Pro-ject Authorized & Certified VPI Dealer

A World of Vinyl

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Hard Promises

'
  • 1
  • 2
Results per page:
  • Hard Promises (Awaiting Repress) Hard Promises (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Hard Promises (Awaiting Repress)

    Hard Promises is the fourth album by Tom Petty and the Heartbreakers, originally released in May, 1981.
    1. The Waiting
    2. A Woman In Love (It's Not Me)
    3. Nightwatchman
    4. Something Big
    5. Kings Road
    6. Letting You Go
    7. A Thing About You
    8. Insider
    9. The Criminal Kind
    10. You Can Still Change Your Mind
    Tom Petty And The Heartbreakers
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Complete Studio Albums Volume 1 (1976-1991) (Box Set) The Complete Studio Albums Volume 1 (1976-1991) (Box Set) Quick View

    $259.99
    Buy Now
    x

    The Complete Studio Albums Volume 1 (1976-1991) (Box Set)

    Limited Edition 9-LP Box Set


    Pressed On 180-Gram Vinyl


    Features Replica Artwork


    The Complete Studio Albums Volume 1 (1976-1991) includes:


    Tom Petty And The Heartbreakers*

    You're Gonna Get It!*

    Damn The Torpedoes*

    Hard Promises

    Long After Dark

    Southern Accents

    Let Me Up (I've Had Enough)

    Full Moon Fever

    Into The Great Wide Open


    *Remastered since 2010

    The Complete Studio Albums Volume 1 (1976-1991) includes:


    Tom Petty And The Heartbreakers*
    You're Gonna Get It!*
    Damn The Torpedoes*

    Hard Promises

    Long After Dark

    Southern Accents

    Let Me Up (I've Had Enough)
    Full Moon Fever

    Into The Great Wide Open


    *Remastered since 2010

    Tom Petty & The Heartbreakers
    $259.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 9 LPs Sealed Buy Now
  • A Different Arrangement A Different Arrangement Quick View

    $13.99
    Buy Now
    x

    A Different Arrangement

    "A study in aching, moaning, human emotions set against robotic rhythms... there's a sense of decay present in every note."- About.com


    "[Their] darksider organ drone and Goth vocals charm rather than wear."- Capital NY


    "A promising Hardly Art debut."- Seattle Weekly


    Black Marble's Weight Against the Door was an auspicious, attention-grabbing debut that made the Brooklyn duo the go-to opening act for today's darkwave greats (Light Asylum, TRUST, the Soft Moon). Now, less than ten months later, bedroom producers Chris Stewart and Ty Kube follow that gritty, surgically-precise EP with A
    Different Arrangement, a new full-length that is, as its title suggests, a departure from Weight's calculated
    coldwave formalism.


    A Different Arrangement surveys a wide variety of sounds, from the radiant, bouncing ebullience of "A Great Design" to the haunted playground-bop of "Limitations" (which juxtaposes sampled rim-drum clacks with layers of sentimental synth melodies and Stewart's resonant, reverb-smeared baritone). The warm, Peter Hook-inspired basslines shapeshift across Arrangement's runtime, and vintage synthesizer arrangements by Kube (formerly of electropop outfit Team Robespierre) are likewise versatile-airy ("MSQ No Extra"), astral ("UK"), and at times so distinctly manipulated and sculpted as to be otherworldly ("Last").


    The influence of early synth pioneers like Thomas Leer and Robert Rental is felt across A Different Arrangement's eleven tracks, as are the fingerprints of the record's hard-line do-it-yourself architects.


    "All the music we gravitate towards has that quality where you can imagine the space it was created in and the people who made it. Not this handed-down-from-on-high sensibility. A certain handmade feeling is what we're after," Stewart explains. "The music doesn't have to be complex, but it's important to carry some residue of the
    process, especially when working with what [can sometimes] be construed as cold-sounding electronics. It's humanizing."


    If Weight Against the Door constituted a long, cold night, then A Different Arrangement heralds the moment when the radiator finally sputters to life, flooding the room with heat as the sun rises over a horizon of Brutalist tower blocks. The homemade soundtrack to a still, uncertain dawn, A Different Arrangement is a striking evolution in Black Marble's sound.

    1. Cruel Summer
    2. MSQ No-Extra
    3. A Great Design
    4. A Different Arrangement
    5. Limitations
    6. UK
    7. Static
    8. Pretender
    9. Last
    10. Safe Minds
    11. Unrelated
    Black Marble
    $13.99
    Vinyl LP - Sealed Buy Now
  • Prayers For The Damned Prayers For The Damned Quick View

    $18.99
    Buy Now
    x

    Prayers For The Damned

    Rock luminaries, Dj Ashba (Guitar), James Michael (Lead Vocals) and Nikki Sixx (Bass), collectively known as SIXX:A.M, today have unleashed their new album, Prayers For The Damned, via Eleven Seven Music.


    Setting the stage for the new album, their first single, "Rise", is a call-to-action for everyone to stand up for their beliefs. Describing the song's message, Michael explains, "Throughout history, some of the most dramatic changes have occurred when people reject the status quo and demand change. 'Rise' is about how we find ourselves at a global tipping point and how it is our duty as citizens of this world to come together, communicate with one another and rise up to demand more of ourselves and our leaders."


    With two U.S. Billboard top 20 albums and a string of hit singles already under their belt, Prayers For The Damned represents the band's most ambitious, complete and adrenaline-soaked effort to date. James Michael once again, plays triple-duty on Prayers For The Damned as vocalist, the album's producer and mixer, thereby solidifying the unique musicianship of this beloved hard-rock outfit. The introspective cover art for Prayers For The Damned is an original design created by guitarist Dj Ashba, further proving that all aspects of this album are a collaboration of true passion for the band.


    "SIXX:A.M. is in the most creative place of our careers," says Sixx, "For James, Dj and myself, we think it's the perfect time to release so much quality music to our fans who've been supporting us over the last 3 albums." Michael agrees, "The double-albums will leave no stone unturned in our quest to create important music and push the boundaries of rock." Ashba concludes, "We are on a mission to give our fans even more than they could have hoped for, both musically and visually."


    The band's previous release, 2014's Modern Vintage, featured the breakout single, "Stars," which sold over 73,000 copies, peaked at #5 on the Active Rock Chart and #4 on the Mainstream Rock Chart, making the band the #10 most played active rock artist of 2015.


    Prayers For The Damned promises to be the injection of hard rock that we have all been waiting for from this talented trio.

    1. Rise
    2. You Have Come to the Right Place
    3. I'm Sick
    4. Prayers for the Damned
    5. Better Man
    6. Can't Stop
    7. When We Were Gods
    8. Belly of the Beast
    9. Everything Went to Hell
    10. The Last Time (My Heart Will Hit the Ground)
    11. Rise of the Melancholy Empire
    Sixx: A.M.
    $18.99
    Vinyl LP - Sealed Buy Now
  • Popular Manipulations Popular Manipulations Quick View

    $18.99
    Buy Now
    x

    Popular Manipulations

    It's not uncommon for musicians to grow and evolve between releases-but even by those standards, the Districts' Popular Manipulations is stunning. The Pennsylvania-borne band's third full-length represents an exponential leap in sound and cohesion, an impressive and impassioned burn with a wide scope that threatens to swallow everything else surrounding it. Perhaps it's a clichÉ to say so, but while listening, you might find yourself wondering why people don't make indie rock like this anymore.

    The total electric charge of Popular Manipulations is just the latest evolution for the impressively young quartet, whose founding members-vocalist/guitarist Rob Grote, bassist Connor Jacobus, and drummer Braden Lawrence-have known each other since attending grade school together in the Pennsylvania town of Lititz. After deciding to form a band in high school, the Districts gigged hard in the tri-state area, releasing a slew of promising material (including the rootsy 2012 debut Telephone) before catching the eye of venerable indie Fat Possum. 2015's A Flourish and a Spoil found the band refining their embryonic sound with veteran producer John Congleton (St. Vincent, Kurt Vile)-and looking back on that release, there are glimmers of Popular Manipulations in chrysalis form to be found on it, hints of the fence-swinging anthemic sound they'd soon make wholly their own.

    After touring behind A Flourish and a Spoil, Grote began playing with different ideas in his own songwriting by making demos at a prolific pace. We knew that we wanted to change some things musically, so we were trying to come up with as many songs as possible to narrow the direction we wanted to take the material, he states. In total, they ended up with 50 song ideas, and so they were off to LA in May of 2016 with new guitarist Pat Cassidy in tow to log more recording time with Congleton, with four of Popular Manipulations' songs coming out of the sessions.

    We have a lot of overlapping tastes and preferences for how things are made, Grote gushes about working with the notably reliable studio wizard-but acceding all credit to Congleton (who also handled the record's mixdown) would be shortchanging the Districts themselves, who went on to self-produce the remainder of the record in Philadelphia with engineer Keith Abrams. Something we took from working with Congleton was ideas on arranging songs, Grote explains, and they certainly learned a lot: Popular Manipulations is a raucous and impressively thick-sounding album, overflowing with toothy melodies that pack a serious punch.

    The distinctly intense sound of Popular Manipulations-charging guitars, thunderous drumming, and Grote's searing vocals-was brought on by a few cited influences, from shoegaze's aggressive swirl to the Velvet Underground's impeccable drone-rock sound. There's a distinctly Canadian flavor to this brand of indie rock, too; Spencer Krug's anthemic, lushly inscrutable work in Wolf Parade and his defunct Sunset Rubdown side project comes to mind, as does 2000s Toronto barnburners the Diableros' overlooked 2006 gem You Can't Break the Strings in Our Olympic Hearts.

    But don't mistake easy comparisons for a lack of originality: on Popular Manipulations, the District are in a lane entirely their own, exploring lyrical themes of isolation and abandonment in a way that ups the music's already highly charged emotional quotient. Capable finds Grote turning his focus to the ruinous aftermath of divorce, and Before I Wake is, in his words, About coming to terms with being isolated or alone-even though we have a whole group of voices singing the whole time. Grote explains that even the title of the record touches on these universal concerns: It hints at how people use each other, for good or bad, and the personal ways you manipulate yourself and other people in day-to-day interactions.

    For such weighty thematic material, though, Popular Manipulations is purely life-affirming rock music, bursting with energy that cuts through the darkness of the world that surrounds us. We're a much better distillation of who we wish to be as a band, Grote reflects on the journey that has led the Districts to this point. We've figured out how to distill the things we've been trying to accomplish as a band, musically and lyrically. We've always viewed making music as something we're trying to do better the whole time. Mission accomplished.

    1. If Before I Wake
    2. Violet
    3. Ordinary Day
    4. Salt
    5. Why Would I Wanna Be
    6. Point
    7. Airplane
    8. Fat Kiddo
    9. Capable
    10. Rattling of the Heart
    11. Will You Please Be Quiet Please?
    The Districts
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ugly But Honest Ugly But Honest Quick View

    $15.99
    Buy Now
    x

    Ugly But Honest

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, Ugly But Honest is the first record in the Carissas Wierd trilogy, originally released on CD by Brown Records in 2000. It is now being released on vinyl for the first time via Hardly Art. The vinyl version comes on opaque blue double vinyl and is housed in a full-color gatefold jacket with download code.

    1. Heather Rhodes
    2. Drunk w/ the Only Saints I Know
    3. Lazy Eyelids
    4. To Be There Now
    5. One Night Stand
    6. Sitting in the Smoking Lounge of an Airport With a Broken Heart
    7. Blankets Stare
    8. Flourescent Lights
    9. A Bathtile Green
    10. Some Days Are Better Than Others
    11. Alphabet on the Manhole
    Carissa's Wierd
    $15.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • You Should Be At Home Here You Should Be At Home Here Quick View

    $15.99
    Buy Now
    x

    You Should Be At Home Here

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, You Should Be at Home Here is the second full-length record in the Carissas Wierd trilogy, originally released on CD by Brown Records in 2001. It is now being released on vinyl for the first time via Hardly Art. The vinyl version comes on opaque brown double vinyl and is housed in custom dust sleeves with a download code.

    1. Brooke Daniels Tiny Broken Fingers
    2. The Color That Your Eyes Changed With the Color of Your Hair
    3. Halfway Spoken Heart That Feels Comfort in Everything Until it Disappears and Then Its Gone
    4. A Loose Hair Falls Into a Glass of Water Without Ice
    5. Fear Not My Friend for Tonight We Ride
    6. Blessed Arms That Hold You Tight, Freezing Cold and Alone
    7. All Apologies and Smiles, Yours Truely, Ugly Valentine
    8. The Ghost of a Dead Hummingbird Flying Around the Room
    9. The Part About the Vine Thats Growing Through the Window and Reaching Towards My Bed
    10. You Should Be at Home Here
    Carissa's Wierd
    $15.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Songs About Leaving Songs About Leaving Quick View

    $13.99
    Buy Now
    x

    Songs About Leaving

    Formed in 1995 by Mat Brooke and Jenn Ghetto, Carissa's Wierd spent the better part of a decade crafting intricate, melancholic music with hushed harmonies, heartrending lyrics, and sweeping string movements. While Brooke and Ghetto formed the core of the group, various incarnations of the band also included Sera Cahoone, Ben Bridwell, Sarah Standard, and Jeff Hellis, amongst others. Upon the dissolution of Carissa's Wierd, former members of the band went on to form Grand Archives, S, Sera Cahoone, and most notably, Band of Horses. The widespread success of these projects in many ways legitimizes the humble beginnings of Carissa's Wierd and the promise of their sound.


    Following the release of the retrospective compilation, Theyll Only Miss You When You Leave: Songs 1996-2003, Hardly Art is reissuing all three of the Carissas Wierd full-lengths. Long out of print, Songs About Leaving is the third and final record in the Carissas Wierd trilogy, originally released on CD by Sad Robot in 2002. It is now being released on vinyl for the first time via Hardly Art. The LP version of this release comes on marbled light green wax and housed in a custom dust sleeve with a download code.

    1. You Should Be Hated Here
    2. Silently Leaving the Room
    3. So You Wanna Be a Superhero
    4. September Come Take This Heart Away
    5. Ignorant Piece of Shit
    6. The Piano Song
    7. Theyll Only Miss You When You Leave
    8. A New Holiday (November 16th)
    9. Farewell to All These Rotten Teeth
    10. Sofisticated Fuck Princess Please Leave Me Alone
    11. Low Budget Slow Motion Soundtrack Song for the Leaving Scene
    12. It Was Probably Green (March 19th, 1983)
    Carissa's Wierd
    $13.99
    Colored Vinyl LP - Sealed Buy Now
  • Suchness Suchness Quick View

    $13.99
    Buy Now
    x

    Suchness

    Suchness is the debut LP from We Are Loud Whispers, a dreamy duo featuring Sonya
    Westcott (Arthur & Yu) and Ayumu Haitani (4 Bonjour's Parties). Seattleite Westcott met
    Haitani-who lives in Saitama on the island of Honshu-when Arthur & Yu toured Japan in
    2007. The two have not seen each other since and are separated by the world's largest
    body of water, but that was no deterrent to forming a band together. Assembled over email,
    Suchness transcended geographical and language barriers-and traditional ideas of what a
    "band" is-in its making.


    Haitani would write and record instrumentals, upload them, and send to Westcott. As she
    listened thousands of miles away, she would pen lyrics to his orchestration, meditations on
    feeling alone even when partnered, wanting to control the uncontrollable, and on the power
    and promise of reaching for someone's hand. The song titles themselves tell a story:
    "Starcrossed," "This Time," "I Hate to Say Goodbye." After writing lyrics, Westcott would
    record a vocal track, upload, hit send, and wait for these starcrossed halves to meet and
    become complete-a process reminiscent of The Postal Service's Give Up (fitting since
    Jimmy Tamborello sings on track "Glossolalia").


    Despite the modern magic required to realize Suchness, and its intricacy of its electronic
    orchestration and parade of horns, timpani, loops and effects, the record breathes with an
    organic ease. The layers of complexity never sound cluttered, melding together in Zen
    simplicity. Westcott's airy whisper floats above heartbeat percussion, evoking the emotive
    electro of Lali Puna and Notwist.

    1. Orange Blossom
    2. This Time
    3. You Surround
    4. Western Town
    5. Glossolalia
    6. Starcrossed
    7. Modern World
    8. Rewind
    9. I Hate Goodbyes
    10. My Love Song
    We Are Loud Whispers
    $13.99
    Vinyl LP - Sealed Buy Now
  • Paracosm Paracosm Quick View

    $17.99
    Buy Now
    x

    Paracosm

    The music recorded by Ernest Greene as Washed Out has been nothing if not dreamy, and on his second full-length, Paracosm, he takes the dreamlike,
    otherworldly atmospheres of his music a huge leap further.


    The title refers to a phenomenon in which people create detailed imaginary worlds, and the idea of escaping is all over Paracosm's music and lyrics. Paracosm finds Greene reaching beyond the computers and synths that filled Washed Out's previous recordings, expanding his sonic palette to include over 50 different instruments, the most significant of which turned out to be old keyboards like the
    Mellotron, Chamberlin, Novatron, and Optigan.


    "I've grown as a songwriter to the point where I
    want to have more involved arrangements, and that's really hard to do with sampling," says Greene. "These machines were kind of a happy medium: The sounds have a very worn, distressed quality about them, much like an old sample. But they also offer much more flexibility because they're playable."


    Following two years on the road in support of
    the critically-acclaimed Within And Without, and the lauded Life Of Leisure EP (which can still be heard during Portlandia's opening credits), he and his wife, Blair (who plays in the Washed Out live band), relocated from the big-city hubbub of Atlanta to a house outside Athens, where Greene could shut out the real world in favor of an alternate universe of his own making. Listeners will be immediately struck by Paracosm's seamless melding of organic and synthetic sounds, and its lighter tone. Greene says: "I knew from the beginning I wanted this record to be optimistic, very much a daytime-sounding album. I think the last record felt more nocturnal in some ways. This one I just imagined being outside, surrounded by a beautiful, natural environment."


    With its gorgeous execution and uplifting attitude, Paracosm is primed to be this year's summer record. And it promises to do what its name suggests: take listeners to a better world.


    Paracosm was recorded at in Atlanta with Ben H. Allen (Animal Collective, Deerhunter, Gnarls Barkley, Washed Out - Within and Without) at Maze Studios.

    1. Entrance
    2. It All Feels Right
    3. Don't Give Up
    4. Weightless
    5. All I Know
    6. Great Escape
    7. Paracosm
    8. Falling Back
    9. All Over Now
    Washed Out
    $17.99
    Vinyl LP - Sealed Buy Now
  • It's Alive It's Alive Quick View

    $13.99
    Buy Now
    x

    It's Alive

    Seattle's La Luz recorded their debut EP, Damp Face, in a small trailer on a hot August day. But barring the inevitable "no-AC-in-the-van" summer tour calamity, La Luz runs cool. Their brand of coolness isn't about distance or affect; it's a mood, and-sue me, but I'm about to totally rip off Zelda Fitzgerald: Something about this music vibrates to the dusky, dreamy smell of dying moons and shadows. So yeah, that kind of cool.


    Still, La Luz's live shows, more than most these days, are about connection. It's evident that the four ridiculously talented ladies on stage are not only playing music with each other, but for each other. And they engage their audience as well. Like a proper punk band-which they are not- they give you shit for not dancing. They convey a gritty self-possession, a sense that they've been there and back again. And, like the expert, but seemingly effortless, surf licks and meandering bass lines that rise and fall throughout their songs, their mocking is playful and dreamy and disarming enough to get most of the crowd (and sometimes the keyboard player) dancing down the center line of a soul train.


    But as any half-assed Freudian will tell you, there can be no meaningful connection without first weathering some dark and lonely times. Here comes the chilly part: What makes La Luz stand out-and stand out fast-the band has only been playing together for a year and people took notice almost immediately-is that this is a band that embodies that most elusive slant on the human condition: longing, and the fleeting relief that tags alongside deep desire.


    In Spanish, La Luz means "light" and that's the perfect thing to evoke when your songs give the illusion of veering in the opposite direction. But lift out most any lyric-which is a good excuse to give a closer listen to the delicate, four-part harmonies that are fast becoming the band's signature-and you'll find that the aches and pains of love and loss, of living in a world where no foothold is ever a promise-all this is delivered with a nuanced dose of perfectly timed exhilaration, like the whole thing might just be worth it in the end.


    Last spring, La Luz returned to that steamy trailer park to record It's Alive - the much-anticipated follow up to Damp Face - with their friend and engineer Johnny Goss. From the first get-psyched drum roll and eerie chords of "Sure As Spring", the dinged-up pop gem that opens the album, the rest moves like a slow drive on a dangerous road, slinking and bending as the terrain shifts. On "What Good Am I?", the lead vocals, and the swirl of harmonies that surround it, recall the Spartan haze of Mazzy Star's misty-eyed super hit. Smack in the middle is the title track. "It's Alive" is a jangly rocker with a spooky refrain, oodles of ooohs, and a marauding narrative that nails down the misty logic of the rest of the album. Two instrumentals, "Sunstroke" and "Phantom Feelings", showcase the band's beach jam surf chops, and fall perfectly between the chilled out heartache that surrounds them.


    Imagine all of the Shangri-La's trying, precariously, to balance on top of Link Wray's surfboard.

    -- Pitchfork


    The kind of sweet surf rock with a touch of melancholy that should be the soundtrack to the slow-dancing-at-prom scene in every teen movie.

    -- The Stranger

    1. Sure As Spring
    2. All the Time
    3. Morning High
    4. What Good Am I?
    5. Sunstroke
    6. It's Alive
    7. Big Big Blood
    8. Call Me in the Day
    9. Pink Slime
    10. Phantom Feelings
    11. You Can Never Know
    La Luz
    $13.99
    Vinyl LP - Sealed Buy Now
  • 9 Songs 9 Songs Quick View

    $17.99
    Buy Now
    x

    9 Songs


    "Whole generations of basement-tape shenanigans are baked into their lurching, overdriven sound, alternatingly stripped-down and blown-out" - SPIN


    Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills,where the core duo of
    the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for
    the music they wrote while there, but you're free to look.


    "Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos.
    "The kinds of thingsthat have shaped our band aren't anchored to any one time or place."


    Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting
    that line of thought to the test; their musical influences travel from the Midwestern malaise of
    Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British
    belligerence of The Fall and This Heat.


    Recording the album while living with Foxygen's Jonathan Rado at his rented house in
    Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and
    insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on
    a porch," says Pulos of the experience.


    Their first collection of songs slyly unties the shoes of genre and convention, shape shifts
    mischievously, and tramples on the promises delivered on the name itself.
    There are only eight songs on this rangy debut.


    Intense blasts of hook-filled noise rock ("Hayward!"), rock steady marionette stomp ("No
    Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock
    ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest
    across 9 Songs.


    The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges,
    pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh
    out of his electric. Laffer matches him step for step on the drums, an exacting presence behind
    the kit who pushes even the band's more placid moments into bouts of tension. Together they
    succeed in animating their musical ideas to startling, almost unnatural life. Reverb units,
    keyboards,samples and processing gluing everything together,saturated in the August heat and
    worn in until they sound second nature, it's like somehow you've been listening to these songs
    forever.

    1. Hayward!
    2. No Time
    3. Epicondyles
    4. Dograces
    5. Mono
    6. 9 Songs
    7. Ash Wednesday
    8. Pterodactyls
    Dub Thomspons
    $17.99
    Vinyl LP - Sealed Buy Now
  • For The Demented For The Demented Quick View

    $28.99
    Buy Now
    x

    For The Demented

    Pressed On 180-Gram Colored Vinyl


    Annihilator's brand-new album "For The Demented" promises to pack a premier punch. The thrash/heavy metal legends are set to release their 16th studio album via Neverland Music.


    Since 1989, Canada's ANNIHILATOR has not stopped putting out records and touring the world. Despite the ever-changing climate of the Metal World (and releasing a series of "different" Metal records with various lineups along the way), Jeff Waters and company have consistently delivered strong albums since the band's debut "Alice In Hell." Then there was 1990's best-selling "Never, Neverland," 1995's "King of The Kill," "Schizo Deluxe" in 2005 and many other critically-acclaimed releases up until 2015's "Suicide Society." The 'under-the-radar' influence of this band and writer/guitarist/vocalist Jeff Waters has been felt throughout the entire realm of the metal world by a ton of well-known musicians and bands; that influence even stretching into the hard rock and instrumentalist genre. ANNIHILATOR's main man Jeff Waters, in his usual humble manner, offers this in response: "ANNIHILATOR's music has been influenced by a good hundred of my favorite bands and musicians; you can hear their contributions to what I have been doing all throughout ANNIHILATOR's catalog. It's a bonus and an honor when bands and musicians I love mention that I had something to do with their playing or songs!"


    Which all leads to the fact that ANNIHILATOR'S 16th studio release, "For The Demented", is certainly their most complete and definitive statement yet. "It was time to analyze what a lot of fans over the years have kept telling me," says Waters. "It was time to sit down and figure out "why" ANNIHILATOR's early "thrash-meets-melodic" caught the ears of so many AND to try to sweep the "fan" part of my writing/playing/singing out the door and welcome back the mostly-original Waters writing that was to be the first four ANNIHILATOR albums." Waters didn't venture back alone, while looking back through ANNIHILATOR'S history. "I was well aware that trying to recapture the past usually fails, or at least won't come close. So, I decided to bring in fresh ears, both musically and physically with Rich Hinks, my bassist for the last few years. And doing most all of the records by myself, including writing and playing most all on my own, as well as mixing, mastering, engineering, etc , well it can become routine and can often hinder you from being objective and more creative. Rich came in and co-wrote the music with me, as well as co-produced the beginning stages of the record. His background of classic thrash metal meets a newer "math" metal style was the perfect combination for me to simply ask, "what do you think of this?" He would most-often reply with "not the ANNIHILATOR style I like", so we would keep going until we both felt that core ANNIHILATOR riffing and writing style presented itself.


    "Bottom line, "For The Demented" captures some feel from ANNIHILATOR's 1985-87 demos mixed with the first 4 ANNIHILATOR records. Back to the thrash meets melody but with some pure Waters guitar riffing, up-graded lead guitar shredding and vocals back to the demo-days meets the "King of The Kill" record. Lyrically, I placed a theme on the record: the human mind and all of its glory, complexity, diversity, weaknesses, and insanity! Pretty much the craziness of the music is matched by the lyrics." "I think Metal Fans are going to hear much of what they have been waiting for from ANNIHILATOR."

    1. Twisted Lobotomy
    2. One To Kill
    3. For The Demented
    4. Pieces Of You
    5. The Demon You Know
    6. Phantom Asylum
    7. Altering The Altar
    8. The Way
    9. Dark
    10. Not All There
    Annihilator
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Queen Queen Quick View

    $19.99
    Buy Now
    x

    Queen

    Queen are proud to announce the re-release of their entire studio album catalog on remastered long playing heavyweight vinyl. The album packaging will include every detail of the original releases in their original 12 format. Bonus posters, extra pictures and all the unique content of the original albums will be faithfully reproduced. The next 5 albums include the very first album, Queen, along with News Of The World, Flash Gordon, A Kind of Magic and Innuendo, with successive releases coming approximately every six months.


    Queen's eponymous 1973 debut features all of the band's signature elements from Freddy Mercury's operatic harmonies to Brian May's orchestral guitar work to their theatric and grandiose hard rock. The album and its sound was as unique as it was promising and it provides a rough blue print to what would coalesce into greatness on their subsequent releases.


    1. Keep Yourself Alive
    2. Doing All Right
    3. Great King Rat
    4. My Fairy King
    5. Liar
    6. The Night Comes Down
    7. Modern Times Rock 'N' Roll
    8. Son And Daughter
    9. Jesus
    10. Seven Seas Of Rhye
    Queen
    $19.99
    Vinyl LP - Sealed Buy Now
  • Headspace Headspace Quick View

    $18.99
    Buy Now
    x

    Headspace

    Colored Vinyl


    The band is back with their second full-length album, "Headspace". For this release, they returned to
    producer Kris Crummett (Sleeping With Sirens, Dance Gavin Dance), and the result is 13 tracks that are
    some the band's best work to date. Headspace delivers more genre bending tracks, combining heavy
    rock and melodic choruses spirited by dueling vocalists Tyler Carter and Michael Bohn. Carter and Bohn
    sound better than ever, with Tyler delivering his signature, beautiful soulful soaring vocals and Michael
    crunching onto the track with his fierce hard hitting screams and melodic hooks.


    ISSUES have taken the ground-work built on their debut full length and created a fully realized album
    that is guaranteed to set them up as major players in the scene for years to come. Headspace delivers
    100% on the promise shown through their debut EP and debut full length. It embodies everything that
    ISSUES is, and what fans have come to love.

    1. The Realest
    2. Home Soon
    3. Lost-n-found (On A Roll)
    4. Yung & Dum
    5. Made To Last
    6. Flojo
    7. Hero
    8. Coma
    9. Rank Rider
    10. Blue Wall
    11. Someone Who Does
    12. I Always Knew
    13. Slow Me Down
    Issues
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • A New Day Yesterday A New Day Yesterday Quick View

    $32.99
    Buy Now
    x

    A New Day Yesterday

    Import


    Named after the early Jethro Tull classic, which he expertly covers here in a jaw-dropping performance, A New Day Yesterday is a fine debut by guitar ace Joe Bonamassa. And though his record company tried to ride the coattails of teenage guitar prodigies like Kenny Wayne Shepard and Jonny Lang and position him (misguidedly and much too late) as a straight-up prodigal blues kid, Bonamassa is really much more than a traditional bluesman. Rather, as best exemplified by the Jethro Tull number cited above, his bluesy take on Free's Walk in My Shadows, or his hard boogie romp through Al Kooper's Nuthin' I Wouldn't Do (For a Woman Like You), this excellent debut places the guitarist's influences as much in classic '70s hard rock as in the blues. Along with his deceptively age-wearied vocals (he was only 22 at the time of this recording), this unusual combination translates into the aggressive, soulful crunch heard on Bonamassa's many original compositions. Among these, the jolting double whammy of Miss You, Hate You and Colour and the Shape (note the Anglicized spelling) are the most obvious standouts, but the guitarist also makes the Warren Haynes-penned If Heartaches Were Nickels his own with a tense, riveting performance. All in all, a promising debut.

    -All Music Guide

    Cradle Rock
    Walk In My Shadows
    A New Day Yesterday
    I Know Where I Belong
    Miss You, Hate You (Rock Radio Remix)
    Nuthin' I Wouldn't Do (For A Woman Like You)
    Colour And Shape
    Headaches To Heartbreaks
    Trouble Waiting
    If Heartaches Were Nickels
    Current Situation
    Don't Burn Down That Bridge
    Joe Bonamassa
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Foundation The Foundation Quick View

    $22.99
    Buy Now
    x

    The Foundation

    The Foundation is the band's third album, and one could hardly hope for a better calling card for new fans. Brown's love for musical diversity is apparent from the first single and which is already showing early promise at radio, Chicken Fried, an utterly authentic take on his Georgia-bred existence during which audiences routinely are pressed into service to sing the choruses; Toes, which calls Jimmy Buffett to mind in its ode to beach life; and Free, which has turned into an audience anthem during recent tour stops.
    1. Toes
    2. Whatever It Is
    3. Where The Boat Leaves From
    4. Violin Intro To Free
    5. Free
    6. Chicken Fried
    7. Mary
    8. Different Kind Of Fine
    9. Highway 20 Ride
    10. It's Not OK
    11. Jolene
    12. Sic 'Em On A Chicken
    Zac Brown Band
    $22.99
    Vinyl LP - Sealed Buy Now
  • Impressions Impressions Quick View

    $24.99
    Buy Now
    x

    Impressions

    Following the release of their acclaimed 2012 debut, Everything Touching, Tall Ships were championed by both the BBC and NME, selling out shows across the UK and headlining the BBC Introducing Stage at Reading & Leeds Festival. Their debut earned a wealth of critical praise, with Pitchfork citing its penchant for the more swashbuckling strains of Okkervil River and Modest Mouse, M83's downcast glimmer, and Sigur Ros' misty yawn, and BBC Music claiming, the trio's debut displays dizzying craftsmanship.


    After a patch of personal turmoil and a falling out with their record label, the band found themselves at a crossroads. Where lesser bands might have crumbled under the weight of expectation and adversity, Tall Ships regrouped and retreated to keyboardist Jamie Field's country home to re-adopt a similarly DIY recording process to that which birthed Everything Touching years earlier. As such, Impressions bristles with a fresh intensity: it's a set that feels constantly on a knife edge of unpredictability, capable within a single song of being both disconcertingly tender and universal - easily the most ambitious and anthemic music the band has ever written, marking them out as one of the UK's most promising rock bands but one worn with the battle scars of doubt, fragility and lessons learned the hard way.

    1. Road Not Taken
    2. Will to Life
    3. Petrichor
    4. Home
    5. Lucille
    6. Meditations on Loss
    7. Sea of Blood
    8. Lost & Found
    9. Day By Day
    10. Impressions
    11. Purge
    12. Etching
    Tall Ships
    $24.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 Deer Tick Vol. 2 Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 2

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 1 Deer Tick Vol. 1 Quick View

    $19.99
    Buy Now
    x

    Deer Tick Vol. 1

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed Buy Now
  • Honky Tonk Heroes Honky Tonk Heroes Quick View

    $17.99
    Buy Now
    x

    Honky Tonk Heroes

    According to legend, it was at Willie Nelson's Fourth of July picnic when Waylon Jennings drunkenly promised a nobody named Billy Joe Shaver that he'd record a whole album of his songs. Apparently it wasn't until Shaver threatened physical violence on Jennings (in front of a Nashville studio full of people) that he finally made good on his promise, although Jennings had only recently been granted full artistic control by RCA. The result was a stunning achievement: 1973's Honky Tonk Heroes was the defining record of the anti-Nashville Outlaw movement--the term came after the album--and a cornerstone in country music history. Featuring bare-bones production and plainspoken, hard-nosed lyrics that celebrated personal freedoms and simple pleasures, the record was a far cry from the demure Nashville Sound. In each other, Jennings and Shaver had found a kindred spirit, and together they rewrote the country rulebook. - Marc Greilsamer
    1. Honky Tonk Heroes
    2. Old Five and Dimers Like Me
    3. Willy the Wandering Gypsy in Me
    4. Low Down Freedom
    5. Omaha
    6. You Asked Me To
    7. Ride Me Down Easy
    8. Ain't No God in Mexico
    9. Black Rose
    10. We Had It All
    Waylon Jennings
    $17.99
    Vinyl LP - Sealed Buy Now
  • All American Made All American Made Quick View

    $17.99
    Buy Now
    x

    All American Made

    A lot can change in a year: markets boom and bust, trends come and go, presidents
    get elected. In 2015, Margo Price was a country underdog just trying to keep
    enough gas in the tank to get to the next gig, but by the end of 2016, she was one
    of the genre's most celebrated new artists and a ubiquitous presence on late night
    television and at major festivals around the world.


    It's the kind of year most musicians can only dream of, and the arrival of Price's
    spectacular sophomore album, "All American Made," proves that she hasn't taken a
    moment of it for granted. Delivering on the promise of her debut and then some, the
    record finds Price planting her flag firmly in the soil as a songwriter who's here for
    the long haul, one with the chops to hang with the greats she so often finds herself
    sharing stages with these days.


    A prolific writer with a knack for candid self-reflection, Price has never had to look
    too far for inspiration, and on 'All American Made,' she and her songwriting partner/
    husband, Jeremy Ivey, continue to depict the trials of everyday life with unflinching
    honesty, painting poetically plainspoken portraits of men and women just trying to
    get by.


    Highs and lows, long nights and hard days, wild women and cocaine cowboys,
    politics and sexism, it's all in there, singularly filtered through Price's wry, no-bullshit
    perspective. Throughout the album, her contemporary take on classic sounds is at
    once familiar and daring, an infectious blend of Nashville country, Memphis soul,
    and Texas twang that tips its cap to everyone from Waylon and Willie (who makes
    a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the
    cookie-cutter pop that dominates modern country radio. Rich with swirling pedal
    steel, honky-tonk rhythms, and Price's stop-you-in-your-tracks vocals, 'All American
    Made' is deeply reverent of tradition even as it challenges conventions, a nuanced
    exploration of conflicted emotions for our deeply conflicted times.

    1. Don't Say It
    2. Weakness
    3. A Little Pain
    4. Learning to Lose
    5. Pay Gap
    6. Nowhere Fast
    7. Cocaine Cowboys
    8. Wild Women
    9. Don't Say It
    10. Do Right By Me
    11. Loner
    12. Don't Say It
    Margo Price
    $17.99
    Vinyl LP - Sealed Buy Now
  • Justice (Awaiting Repress) Justice (Awaiting Repress) Quick View

    $24.99
    Buy Now
    x

    Justice (Awaiting Repress)

    Bobby Ingram, brain, guitarist and main songwriter of American Southern rock act Molly Hatchet, the term 'justice' is more than just a word. To him, this basic concept expresses his whole philosophy of life. Justice, fairness, trust between friends, family members, parents and their children: what could be more important? Molly Hatchet live this maxim, to them this solemn promise applies not only within the international Southern rock community, but also to their music and its impact on their fans.


    A dozen haunting rock numbers prove that Molly Hatchet are justly considered to be on a par with legends such as Lynyrd Skynyrd and the Allman Brothers. Justice is marked by hot Southern rock that could hardly be more powerful and diverse. Almost every single track signals its musical and thematic direction. Producer Ingram is responsible for the awesome sound, supported by sound engineer Tommy Newton, who mixed the album. "I wanted a warm, natural sound, which you only get with an analog mixing desk," Ingram explains his decision in favor of Newton and his Area 51 studio.


    And so Justice has turned into an album that impresses at all levels: earthy, dynamic, with a lot of love for detail and loads of energy. One could say it's Molly Hatchet at their best!

    1. Justice


    2. American Pride

    3. Vengence

    4. Sacred Ground

    5. Deep Water

    6. Fly On Wings Of Angels

    7. As Heaven Is Forever

    8. I'm Gonna Live Till I Die

    9. Darkness Of The Night

    10. Safe In My Skin

    11. To Heaven To Hell

    12. Tomorrows And Forevers
    Molly Hatchet
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Tall Tall Shadow Tall Tall Shadow Quick View

    $16.99
    Buy Now
    x

    Tall Tall Shadow

    Tall Tall Shadow, the third album by Toronto singer-songwriter Basia Bulat, is the bravest album she has made. Raw and spectral, heartbroken, yet jubilant, these ten songs tell the story of a very hard year in the artist's life and all the love that helped her through it.


    Whereas the singer's past two LPs, including 2008's Polaris-nominated Oh, My Darling, were made in Montreal's all-analogue Hotel 2 Stango studio, Tall Tall Shadow is a more modern thing. This is a record with echo and reverb, electronic flutters and electric autoharp, voices that charge and incandesce around buzzing guitars, lonely piano and rattling percussion.


    To get to this place, Bulat co-produced the album with, Tim Kingsbury and Mark Lawson. Kingsbury, a member of Arcade Fire, can play anything and everything, she says. Lawson, who has worked on records with Akron/Family and Colin Stetson, and who won a Grammy for his work on Arcade Fire's The Suburbs, is a studio alchemist, someone who hears things hidden in songs, who is always keen to transform them.


    They started recording in Toronto, at a reverberating 60-year-old dance hall. Once again, Bulat put together a band: her brother, the punk-inclined drummer Bobby Bulat; Holly Coish on keys and backing vocals; Kingsbury and Ben Whiteley on guitars and bass. One song features Whiteley's father, the folk legend Ken Whiteley, on gospel organ. But Tall Tall Shadow isn't acoustic folk music: like Beck's Sea Change or Buckingham Nicks, chord and strum are a launch-pad for wilder sounds.


    Bulat's goal was to keep challenging herself. Promise Not to Think About Love, with shimmying bass and dancing handclaps, is the poppiest track she has ever released. It Can't Be You, played on an Andean charango, is one of the simplest. Never Let Me Go is all crescendo, a woman in a storm, and the title track reaches soaring for the sky: has there ever been a better showcase for Bulat's powerhouse voice? For her steam-train heart?


    Two months before I was due to begin recording, I suffered a deep loss, Bulat says. I kind of started over. She started; and she didn't stop.


    - Sean Michaels

    1. Tall tall shadow
    2. Five, four
    3. Promise Not To Think About
    4. It Can't Be You
    5. Wires
    6. The City With No Rivers
    7. Someone
    8. Paris or Amsterdam
    9. Never Let Me Go
    10. From Now On
    Basia Bulat
    $16.99
    Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top