than self-serving hyperbole, this is the Devil's truth! 'The Girl Who Loved The Monsters' harkens back to La Sexorcisto, whereas 'Behold, The Pretty Filthy Creatures' would be right at home on The Sinister Urge. Throughout the 12 songs, pretty much every aspect of Zombie's musical career is touched upon; Venomous Rat Regeneration Vendor is almost like a Greatest Hits comprised of entirely new material. First single 'Dead City Radio And The New Gods Of Super Town' is a fiery, barn-burner of a track highlighting "wasted youth - an angel of odd in her birthday suit." That being said, the award for worst song title of the year goes to 'Ging Gang Gong De Do Gong De Laga Raga'. Musically, it's actually quite a good piece, but that title and chorus - what were you thinking Rob? Then there's 'Rock And Roll (In A Black Hole)', centered around a tedious, electronic syncopated drum beat. All signs lead to dull and dreary, but when this kicks in, it'll knock you on your ass! 'Theme For The Rat Vendor' is an unexpected 62-second instrumental immersed in middle-eastern sounds. Pulling a decapitated rabbit out of the hat, Zombie and cohorts John 5 on guitar, Piggy D on bass, and Ginger Fish on drums rock the shit out of GRAND FUNK RAILROAD's 'We're An American Band'; talk about a job well done! And if there really is a fallen angel in hell, Zombie will play 'Lucifer Rising' every night on tour. Bound to be a fan-favourite, this makes you move and groove uncontrollably; it's damn near irresistible. 'Trade In Your Guns For A Coffin' ends this illicit affair with the perfect amount of sex, sleaze and violence. Forget the Pied Piper, it's time to embrace, cherish and worship those Venomous Rats!-- Aaron Small

    1. Teenage Nosferatu Pussy
    2. Revelation Revolution
    3. Theme For The Rat Vendor
    4. Ging Gang Gong De Do Gong De Laga Raga
    5. Rock And Roll (In A Black Hole)
    6. Behold, The Pretty Filthy Creatures!
    7. White Trash Freaks
    8. We're An American Band
    9. Lucifer Rising
    10. The Girl Who Loved The Monsters
    11. Dead City Radio And The New Gods Of Supertown
    12. Trade In Your Guns For A Coffin
    Rob Zombie
    $35.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Pop Crimes Pop Crimes Quick View

    $17.99
    Buy Now
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    Pop Crimes

    Rowland S. Howard started playing in teenage bands in late
    70s Melbourne. Whilst still a callow youth he wrote "Shivers," an
    undisputed classic, (quietly ignoring the fact that Rowland perhaps
    doesn't see it that way and approaches the song as if it was written
    by someone else). The song was recorded by his band The Boys Next
    Door who mutated into the Birthday Party and then relocated to
    Europe to wage a guerrilla campaign against the trivialities of the
    80s, until they turned their fire upon themselves and disintegrated
    mid-decade.


    Whilst his former associates have moved on to weekend colour
    supplement acceptability, Rowland has commonly been perceived
    as the banished wastrel prince... exiled to a squalid garret on the
    colder edges of the kingdom, accompanied only by his dreams and
    inclinations. His demeanour (pale, gaunt, stick thin, sickly, dark
    humoured, fatalistic) has perhaps inadvertently added far too much
    credence to this interpretation of events. The shadow of this myth
    has seemingly obscured the sheer volume of his creativity and the
    singularity of his musical vision.


    Always respected by his peers, a scan through Rowland's
    catalogue of work sees him allied with the likes of Lydia Lunch,
    Thurston Moore, Wim Wenders, Barry Adamson, The Gun Club, Nikki
    Sudden, the Beasts Of Bourbon, the Hungry Ghosts and HTRK.
    Rowland's own ensemble These Immortal Souls gun their engines
    in the ill-lit background and the legacy of his work with The Birthday
    Party scores the skin of successive generations of musicians and
    fans.


    But it's a history Rowland would gleefully put a match to. With or
    without it Rowland S. Howard would make tense, beautiful music,
    would deliver us his personal vision of the world, would create Pop
    Crimes.


    Long-time faithful friends Mick Harvey (who played with Rowland
    for over 30 years), JP Shilo (Hungry Ghosts) and producer Lindsay
    Gravina make for a formidable backline. Out front the guitar playing
    couldn't be any one else but Rowland S Howard and his weary,
    almost journalistic vocal delivery dispassionately sits amidst the
    sweaty panic of the music, adding to the ill ease.


    The band lurch in to Pop Crimes as if dragging a rain soaked body
    across a muddy field. The ghosts of Lee Hazlewood, Snatch, Sergio
    Leone, The Shangri-Las and nameless guys from a never known chain
    gang watch on. Within the first few breaths Rowland references
    Stalin, Calvary and genocide, whilst razoring guitar lines the current
    crop of post-punk revisionists could only fantasize about.


    "Shut Me Down" is Rowland at his most romantic, though
    inevitably it's shot through with loss and longing. If only Dusty
    Springfield were alive to revel in its drama. Talk Talk's 'Life's What
    You Make It' is re-imagined as if it had risen from the grind of a
    Detroit auto plant's assembly line. '(I Know) A Girl Called Johnny'
    sees Jonnine D from HTRK sidle up to the microphone for a duet
    that will melt even the coldest of hearts. It's a glorious missing link
    between the New York girl group sound and the street smarts of
    Suicide. Townes Van Zandt's "Nothin" is given a chilling tenement
    building transformation. "Wayward Man" has the band wailing like
    alarm sirens before Rowland emerges at his most contemplative
    with the gorgeous, fragile build of "Ave Maria." Final track "The
    Golden Age Of Bloodshed" takes the album out on a swaggering,
    swashbuckling epic, with salvation slipping through the narrator's
    fingers.

    1. (I Know) A Girl Called Jonny
    2. Shut Me Down
    3. Life's What You Make It
    4. Pop Crimes
    5. Nothin '
    6. Wayward Man
    7. Ave Maria
    8. The Golden Age Of Bloodshed
    Rowland S. Howard
    $17.99
    Vinyl LP - Sealed Buy Now
  • Where I've Been Where I've Been Quick View

    $21.99
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    Where I've Been

    "I think this is the best work we've ever done," explains JD & The Straight Shot founder and frontman Jim Dolan of the band's latest release, Where I've Been. "I'm so proud of the music that my band and I have put together. I believe in this album."


    Produced by Joe Walsh, Where I've Been features several breakthrough singles including "Governor's Song," which challenges some of today's most well-known political figures; "Under That Hood," a transformative single that tells the tragic story of Trayvon Martin; and "Hard to Find," which will be featured in the highly-anticipated film, St. Vincent, starring Bill Murray and Melissa McCarthy.


    Dolan's day gig is Cablevision Systems CEO and Executive Chairman of Madison Square Garden, where he also oversees New York sports teams such as the Knicks and the Rangers. Music is his passion.


    "I needed something in my life where I felt like I was actually creating," says Dolan. "Most of what I do as an executive is orchestrate. I don't actually set up cable and I don't really shoot hoops," he says, laughing. "Music is something I've played since I was a kid. It's me purely expressing myself."


    JD & The Straight Shot's creative nucleus is Dolan and guitarist Marc Copely (B.B. King), who pen all the band's music and lyrics. Instrumentally indispensable is guitarist Aidan Dolan; keyboardist Brian Mitchell (Bob Dylan, Levon Helm); and drummer Joe Magistro (The Black Crowes). Also part of the band are some of pop music's finest session players, bassist Zev Katz (Aretha Franklin, Elton John), and violinist Erin Slaver (Rod Stewart, Trace Adkins, Martina McBride).


    Dolan started JD & The Straight Shot in 2000. The band has recorded four previous albums: Midnight Run (2012), Can't Make Tears (2011), Right On Time (2008), and Nothing To Hide (2005) - as well as an EP, Daily News Blues (2010).


    The band's style is steeped in the quiet fire of Americana, with distinctive elements of the blues and mystical, rustic, New Orleans-flavored roots music - topped off with a dash of the classic rock of Dolan's youth.


    "I grew up on bands like the Allman Brothers," says Dolan. "We played those records until the grooves wore right off of them."


    JD & The Straight Shot has been covered by The New York Times, Billboard, and New York Magazine, among other publications, and performed on "Good Day New York." Their song "Can't Make Tears" is the theme song for AMC's TV show Hell on Wheels, and their music has been featured in many films, including the critically acclaimed August: Osage County.


    The group has opened for the Eagles on several tours, including the current "History of the Eagles" tour, the "Summer 2010" tour, and the band's stadium tour with the Dixie Chicks and Keith Urban. JD & The Straight Shot has also opened up for both Joe Walsh and Don Henley's solo tours, the James Gang reunion tour, and performed at the New Orleans Jazz & Heritage Festival and Austin City Limits.

    1. Palm Reader
    2. Where I've Been
    3. Hard To Find
    4. Under That Hood
    5. The Drift- PT 1
    6. Violet's Song
    7. Going Nowhere Good
    8. White Bird
    9. Girls Night Out
    10. Governor's Song
    11. History
    12. Fall From Grace
    13. The Drift- PT 2
    JD & The Straight Shot
    $21.99
    Vinyl LP - Sealed Buy Now
  • Seventh Swamphony Seventh Swamphony Quick View

    $19.99
    Buy Now
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    Seventh Swamphony

    Seventh Swamphony is the seventh studio album by the Finnish melodic death metal band Kalmah and is their first album with new keyboardist Veli-Matti Kananen. The album was recorded at Tico-Tico Studios in Kemi, Finland, and was mixed and mastered by Jens Bogren.


    Few would deny that in the late 1990s and very early 2000s, Finnish death metal began shifting it's direction across the board. Although Amorphis themselves never lost any stride, the whole 'depression metal' thing just kinda faded away, to be replaced by something far more aggressive and energetic. Bands such as Children of Bodom, Norther, and Insomnium broke through with a sound that although was still firmly rooted in the brutality of death metal, were not too shy to throw in the occasional thrash and black metal influence to in turn create something new and exciting. With the exception of perhaps the aforementioned Insomnium, Kalmah had always been perhaps the most flat-out extreme and agro, and has steadily upped the ante with every succeeding release.


    Right from the get-go, this disc opens up with a synth-hit-infused blasting skank-beat that flows easily into the pit-worthy yet SUPER-catchy chorus. This kind of sets the tone for this whole disc, and you get eight incredibly intense-yet-focus fistpumping/headbanging perfect examples of memorably melodic death metal that oozes every ounce of brutality that it can out of the riffage contained herein. A theme that is echoed in practically every song they've ever done is their effortless use of solemn, slightly-folksy lead guitar melodies on top of the high-energy thrashy rhythms underneath. Songs such as Deadfall and Wolves On The Throne are amazing and true-to-form for this band; heavy on melody and light on respite. The former song also features a glimpse of the ivory-tickling prowess of new keyboardist Veli-Matti Kananen, who in both his melody lines and also in his soloing has an almost youthful whimsy as he jams up and down the board. Once you notice it for the first time, you tend to notice that this may be one of the most keyboard-heavy albums the band has ever done, but that is because this may be the first time since 2002 that the band's keyboardist has had anything meaningful to add to the table in terms of songwriting. Maybe that's a bit drastic, but that's sure what it sounds like here, and that isn't to say that the omnipresent keys drown out the massive wall of guitar and bass. Antti Kokko is still one of underground metal's unknown guitar heroes with how deftly he weaves his melody lines through these tracks, and never mind how ridiculous his solos are. Need a point of reference? He's a straight-faced, serious, no-B.S. version of Alexi Laiho. And his brother Pekka Kokko's voice has never sounded better either, easily crossing from the higher-pitched, black metal-version of Mille Petrozza he always used to do on the older records with the flat-out demonic growl he's wielded since the masterful The Black Waltz album. He even manages to weave in a bit of clean singing for the first time that I can remember hearing on a Kalmah record, and speaking of which...


    ...remember how in the first paragraph we kind of stated that the melancholic Finnish death metal of yesteryear has been kind of hard to find as of late? Well, Kalmah decided to dish out their own version in fourth track Hollo. After listening to it maybe 10 times now, I've realized that I just need to stop the internal dialogue on whether or not it's a good direction for the band and instead just focus on how amazing the song itself is. For most of the track it really is one of the best pieces of old school Amorphis-worship that I've ever heard, before doing a Viking metal shift about halfway through, complete with calling horns and battle-ready gang vocals. Apart from this tune, the most that Kalmah otherwise deviates from what they know works is the almost-punky opening of Windlake Tale.


    A lot of people unfairly write this band off as Bodom clones, and it's really unfortunate when they put out such amazingly dark and heavy records like this that really set them apart. If anything, I feel that this record will continue to appease Kalmah's core fanbase who've stuck it out since the beginning, but with it's perfect mixjob (except for some questionable leveling of the opening melody of Wolves on the Throne) where everything comes through crisp and clear (or as crisp and clear as a band as loud and agro as this likes to get), it can be an easy-to-get-into album for those still uninitiated.


    Raise a horn of mead to the swamplords...they did it again!


    - ArnoldHablewitz (The Metal Archives)

    1. Seventh Swamphony
    2. Deadfall
    3. Pikemaster
    4. Hollo
    5. Windlake Tale
    6. Wolves On a Throne
    7. Black Marten's Trace
    8. The Trapper
    Kalmah
    $19.99
    Vinyl LP - Sealed Buy Now
  • 93 Til Infinity (Out Of Stock) 93 Til Infinity (Out Of Stock) Quick View

    $24.99
    x

    93 Til Infinity (Out Of Stock)

    One of hip-hop's great lost masterpieces, 93 'Til Infinity is the best single album to come out of Oakland's Hieroglyphics camp, and ranks as a seminal early classic of the West Coast underground. The Souls of Mischief weren't even out of their teens when they completely redefined the art of lyrical technique for the West Coast, along with fellow standard-bearers Freestyle Fellowship, the Pharcyde, and Hiero founder Del tha Funkee Homosapien. The Souls come off as four brash young MCs who are too smart for their own good, yet they're so full of youthful exuberance that it's impossible to dislike them for it. They're also excellent storytellers, punctuating their tales with a wry wit and clever asides; still, they're able to take on the grittier subjects of violence and death with a worldliness beyond their years.


    The production -- all by various core Hieroglyphics members -- is just as good as the raps, driven by complex beats, unpredictable basslines, and samples drawn from spacy fusion records and East Coast jazz-rap crews. Main Source and Gang Starr both provide track foundations here, and it's possible to hear the intricately constructed loops of the former and the lean attack of the latter (circa Step in the Arena) in the record's overall style. A better comparison, though, would be to the effortless flow and telepathic trade-offs of A Tribe Called Quest. In fact, 93 'Til Infinity seems to actively aspire to the fluidity of the best Tribe albums; tracks often segue directly into one another without pause -- and the transitions are seamless. Although the title cut is an underappreciated classic, 93 'Til Infinity makes its greatest impression through its stunning consistency, not individual highlights. Put it all together, and you've got one of the most slept-on records of the '90s.


    - Steve Huey (All Music Guide)

    1. Let 'Em Know

    2. Live and Let Live

    3. That's When Ya Lost

    4. A Name I Call Myself

    5. Disseshowedo

    6. What A Way To Go Out


    1. 93 'Til Infinity

    2. Limitations feat. Casual

    3. Anything Can Happen

    4. Make Your Mind Up

    5. Batting Practice

    6. Tell Me Who Profits

    7. Outro
    Souls Of Mischief
    $24.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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