- Lowest Price
- Highest Price
REDI-THR-6817xThe Soft Pink Truth
Why Do The Heathen Rage?Not final cover art
The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of celebrated Baltimore-based electronic duo Matmos. After a decade of silence in which Daniel concentrated on Matmos and becoming a Shakespeare professor, The Soft Pink Truth is set to release Why Do the Heathen Rage? whose subtitle "Electronic Profanations of Black Metal Classics" reveals its bizarre agenda as an unrequited love letter to a justly divisive genre. A gleeful queer travesty of black metal's undying obsession with kvlt authenticity, Why Do the Heathen Rage? is also a formally precise homage executed with a scholar's obsession. With the guitar chord transcription assistance of Owen Gardner (Teeth Mountain, Horse Lords) and a coven of guest vocalists, including Antony Hegarty and members of Locrian and Wye Oak, Daniel meticulously transposes the riffs, structures and patterns of black metal chestnuts and deep cuts by Darkthrone, Venom, Mayhem, Sarcofago and more into oddly hybrid new forms. Cruising camp absurdity by forcing a sticky tryst between the two mutually incongruous early 90s subcultures of rave and black metal, the results are bracingly strange on first listen, but curiously addictive as the album sinks in.
Imitating the countless black metal albums that begin with ominous intros, the album commences with "Invocation for Strength", a spoken word track in which a Radical Faery poem used by gay activist Arthur Evans in his classic Witchcraft and the Gay Counterculture is read by Drew Daniel and Antony (Antony and the Johnsons). After this queer hymn, the rhythmic assault begins with an industrial gabber take on Venom's genre-founding song "Black Metal", featuring vocals by Baltimore artist Bryan Collins and screams from Daniel. Stark trap beats and rave synths meet two-step house bounce on "Sadomatic Rites," originally by Beherit, whose electronic opus H418ov21.c was an inspiration to Drew as he was making this album. Adding a witchy twist to an underground metal classic, Jenn Wasner (Wye Oak, Dungeonesse) lends her smoky, soulful voice to an orgasmic house deconstruction of Sarcofago's redlight anthem "Ready to Fuck." After a surprisingly sensitive guitar led intro, "Satanic Black Devotion" erupts with full on screaming vocals from Terence Hannum (Locrian), paired with IDM beats, synthetic banjo, and a rather glaring plunderphonic re-working of a recognizable dancefloor classic. Side Two kicks off with a stark, vogue-ball inspired rethinking of Darkthrone's "Beholding the Throne of Might", with whispered vocals from London based free improviser/composer Jennifer Walshe and a spoken interlude from David Serrotte of the vogue ball crew House of Revlon. The goth factor spikes on "Buried by Time and Dust", in which Daniel's Matmos partner M.C. Schmidt croaks the lyrics to the vampiric Mayhem original on top of MIDI harpsichord while a moldy 808 drops the "Planet Rock" beat. In an Ouroboric final gesture, the album concludes with a paroxysmic take on "Grim and Frostbitten Gay Bar" by Impaled Northern Moonforest, the parodic fake black metal project of Anal Cunt's Seth Putnam. A blizzard of snippets of pop, house, crust and metal are shredded and smothered in lo-fi screaming and arctic field recordings, ending the album on suitably contradictory notes of mockery and celebration. The album's controversial artwork, which will remain redacted for the time being due to the extreme content it portrays, fits those themes as well, depicting a volatile, extremist scene undergoing a long overdue queerification, coming out rich and strange, shiny and pink.
The Soft Pink Truth was started in 2001 when legendary UK house producer Matthew Herbert challenged Drew to "make a house record," resulting in the project's slyly funky debut album Do You Party?, which Herbert released on his own Soundslike Records. Daniel has also produced floor-burning remixes for Bjork, Herbert, Grizzly Bear, Dat Politics and many more under The Soft Pink Truth moniker. "Why Do The Heathen Rage?" follows his 2004 release "Do You Want New Wave or Do You Want The Soft Pink Truth?," a collection of electronic interpretations of UK punk and American hardcore songs. As a member of Matmos, Daniel continues to break down established norms of experimental and pop music practice by filtering genres through unique and brilliant conceptual lenses, and has established himself as one of the most individualistic electronic musicians of the past several decades.
Disclaimer: Aesthetics and Politics are neither equivalent nor separable. Black metal fandom all too often entails a tacit endorsement or strategic looking-the-other-way with regards to the racist, anti-Semitic, sexist and homophobic bullshit politics that (still) pervade the scene, on behalf of either escapist fantasy talk, shaky invocations of art as a crypto-religious path to transcendence, or--the oldest cop out in the book--the quietist declaration that "I just like how it sounds." Just as blasphemy both affirms and assaults the sacred powers it invokes and inverts, so too this record celebrates black metal and offers queer critique / mockery / profanation of its ideological morass in equal measure. Mixed emotions about a murky, diverse and self-differential scene are all very well, but, as Barack Obama is so fond of saying at press conferences just before legitimizing drone warfare, let's be clear: No apologies, no excuses, and no escape clauses are hereby offered. Murderers are murderers. No safe space for fascist garbage. The Soft Pink Truth hereby abjures black metal homophobes, racists, and Nazis categorically and absolutely: MAY THIS CURSE BIND! Remember Magne Andreassen!"1. Invocation for Strength
2. Black Metal
3. Sadomatic Rites
4. Ready to Fuck
5. Satanic Black Devotion
6. Beholding the Throne of Might
7. Let There Be Ebola Frost
8. Buried by Time and Dust
10. Grim and Frostbitten Gay Bar$18.99Vinyl LP - Sealed Buy Now
Catastrophe BalletFounded in Los Angeles in 1979 by Rozz Williams, CHRISTIAN DEATH emerged as a huge influence for the goth and death-rock movement with their debut album 'Only Theatre of Pain' (1982) as well as the genre-defining 'Catastrophe Ballet' (1984) and 'Ashes' (1985). The latter marks the final appearance of the classic band lineup and features the final recordings of their founder Rozz Williams alongside current CHRISTIAN DEATH main-man Valor Kand, vocalist-keyboardist Gitane Demone and drummer David Glass before Williams' untimely demise in 1998.1. Beneath His Widow
2. Awake At The Wall
4. The Drowning
5. The Blue Hour
6. As Evening Falls
7. Androgynous Noise Hand Permeates
8. Electra Descending
9. Cervix Couch
10. This Glass House
11. The Fleeing Somnambulist$21.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Killed By Deathrock Vol. 2After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as deathrock. In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven't yet received proper recognition. This is the second volume of that series.1. Spectator (Gatecrashers)
2. A Skeleton at the Feast (Middle Class)
3. Waiting for the War (ADS)
4. Whiplash (Veda)
5. Promised Land (Skeletal Family)
6. The Freedom Curse (Flowers for Agatha)
7. Dark Spirits (Red Temple Spirits)
8. What's Wrong Yvette (Crank Call Love Affair)
9. I Can't Live in a Living Room (Red Zebra)
10. Hade (Vita Noctis)$19.99Vinyl LP - Sealed Buy Now
In The Flat FieldFew debut albums have ever arrived as nearly perfectly formed as In the Flat Field. It practically invented what remains for many as the blueprint of goth music. In the Flat Field contains a wide variety of inspirations and ideas. The astonishingly precise rhythm section of David J and Kevin Haskins pulls off a variety of jaw-dropping performances, including the high-paced tension of the title track and the brooding crawl of "Spy in the Cab." Daniel Ash, much like his longtime hero Mick Ronson, turns out to be a master of turning relatively simple guitar parts into apocalyptic explosions, from the background fills on "St. Vitus Dance" to the brutal descending chords of "Stigmata Martyr." Murphy, meanwhile, channels as much Iggy Pop as he does Bowie, proving to be no simple copyist of either, able to both maniacally sing-shout and take a somewhat lighter touch throughout. The album concludes with the seven-minute "Nerves," an aptly titled piece that alternates between understated energy and unleashed power spiraling toward a dramatic ending. In the Flat Field started off Bauhaus' album career with a near-perfect bang.1. Double Dare
2. In The Flat Field
3. A God In An Alcove
5. The Spy In The Cab
6. Small Talk Stinks
7. St. Vitus Dance
8. Stigmata Martyr
9. Nerves$18.99Vinyl LP - Sealed Buy Now
GothsVinyl Cut At 45 RPM & Packaged In Gatefold Jacket With Full Printed Lyrics
The theme this time around is goth, a subject closer to my heart perhaps than that of any Mountain Goats album previous. And while John writes the songs, as he always has, it feels more than ever like he's speaking for all of us in the band, erstwhile goths (raises hand) or otherwise, for these are songs that approach an identity most often associated with youth from a perspective that is inescapably adult. Anyone old enough to have had the experience of finding oneself at sea in a cultural landscape that's suddenly indecipherable will empathize with Pat Travers showing up to a Bauhaus show looking to jam, for example.
But underneath the outward humor, there is evident throughout a real tenderness toward, and solidarity with, our former fellow travelers-the friends whose bands never made it out of Fender's Ballroom, the Gene Loves Jezebels of the world-the ones whose gothic paths were overtaken by the realities of life, or of its opposite. It's something we talk about a lot, how fortunate and grateful we are to share this work, a career that's become something more rewarding and fulfilling than I think any of us could have imagined. We all know how easily it could've gone the other way, and indeed for a long time did.
Charlotte, NCLP 1
1. Rain in Soho
2. Andrew Eldritch Is Moving Back to Leeds
3. The Grey King and the Silver Flame Attunement
4. We Do It Different on the West Coast
5. Unicorn Tolerance
6. Stench of the Unburied
1. Wear Black
2. Paid in Cocaine
3. Rage of Travers
5. For the Portuguese Goth Metal
6. Bands$22.99Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
SongsAfter the groundswell of adoration for his album debut Life After Defo and the live shows that followed, Deptford Goth returns this Autumn with Songs, his second record of intensely slow-burning gems. Where the former was more affiliated with those seamless blenders of dreamy synth-pop, R&B and soul, Songs adds elements of singer-songwriter tradition to his irresistibly yearning electronica. "It wasn't a conscious decision," says Daniel Woolhouse. "But I've become more accepting of my voice, so it's more prominent now, which led to structuring the songs in a more classic way. I also wanted people to hear the lyrics. It's a process of being more upfront and honest."
Songs' mood is still downbeat but tracks such 'Two Hearts' as 'The Lovers' would suggest he's found more happiness in his life. "Life After Defo had bits of hope hidden inside but this one's definitely more joyous," Daniel agrees. "Instead of closing down I'm opening up and feeling more at peace with myself about certain things."
Songs also bears the mark of its origins. Last year, Daniel left his south-east London flat where he recorded and Life After Defo for a place by the sea. "It's pretty peaceful here," he says. "And more space meant I could develop things a bit more."
As if to underline his singular mission, Songs' artwork echoes that of Life After Defo, being by the same artist, Jordan Kasey. "I wanted a continuation. I wanted something figurative, but that resembled a landscape too. It represents to me a connection between the physical self and it's surroundings, which is one of the album's themes." Over 11 chapters, from dark to light and various points in between, Songs is a unique landscape of the mind, body and soul, and one of 2014's most beautiful.1. Relics
2. Do Exist
3. The Lovers
4. We Symbolise
6. The Loop
7. A Circle
8. Near to a River
10. Two Hearts
11. A Shelter, A Weapon$22.99Vinyl LP - Sealed Buy Now
1. Rainbow Everywhere
2. Sun Opens My Eyes
3. Gun In The Sun
4. So Bored
5. Goth Girls
6. No Hope Kids
7. Weed Demon
8. Beach Deman
9. California Goths
10. Summer Goth
11. Ghost Ramp
12. To The Dregs
13. Killr Punx, Scary Demons
14. Surf Goth$17.99Vinyl LP - Sealed Buy Now
Limited Deluxe Edition Clear Vinyl
Includes 5 Bonus Tracks 12-Page Booklet
Limited Deluxe Edition clear vinyl reissue of the powerful and legendary EP of demo recordings by goth rock icons Christian Death originally released in 1984 but recorded in 1981 just prior to their debut album!
Includes 5 bonus tracks and a gorgeous 12-page booklet of texts and illustrations that inspired the band!1. Deathwish
2. Romeo's Distress (Nouvelle Version)
4. Desperate Hell
5. Spiritual Cramp (Nouvelle Version)
6. Cavity (Nouvelle Version)
7. Sleepwalk (Original Version) *
8. Invocation III *
9. Haloes *
10. Spectre (Love Is Dead) *
11. Romeo's Distress (Demo 1981) *
* bonus tracks$24.99Colored Vinyl LP - Sealed Buy Now
Down Below (Awaiting Repress)Sweden's TRIBULATION have celebrated an impressive rise to international recognition since developing from the old school death of The Horror to the progressive and atmospheric successor Formulas Of Death, before adding an classic goth rock vibe since 2015's Children Of The Night. The 2018 album, Down Below continues their highly addictive, macabre musical and conceptual journey further towards the end of night.1. The Lament
3. Lady Death
6. Cries from the Underworld
8. The World
9. Here Be Dragons$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Marble IndexLike a bolt from heaven, Nico cast off the understated pace of her work as chanteuse of the Velvet Underground-and the heavily orchestrated folk-rock of her solo debut, Chelsea Girl-for the relentlessly bleak and cobalt-blue cool avant-garde stylings of The Marble Index. Produced by former Velvets' John Cale, and employing the harmonium as a lead instrument, The Marble Index is revered now more than it ever was when released in 1969, as the gurgling headwaters source of Goth Rock.1. Prelude
2. Lawns Of Dawns
3. No One Is There
4. Ari's Song
6. The Wind
7. Julius Caesar (Memento Hodi)
8. Frozen Warnings
9. Evening Of Light$24.99Vinyl LP - Sealed Buy Now
Forever In The EndHailing from Portland, OR, Atriarch features members of Graves At Sea, Trees, Final Conflict and Get Hustle. Vocalist Lenny Smith describes his Cascadian deathrock ensemble as a living entity comprised of four parts, offering catharsis through sonic ritual. Formed in 2009, Atriarch sought out to combine elements of goth and deathrock while making sure to keep it heavy. Their debut full-length for Seventh Rule Records, Forever the End, does just that and then some.1. Plague
4. Downfall$13.99Vinyl LP - Sealed Buy Now
Greatest Love Songs Vol. 666 (Deluxe) (Awaiting Repress)
2 Gatefold Colored LPs - Remastered
When thinking back to heavy music and the 1990's, it's easy to just neatly summarize it up as grunge?and then nu metal. But we mustn't forget that between the two, several metal bands went goth - tops being Type O Negative and of course, HIM. And HIM frontman Ville Valo certainly succeeded in putting his own unique spin on dark imagery and vampirism on his band's debut full-length, Greatest Love Songs Vol. 666. - Greg PratoLP 1
1. For You (Intro)
2. Your Sweet Six Six Six
3. Wicked Game
4. The Heartless
5. Our Diabolikal Rapture
6. It's All Tears (Drown In This Love)
7. When Love And Death Embrace
8. The Beginning Of The End
9. (Don't Fear) The Reaper
1. Your Sweet Six Six Six (Live at Helldone TRE MMXIII)
2. It's All Tears (ACSTC Live G&T Version)
3. Our Diabolikal Rapture (Live at Rockpalast MM)
4. The Heartless (ACSTC Pascha MMXIV)
5. Stigmata Diaboli (Live at Caribia TKU MMII)
6. For You (ACSTC Live G&T Version)
7. The Beginning Of The End (Live at Provinssirock MCMXCIX)
8. When Love And Death Embrace (Live at Center Stage GA MMXIV)$24.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Ashes (Awaiting Repress)Founded in Los Angeles in 1979 by Rozz Williams, CHRISTIAN DEATH emerged as a huge influence for the goth and death-rock movement with their debut album 'Only Theatre of Pain' (1982) as well as the genre-defining 'Catastrophe Ballet' (1984) and 'Ashes' (1985). The latter marks the final appearance of the classic band lineup and features the final recordings of their founder Rozz Williams alongside current CHRISTIAN DEATH main-man Valor Kand, vocalist-keyboardist Gitane Demone and drummer David Glass before Williams' untimely demise in 1998.1. Ashes
2. Ashes Part 2
3. When I Was Bed
4. Lament (Over The Shadows)
6. The Luxury Of Tears
7. Before The Rain
8. Of The Wound$21.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Double Jointer (Discontinued)Golden Triangle is a band of three girls and three boys who play music that's loud and spooky, and will make you aroused and ambitious. They fall somewhere along the psychedelic / garage / post-punk spectrum, with two singing ladies who sound like soulful ghosts.Recorded over a two week period at Key Club Recording Company with producer Chris Coady (Yeah Yeah Yeahs, Beach House, Blonde Redhead), Double Jointer has the speed and catchiness of the current garage / weird-punk / lo-fi movement with some profoundly goth under-currents and some no-wave guitar over-currents.1. Cinco de Mayo
2. Blood and Arrow
3. Neon Noose
4. I Want to Know
6. Death to Fame
8. Eyes to See
9. Melting Wall, The
11. Arson Wells$12.99Vinyl LP - Sealed Buy Now
Dear God, I Hate MyselfThe two biggest constants throughout Xiu Xiu's catalog are honesty and evolution. This
remains true with Dear God, I Hate Myself as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music. The sound is still distinctly Xiu Xiu, but Jamie Stewart's vocals are finally effortless paired with vibrant melodies full of subtlety and the distinct sonic accents expected of this anticipated Xiu Xiu release. The result is a record that proves that art can be pop and pop can challenge you to look inside yourself.
Stewart is joined by new full-time band member Angela Seo on piano, synth, and drum programming; with production handled by Jamie and Deerhoof's Greg Saunier. Together they've crafted a fully-grown sound for Dear God, I Hate Myself with elements from Goth and pop that are expertly performed by a crop of brilliant musicians.01 Gray Death
02 Chocolate Makes You Happy
03 Apple for a Brain
04 House Sparrow
05 Hyunhye's Theme
06 Dear God, I Hate Myself
07 Secret Motel
08 Falkland Rd
09 The Fabrizio Palumbo Retaliation
10 Cumberland Gap
11 This Too Shall Pass Away (for Freddy)
12 Impossible Feeling$14.99Vinyl LP - Sealed Buy Now
CrackleBauhaus are the founding fathers of goth rock, creating a minimalistic, overbearingly gloomy style of post-punk rock driven by jagged guitar chords and cold, distant synthesizers. Throughout their brief career, the band explored all the variations on their bleak musical ideas, adding elements of glam rock, experimental electronic rock, funk and heavy metal.
And now their 1998 compilation Crackle has finally made it onto vinyl. The tracks have been re-sequenced for the format and there's a special substitution of an unreleased hybrid mix of Bela Lugosi's Dead featuring a 1982 studio vocal over a live backing track. The two disc set is packaged in a gatefold sleeve and, with under 20 minutes playing time per side, the cut is loud with minimum compression.1. Double Dare
2. In The Flat Field
3. The Sanity Assassin
4. The Passion Of Lovers
5. She's in Parties
6. Kick In The Eye
7. Ziggy Stardust
8. Dark Entries
9. Hollow Hills
11. Silent Hedges
12. Bela Lugosi's Dead (Tomb Raider)
13. Terror Couple Kill Colonel
15. Burning From The Inside
16. Crowds$26.99Vinyl LP - 2 LPs Sealed Buy Now
Yes And Also Yes (Awaiting Repress)The title for Mike Doughty's new album, Yes And Also Yes, was the headline of his profile during an unsuccessful foray into online dating. Most of the songs found here were written at the legendary artists' colony Yaddo, where Leonard Bernstein, Aaron Copland, James Baldwin, Truman Capote, Flannery O'Connor, Carson McCullers, Sylvia Plath and a lot of all-time giants once worked.
The album was recorded in a studio in Koreatown, Manhattan from July of 2010 to April of 2011 and was produced by Pat Dilett. Supporting musicians include Andrew 'Scrap' Livingston on bass and Thomas 'Doveman' Bartlett on piano. Features the Christmas song, Holiday, where Doughty duets with Roseanne Cash as well as Into the Un, a rejected Twilight soundtrack song about goth kids on LSD in a train station.1. Na Na Nothing
2. Into the Un
3. Day By Day By
4. Holiday (What Do You Want?) with Rosanne Cash
6. Strike the Motion
7. Have At It
8. Makelloser Mann
9. The Huffer and the Cutter
10. Rational Man
11. Telegenic Exes #1 (Hapless Dancers)
12. Weird Summer
14. Telegenic Exes #2 (Astoria)$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Abandoned ApartmentsJeremy Jay's latest, Abandoned Apartments, feels lived in, familiar, but filled with creaking shadows that go deep into the unknown. A product of several years spent in self-inflicted isolation and at various self-produced recording sessions, it is studied and wiser, culling its synthesizer tones from late-80s goth pop and touching on something darker than anything else Jay's ever made.
Jay's characters are full of longing, romance, and regrets, living their lives in bustling late night metro stations. They are vivid and moving. Abandoned Apartments is melodramatic in its emotions, exacting in its details; Jay has taken his time making exactly what he intended, and it buzzes iridescently, full of electricity, somewhere in the darkened distance.1. Sentimental Expressway
2. Covered In Ivy
3. Graveyard Shift
4. The View from the Train Window
5. Red Primary Afternoon
6. Far & Near
7. When I Met You
8. Abandoned Apartments
9. You Said It Was Forever
10. I Was Waiting$18.99Vinyl LP - Sealed Buy Now
I Like My Mice (Dead)/Spiderbite7'' vinyl single with picture sleeve
The mysterious goth milquetoast 'Mildred' appeared before Jack White at a hardware store in Kentucky. She had no demo to give, nor guitar with her, so instead she sang her song 'I Like My Mice (Dead)' at the top of her lungs in front of several hardware store customers before quickly walking out of the store in shy earnest. Mr. White immediately followed her to the sidewalk and signed her to a Third Man single contract.
She hails from the Mammoth Cave area, but hasnt given the staff an age, or current address! (...dont worry well be holding her royalty checks here for her.)
In fact her mother dropped her off at Third Man studio for the single session and waited patiently in a Winnebago outside the studio until Mildred was done recording. Mildred showed up with a very cool Gretsch Princess guitar but called it a 'Gitch'. Her band The Mice were even less forthcoming than she was, asking only for a copy of the record when it was done. Luckily, we were able to snap a few shots of them at the Third Man headquarters before they headed back to Kentucky.
The two songs available now are nothing short of remarkable, and were recorded live to 8 track in one take.
Jack White has given this recording the special Third Man catalog number of #003 stating; 'this is exactly the kind of record we want to put out.'Side One1. I Like My Mice (Dead)Side Two1. Spiderbite$6.99Vinyl LP 7'' Single - Sealed Buy Now
The Great Electronic SwindleThe Bloody Beetroots and Sir Bob Cornelius Rifo's discography features a string of successful EPs and two full length albums (2009's Roborama and 2013's Hide)-including collaborations with Sir Paul McCartney, Tommy Lee, Steve Aoki, Peter Frampton and many more. Clubs, theaters and festivals around the world have thrilled to different incarnations of The Bloody Beetroots' incendiary live show. Form Coachella to Lollapalooza to Governor's Ball to Big Day Out, The Bloody Beetroots Live have entertained millions across 6 continents. But he doesn't just want to entertain audiences; he strives to engage and challenge them, emotionally and intellectually. And he's increasing articulate in his pursuit of that goal.
For his new album, The Bloody Beetroots is working closely with myriad artists, including Perry Farrell of Janes Addiction, Jay Buchanan of Rival Sons, Wade McNeil from Gallows, San Diego Cholo Goth duo Prayers, Deap Valley, Australian singer Nic Cester and Jet, and many more. The audience has been hearing Bob's music in campaigns by BMW, Fiat, YSL, Lancome and media like CSI, Vice, Star Trek, Entourage, Teen Wolf, Hawaii Five-O, Need for Speed, Moto GP and many others.LP 1
1. My Name Is Thunder (The Bloody Beetroots + Jet)
2. Wolfpack feat. Maskarade
3. Nothing But Love feat. Jay Buchanan
4. Pirates, Punks & Politics feat. Perry Farrell
5. Invisible feat. Greta Svabo Bech
6. All Black Everything feat. Gallows
7. Irreversible feat. Anders Friden
8. Enter The Void feat. Eric Nally
9. Future Memories feat. Crywolf
10. The Great Run feat. Greta Svabo Bech
11. Kill Or Be Killed feat. Leafar Seyer
1. Saint Bass City Rockers
2. Hollywood Surf Club feat. Mr. Talkbox
3. The Day Of The Locust
4. 10,000 Prophets
5. Drive feat. Deap Vally
6. Crash feat. Jason Aalon Butler
7. Frantic feat. Wade MacNeil (Bonus track)
8. Fever feat. Nic Cester (Bonus track)
9. My Name Is Thunder - Jet + The Bloody Beetroots (Bonus track)$31.99Vinyl LP - 2 LPs Sealed Buy Now
ViolatorIn a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder's ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was Personal Jesus, at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan's echoed, snaky vocals. Then Enjoy the Silence, a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single Policy of Truth did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of Sweetest Perfection (well sung by Gore) and the ethereal Waiting for the Night to the guilt-ridden-and-loving-it Halo building into a string-swept pounder. Clean wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a rock band, Depeche here reach astounding heights indeed.
- Ned Raggett (All Music Guide)1. World In My Eyes
2. Sweetest Perfection
3. Personal Jesus
5. Waiting For The Night
6. Enjoy The Silence
7. Policy Of Truth
8. Blue Dress
9. Clean (Album Version)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ADAD-DEA-6615xA Place To Bury Strangers
WorshipGuitars as jet engines; guitars as haunted electronics; guitars as filling-melting white heat: A Place To Bury Strangers' new album Worship is explosive, visceral, and dark. APTBS' DIY-braintrust of Death By Audio wizard Oliver Ackermann and bassist Dion Lunadon continue the evolution of songwriting that began with Onwards to the Wall, the band's 2011 EP.
Now on Worship, they interweave threads of krautrock, dream-pop, and '80s goth without ever losing the edge that is quintessentially A Place To Bury Strangers. Unhinged dissonance is artfully framed within a fiercely dynamic and assured melodic sensibility. Standout You Are The One is a coldwave white squall, with Ackerman coming through like an austere and menacing Damo Suzuki. Later on Dissolved, the band methodically builds an atmospheric battle charge only to take a hard left mid-song into pure, shimmering Cure territory. There are ambitious, trend-bucking choices at every turn.
This album was written, recorded, mixed and mastered by A Place To Bury Strangers. It is our vision of what our music should sound like in 2012, not someone else's interpretation, says Lunadon. Every sound on the album is made by us and our tools; tools created by us, used on no other recordings, and purposefully built for this project. This is real. Some of it is the band being in complete control; bending, shaping and building the songs and the sounds. Other parts are the band relinquishing control and letting the songs and sounds take over and produce themselves.We are not trying to reinvent ourselves, but simply push ourselves further in all aspects of our music.
We made this, we recorded this, we did everything, adds Ackerman. Yes, we chose to do this and no, we didn't have to but we think it is pretty cool. No producer made us. We didn't go to school for any of this and we don't have time for tutorials. We invented this and now we are sharing it with you.1. Alone
2. You Are The One
3. Mind Control
6. Why I Can't Cry Anymore
9. And I'm Up
11. Leaving Tomorrow
12. On Every Page$18.99Vinyl LP - Sealed Buy Now
Abigail is the second King Diamond album and their first concept album. It was originally released in 1987 on Roadrunner Records, selling over 175,000 copies in North America alone. Widely recognized as King Diamond's solo masterpiece, Abigail is also unquestionably one of heavy metal's greatest concept albums.
So turn out the houselights, draw the curtains, and listen closely to this dark theatrical story. The band's familiar post-metal, semi-thrashing style is the perfect basis over which Diamond narrates his spine-tingling tale of horror. This is a tale that yields such career-topping compositions as the stunning A Mansion in Darkness, the surprisingly clever The Family Ghost, and the quite beautiful acoustics, orchestrations, and sound effects introducing The 7th Day of July 1777. Ensuing highlights are The Possession, the title track, and the epic finale of Black Horsemen.
Ace future Motörhead drummer Mikkey Dee matches incredible versatility and envious power for a command performance here, and one can noticeably hear guitarist Andy LaRocque nudging Diamond's erstwhile Mercyful Fate cohort Michael Denner out of the dual lead guitar equation with his inspired leads (he would soon assume an unchallenged position at the feet of the King's throne).
As for the master of dark ceremonies himself, King Diamond, too, takes a quantum leap by subjecting his trademark falsettos to layer upon layer of multi-tracked harmonies, transforming what was previously an acquired taste for some into an overpowering and irresistible self-contained chorus sent straight from the pits of hell. Thanks to all of this, the combined quality of the words and music to be found on Abigail make it an exercise in Goth Metal storytelling that remains quite simply nonpareil -- among the living, at least.1. Funeral
3. A Mansion In Darkness
4. The Family Ghost
5. The 7th Day Of July 1777
7. The Possession
9. Black Horsemen$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now