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  • AudioQuest NightHawk Carbon Headphones AudioQuest NightHawk Carbon Headphones Quick View

    $699.95
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    AudioQuest NightHawk Carbon Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Offering a unique combination of unsurpassed comfort,
    state-of-the-art design, and naturally beautiful sound,
    AudioQuest's first headphone, NightHawk, has been
    lovingly featured in the pages of magazines and websites
    as far-reaching as Stereophile, Rolling Stone, CNET, Wired,
    Head-Fi, Digital Trends, The Verge, and many more. This
    is evidence of the intensifying convergence between the
    high-fidelity and high-technology worlds, and testament
    to NightHawk's uncanny ability to captivate and inspire a
    diverse audience of thinkers, builders, engineers, and, of
    course, music lovers.


    While NightHawk's many innovative design elements-
    Liquid Wood earcups, biomimetic sound-diffusing grilles,
    and high-performance solid-conductor cable, to name just
    a few-have impressed listeners worldwide, many have
    expressed interest in different paint finishes, more versatile
    cables, and closed-back designs.


    AudioQuest takes the first of many steps toward satisfying
    those interests with two new around-the-ear models:
    NightHawk Carbon and NightOwl Carbon.


    NightHawk Carbon is a more sophisticated,
    more mature version of the original. It boasts all of the
    same exciting refinements found in NightOwl-improved
    performance, greater comfort, two pairs of earpads, a far
    more durable cable with mic and smartphone controls,
    enhanced look and feel -all while
    retaining its predecessor's remarkably low distortion and
    fatigue-free sound.


    Acoustic Refinements


    • Modified internal parts: Tighter tolerances reduce air
      leakage for improved airflow and lower distortion
    • Two sets of earpads: Protein Leather Boost Pads seal
      tighter for better isolation and slightly enhanced treble
      clarity; Microsuede Pads breathe freer for greater comfort
      and slightly reduced bass impact
    • Improved plugs: High-purity Tellurium Copper (TeCu)
      base metal for smoother surface, higher plating quality,
      better mating contact, and, consequently, less noise


    Ergonomic Refinements


    • Improved headpad: Genuine leather headpad with
      stitched detailing for enhanced comfort, more luxurious
      look and feel
    • Improved cable: Shorter (4.25ft) length for easier use
      at the desktop or with mobile devices; flexible, nonbraided
      jacket increases durability, eliminates kinking,
      minimizes microphonics; robustly engineered and
      rigorously tested strain relief further increases durability;
      discrete microphone and smartphone controls enable
      phone calls and playback functions (Play, Pause, Skip)
      without compromising sound quality


    Cosmetic Refinements


    • Luxurious finish: Porsche Carbon Grey Metallic highgloss
      paint meticulously applied via multistage process
    • Improved inner presentation: Includes microfiber
      pouches for headphones and accessories for safer,
      simpler travel


    Of course, all of the advanced design elements that
    made the original NightHawk such a success are carried
    over into the improved models. NightHawk Carbon and
    NightOwl Carbon share their predecessor's pistonic
    drivers with biocellulose diaphragms, compliant rubber
    surrounds, and true voice-coil formers. The patented splitgap
    motor remains unsurpassed in its ability to reduce
    intermodulation distortion. The earcups are fabricated
    from the same revolutionary Liquid Wood material, which
    affords acoustically optimized support beams and carefully
    applied damping. The patent-pending suspension system
    allows the earcups to move freely, accommodating heads
    of almost any shape or size, while effectively decoupling
    the earcups to counteract resonances.


    Thus, NightHawk's exceedingly low distortion, unrivaled
    comfort, and naturally detailed sound have been
    enhanced in every meaningful way. With the new semiopen
    NightHawk Carbon and closed-back NightOwl
    Carbon headphones, you can listen longer, later, and with
    greater pleasure, enjoying even deeper immersion in your
    favorite music, movies, videos, and games.


    AudioQuest
    $699.95
    Around-The-Ear Semi-Open Headphones Buy Now
  • Prestige Series SR80e Headphones Prestige Series SR80e Headphones Quick View

    $99.00
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    Prestige Series SR80e Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The Action Thriller


    Whether you're into gaming or jamming, our perfectly proportioned soundstage delivers the midrange you love and the details you crave. The 4-conductor cable and gold-plated mini-plug bring the sparkle back to your audio or gaming system, tablet or phone. Play keyboard or guitar in your own head-space with the comfortable S-Cushions and durable embossed vinyl strap. The only distortion you'll hear will be from your stomp box.


    Grado has taken one of the world's most legendary headphones and made it even better. The SR80e has a new driver design, a new polymer to damp resonant distortion in the plastic housing, and a new cable from plug to driver connection. The way the SR80e's new driver and plastic housing move air and react to sound vibrations virtually eliminate transient distortions. This allows the signal flow over the new cable to reproduce sound that has improved tight control of the upper and lower range of the frequency spectrum, while supporting Grado's world renowned midrange. The SR80e will produce a sound that is pure Grado, with warm harmonic colors, rich full bodied vocals, excellent dynamics, and an ultra-smooth top end.


    ...these are truly wonderful headphones, they've got the bass energy... ripping into heavy tracks with a gusto that eludes lesser rivals. With vocals they intoxicate with a natural feel and beautifully proportioned soundstage: few headphones can transport you as convincingly... The Grado SR80's are special. Buy'em, and Love'em.

    - What HiFi


    This product is not eligible for discount.


    Grado Headphones
    $99.00
    Headphones Buy Now
  • Klipsch Reference Over-Ear Headphones 2 COLORS AVAILABLE Klipsch Reference Over-Ear Headphones Quick View

    $249.00
    Buy Now
    x

    Klipsch Reference Over-Ear Headphones




    Utilizing Klipsch's Balanced Dynamic (KBD) driver technology, the fully balanced drivers move like a piston and minimize distortion bringing the most true-to-life bass sound ever heard in an over-ear headphone. With deep, comfortable ear cushions and high-end 40mm KBD dynamic drivers, Reference Over-Ear is the new standard for over-ear sound.




    Sound As Good As It Looks

    Built to sound completely neutral, Reference Over-Ear creates audiophile sound without the high price tag. The enhanced precision of Klipsch's KBD driver adds clarity and articulation to any song. The balanced driver moves like a piston, minimizing distortion and improving resolution.




    Superior Comfort

    Reference Over-Ear's removable memory foam ear cushions are soft and deep. With an extra large ear opening, the cushions are one-size-fits-all. The earcup provides articulation in all directions, allowing pressure to be applied evenly across the entire head. With the perfect amount of headband pressure, your ears will have hours of comfort.




    Patented Klipsch Balanced Dynamic Drivers

    Reference Over-Ear headphones utilize patented Klipsch Balanced Dynamic (KBD) driver technology which brings you closer to the music by equalizing the weight of the driver's diaphragm. KBD driver technology greatly improves sound, reducing the driver's intermodulation distortion (IMD) by removing lead wires from the diaphragm. Distortion reduces clarity and gives an unnatural element to the original sound. The difference is noticeable as bass becomes fluid and connected to the midrange and high frequencies without becoming bloated or disconnected. The improved dynamics create a soundstage and presence only heard in Klipsch's legendary speakers.




    Portable Design

    Apt for get-up-and-go situations, Reference Over-Ear headphones fold up and include a hard zip carrying case. A durable, tangle-resistant cable and three button mic make it simple to have full control of your Apple device without having to take it out of your pocket.




    rockrollkeepers


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Klipsch Headphones
    $249.00
    Reference Over-Ear Headphones - 2 Colors Available
    Buy Now
  • Klipsch Reference On-Ear Headphones 2 COLORS AVAILABLE Klipsch Reference On-Ear Headphones Quick View

    $199.00
    Buy Now
    x

    Klipsch Reference On-Ear Headphones


    After over 60 years of producing legendary loudspeakers, Klipsch expanded their bold audio legacy to revolutionize the headphone industry. Since 2007, they have been making the most cutting edge headphones available today.


    Klipsch wins in performance and comfort every time.


    Not Just Your Average Headphone

    The new standard in on-ear headphones blends comfort and sound quality into a one package. Not built to be showy, Reference On-Ear covers hinges and sliding mechanisms to reveal a minimal, clean aesthetic. Shielding mechanical components from the elements also boosts reliability so you'll a headphone that lasts.


    Sound

    A ground-up design concentrating on authentic representation of music from any genre, Reference On-Ear allows you to hear exactly what you were meant to hear by the artist. Vocals are clear, highs are crisp, and bass is true and exact.


    Comfort

    Reference On-Ear's superior ear cushions are soft and deep. This greatly improves comfort and minimizes outside noise. The earcup offers articulation in every direction, making sure that pressure is distributed evenly across the entire ear. With the perfect amount of headband pressure, your ears will stay comfortable for hours.


    Less Is More

    Designed with transportability in mind, Reference On-Ear is light on your head and has the ability to fold. The ear cups have been minimized to where the ear cushion is the largest component.


    Flat Tangle-Resistant Cable

    Upgraded durable cabling for easy storage and transport.


    Advanced Three-Button Remote + Mic

    Provides complete control of iPhone, iPod touch and iPod models, while allowing for flawless control of music and phone calls.


    Accessories

    Available in black or white finish, featuring a carrying case, ideal for safe storage and travel.


    rockrollkeepers




    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Klipsch Headphones
    $199.00
    Reference On-Ear Headphones
    Buy Now
  • Phone Power Phone Power Quick View

    $19.99
    Buy Now
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    Phone Power

    Boasting 18 pop gems, Phone Power continues the all killer, no filler tradition of the band's current efforts. The disc includes "I Love You for Psychological Reasons," the standout track that will be lodged in your head with barely a second listen, and a disarming reworking of Destiny's Child's classic "Bills, Bills, Bills."
    1. Apophenia
    2. I Love You For Psychological Reasons
    3. To A Forest
    4. I Am Alone
    5. Say Nice Things About Detroit
    6. Trouble Awful Devil Evil
    7. ECNALUBMA
    8. Daylight
    9. Sold My Mind To The Kremlin
    10. It Said Something
    11. Impossibly New
    12. I'll Be Haunting You
    13. Got Getting Up So Down
    14. What Did I Do To You?
    15. Shape Shifter
    16. Bills, Bills, Bills
    17. Black Ops Alt
    18. I Wasn't Listening
    They Might Be Giants
    $19.99
    Vinyl LP - Sealed Buy Now
  • Klipsch Reference On-Ear Bluetooth Headphones 2 COLORS AVAILABLE Klipsch Reference On-Ear Bluetooth Headphones Quick View

    $249.00
    Buy Now
    x

    Klipsch Reference On-Ear Bluetooth Headphones




    Created with the same acoustic signature as our award-winning Reference Series headphones, Reference On-Ear Bluetooth® headphones add high definition aptX and AAC streaming along with the ability to listen in passive mode using the removable cable.




    Legendary Sound + Great Fit

    One of Paul W. Klipsch's first labors of love was a headphone. Over seven decades later, our legendary acoustic heritage combined with in-depth comfort and fit expertise are forged into every Klipsch headphone making them the best sounding and most comfortable options on Earth. Reference On-Ear headphones are designed to minimize fatigue and create the perfect seal, enabling you to rock-on way beyond the encore.




    Quality You Can Feel

    Built with the authentic in mind, Reference On-Ear headphones diasplay a minimal, clean design. Hinges and sliding mechanisms are reinforced and cleverly hidden for a clean, solid feel and added reliability.




    No Compromise Wireless Sound

    Due to high definition aptX® and AAC streaming, not an ounce of fidelity is lost in the wireless transmission of audio. And since Klipsch acoustic design principles are based upon accurate music reproduction, Reference On-Ear doesn't add anything you weren't meant to hear by the artist. Vocals are clear, highs are crisp, and bass is true and accurate.




    No Pressure | Just Comfort

    Reference On-Ear's premium ear cushions are soft and deep, adding comfort and separating the music from outside noise. The earcup provides articulation in all directions, ensuring that pressure is applied evenly across the entire ear. With just the perfect amount of headband pressure, your ears will stay comfortable for hours.




    Portable Design

    Apt for get-up-and-go situations, Reference On-Ear headphones fold up and include a hard zip carrying case. A durable, tangle-resistant pass-through cable lets you keep the music going if the battery runs out.




    rockrollkeepers


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Klipsch Headphones
    $249.00
    Reference On-Ear Bluetooth Headphones - 2 Colors Available
    Buy Now
  • Klipsch Reference Over-Ear Bluetooth Headphones 2 COLORS AVAILABLE Klipsch Reference Over-Ear Bluetooth Headphones Quick View

    $299.00
    Buy Now
    x

    Klipsch Reference Over-Ear Bluetooth Headphones




    The Klipsch Reference Over-Ear Bluetooth® headphones use Klipsch's Balanced Dynamic (KBD) driver technology to decrease distortion and pump out the most authentic bass ever heard in an over-ear headphone. With Bluetooth® high definition streaming audio and a cVc® microphone, these premium headphones ensure a comfortable, easy-to-use listening experience for an affordable price.




    Klipsch Balanced Dynamic Technology

    One of Paul W. Klipsch's first labors of love was a headphone. Over seven decades later, our legendary acoustic heritage combined with in-depth comfort and fit expertise are forged into every Klipsch headphone making them the best sounding and most comfortable options on Earth. Reference On-Ear headphones are designed to minimize fatigue and create the perfect seal, enabling you to rock-on way beyond the encore.




    No Compromise Wireless Sound

    Due to high definition aptX® and AAC streaming, not an ounce of fidelity is lost in the wireless transmission of audio. Built to sound completely neutral, Reference Over-Ear creates audiophile sound without the audiophile price. The enhanced precision of Klipsch's KBD driver adds clarity and articulation to any song. The the balanced driver moves like a piston, minimizing distortion and improving resolution.




    All Day Comfort

    Reference On-Ear's premium ear cushions are soft and deep, adding comfort and separating the music from outside noise. The earcup provides articulation in all directions, ensuring that pressure is applied evenly across the entire ear. With just the perfect amount of headband pressure, your ears will stay comfortable for hours.




    Ready For The Road

    Apt for get-up-and-go situations, Reference Over-Ear headphones fold up and include a hard zip carrying case. A durable, tangle-resistant pass-through cable keeps the music going, even if the battery runs out.




    rockrollkeepers


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Klipsch Headphones
    $299.00
    Reference Over-Ear Bluetooth Headphones - 2 Colors Available
    Buy Now
  • Why Love Now Why Love Now Quick View

    $19.99
    Buy Now
    x

    Why Love Now

    Pissed Jeans have been making gnarly noise for 13 years, and on their
    fifth album, Why Love Now, the male-fronted quartet is taking aim at
    the mundane discomforts of modern life-from fetish webcams to
    office-supply deliveries. Rock bands can retreat to the safety of what
    rock bands usually sing about. So 60 years from now, when no one
    has a telephone, bands will be writing songs like, 'I'm waiting for her
    to call me on my telephone.' Kids are going to be like, 'Grandpa, tell
    me, what was that?' I'd rather not shy away from talking about the
    internet or interactions in 2016, says frontman Matt Korvette.


    Pissed Jeans' gutter-scraped amalgamation of sludge, punk, noise,
    and bracing wit make the band-Korvette, Brad Fry (guitar), Randy
    Huth (bass) and Sean McGuinness (drums)-a release valve for a
    world where absurdity seems in a constant battle trying to outdo
    itself. Why Love Now picks at the bursting seams that are barely
    holding 21st-century life together. Take the grinding rave-up The Bar
    Is Low, which, according to Korvette, is about how every guy seems
    to be revealing themselves as a shithead. It seems like every guy is
    getting outed, across every board of entertainment and politics and
    music. There's no guy that isn't a total creep.


    The lyrics on Why Love Now are particularly pointed about gender
    relations and the minefield they present in 2016. 'It's Your Knees' is
    about the endless, unrequested, commenting on if you'd fuck a girl.
    'My great aunt won a cooking contest.' 'Oh, that's pretty hot. I'd hit
    that,' says Korvette. On Love Without Emotion Korvette channels
    Nick Cave's guttural side while bemoaning his detachment over
    cavernous guitars. Ignorecam twists the idea of fetish cam shows-
    where the woman just ignores you and watches TV or eats macaroni
    and cheese or talks on the phone-into a showcase for Korvette's
    rancid yelp and his bandmates' pummeling rock.


    As they did on their last album, 2013's Honeys, Pissed Jeans offer a
    couple of fuck that shit type songs about the working world. And the
    startling I'm A Man, which comes at the album's midpoint, finds
    author Lindsay Hunter (Ugly Girls) taking center stage, delivering a
    self-penned monologue of W.B. Mason-inspired erotica-office small
    talk about pens and coffee given just enough of a twist to expose its
    filthy underside, with Hunter adopting a grimacing menace that
    makes its depiction of curdled masculinity even more harrowing.


    No Wave legend Lydia Lunch shacked up in Philadelphia to produce
    Why Love Now alongside local metal legend Arthur Rizk (Eternal
    Champion, Goat Semen). I knew she wasn't a traditional producer,
    Korvette says of Lunch. I like how she's so cool and really intimidating.
    She ended up being so fucking awesome and crazy. She was
    super into it, constantly threatening to bend us over the bathtub. I'm
    not really sure what that entails, but I know she probably wasn't
    joking." The combination of Lunch's spiritual guidance and Rizk's
    technical prowess supercharged Pissed Jeans, and the bracing Why
    Love Now documents them at their grimy, grinning best. While its
    references may be very early-21st-century, its willingness to state its
    case cement it as an album in line with punk's tradition of turning
    norms on their heads and shaking them loose.

    1. Waiting On My Horrible Warning
    2. The Bar Is Low
    3. Ignorecam
    4. Cold Whip Cream
    5. Love Without Emotion
    6. I'm A Man
    7. (Won't Tell You) My Sign
    8. It's Your Knees
    9. Worldwide Marine Asset Financial Analyst
    10. Have You Ever Been Furniture
    11. Activia
    12. Not Even Married
    Pissed Jeans
    $19.99
    Vinyl LP - Sealed Buy Now
  • iFi Audio Retro Stereo 50 Amplifier iFi Audio Retro Stereo 50 Amplifier Quick View

    $1,599.00
    Buy Now
    x

    iFi Audio Retro Stereo 50 Amplifier


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.



    From Vinyl All The Way To Smart Phones - Your Music, Your Way


    Class A Bewitching Tonality And Realism


    Octa-DSD512 And Pcm/768KHz. Ultimate Audio And Fully Future-Proofed


    Starting with the Stereo 50, the iFi Retro is a completely new range that has one objective: to include everyone who loves music regardless of age, gender or technology.


    The Retro Stereo 50 is an all-in-one tube stereo system: from Bluetooth aptx (phone/pad) to High-res digital (computer) to vinyl (turntable). Everyone can bring their music and be able to connect to the Stereo 50 and produce music that simply astounds. There really is nothing like the Retro Stereo 50.


    Music is in the air


    Smart devices capable of Bluetooth, aptX (best mode of wireless transmission) and NFC (extreme ease) can be "wirelessly paired" to the Stereo 50. From there, it is a simple case of opening your music app, be it your music collection on your music player, Spotify or Tidal and hit play!


    The aptX option offers CD-like-quality wireless audio beyond normal Bluetooth. This means the Stereo 50 is future-proofed for Smart devices for many years to come.


    USB & SPDIF for streaming/computer audio


    Nowadays, nearly every home is streaming, be it from the set top box, smart device or computer via SPDIF coaxial or the USB 3.0 port. Irrespective of your preferred listening method - from Spotify to J. River; connect to the Stereo 50 and enjoy your favourite tunes at a whole new level!


    High-resolution audio (DSD512, PCM768kHz, 2xDXD) via USB, Coaxial and Optical are all catered for. Just connect, sit back and enjoy your music your way.


    Space-age digital and classic valve technology


    AMR and iFi are renowned for combining classic valve technology with state-of-the-art digital technology such as in the prestigious AMR DP-777 Digital Processor. The Stereo 50 is the latest from a long line of outstanding products. It features 4xEL84X and 2xECF82 tubes with a stunningly advanced ground-up circuit that has DNA from the best of classic amplifiers such as Telefunken, Marantz and Leak.


    Running primarily in Class A, its 25W+25W is and sounds astonishingly realistic. This all means a sonic performance that reflects the superb design and implementation.


    Burr-Brown brightest chipset + AMR unorthodox technology


    At iFi, 'the best format' is not the focus. Rather, we care for replaying each format at the pinnacle.


    The Burr-Brown DAC chip used was developed by BB Japan (as opposed to BB/TI) though the product introduction was after the merger. Being Burr-Brown's swan song chipset, it featured their ultimate converter technology and even to this day, is held in the highest esteem.


    Having a chipset able to play all formats would count for little if this was not all executed natively, which means no conversion from one format to another. Using trickle-down technology from AMR (who wrote the chipset's unorthodox control software) to drive this Burr-Brown chipset means preservation of the original music format which is essential for reaching the zenith in high-end audio reproduction.


    High-Resolution on PCM768/DSD512/2xDXD


    Computer-audio playback is advancing at breakneck speed. The Stereo 50 on the outside exudes classic retro styling, but on the inside, is at the cutting-edge.


    It is able to play all formats to the highest level:

    - PCM, from 16/44kHz all the way up to 32/768kHz

    - DSD up to Octa-DSD512 (22.6/24.6MHz)

    - DXD, 2x to 768kHz


    Not only the hyper-advanced formats/sampling rates, but the filters employed also ensure the most analogue and life-like reproduction. The Minimum Phase filter for PCM and Bit-Perfect filter for DXD/DSD ensure maximum enjoyment. These filters ensure the typical "metallic edginess" to standard digital playback is not present, leaving a smooth and organic tonality.


    In-Ear & Headphone lovers in for a treat


    Got headphones? The Stereo 50 with separate 3.5mm and 6.3mm inputs is just for you. Each headphone input has its own dedicated gain and sensitivity to perfectly match high-sensitivity In-Ear-Monitors and low-sensitivity Over-the-Ear headphones respectively. The 6.3mm output pumps out a "turbo-charged" 7,000mW. So even the most demanding of headphones such as the HiFi Man HE-6 has met its match.


    The Stereo 50 features iFi's widely-regarded 3D Holographic for Headphones® and XBass® technologies. They have garnered a following with their mesmerizing ability to perfectly match each and every type of recording and headphone. The 3D Holographic for Headphones® technology uses pure analogue signal processing which delivers a wide open and spatially correct sound stage for headphones that places the sound field "back outside of the head" to enhance the listening experience. The XBass® technology creates the finest bass and dynamically corrects the bass response to perfectly suit the way we hear.


    Vinyl oozes verve


    iFi's iPhono has already become a modern classic and the Stereo 50's phono stage is set to emulate this feat. It has adjustable ultra-wide gain MM/MC from 38-62dB and its tone control system harks back to classic equalisation technology. With 6 different EQ curves (via the precision tone control), every stereophonic record is catered for. From the default RIAA through to EMI and Decca, as the legion of iPhono users can attest, once dialed-in, each and every record has "a kind of vinyl magic".


    The astonishing EQ feature would count for little if the actual sonic ability of the phono stage was not executed with finesse. Well, just like the iPhono, the Stereo 50 is one of only a handful of phono stages whose noise floor is below (as opposed to above) that of the record. With its superb dynamics and resolution, the Stereo 50 comfortably plays in the big league of vinyl.


    Analogue Tone, Volume and Remote Controls


    Digital volume controls truncate the delicate audio signal so iFi avoids this at all costs. The Tone Controls, Volume Control (with remote control) are all of extreme high-quality. The critical analogue volume control is by Alps (Japan) motorised potentiometer (< 3dB tracking error).


    Audio equipment up to four times the price do not possess a volume control as high-quality as the Stereo 50's. It is this fastidious attention to detail and highest-quality composition that sets iFi apart: in our sonic mission, we leave no stone unturned.


    iFi Audio
    $1,599.00
    Tube Amplifier Buy Now
  • Beulah Beulah Quick View

    $15.99
    Buy Now
    x

    Beulah

    Beulah. It's a small, complicated word with a tangle of meanings.


    It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.


    Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."


    Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."


    And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."


    Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.


    "Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."


    Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."


    White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.


    One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.


    At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.


    The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."


    Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."


    Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."

    1. Black Leaf
    2. What's So
    3. The Once And Future Queen
    4. Make You Cry
    5. Fight For You
    6. Hope I Die
    7. I've Been Over This Before (Feat. The Secret Sisters)
    8. The Martyr
    9. Hate The Way You Love Me
    10. I'll Get Even
    John Paul White
    $15.99
    Vinyl LP - Sealed Buy Now
  • Rope Commercial Vol.1 Rope Commercial Vol.1 Quick View

    $16.99
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    Rope Commercial Vol.1

    The scope of Robert Beatty's hydra-headed art practice has grown into an extreme articulation
    of unconned creativity across multiple disciplines. A founding member of 2000's noise outt
    Hair Police, as well as visionary illustrator and album-art designer for many of this era's most
    celebrated underground artists, Robert Beatty records his solo work under the name Three
    Legged Race. Come May 27, 2014, Three Legged Race will release the rst volume of Rope
    Commercial, a planned series of EPs premiering through the label Underwater Peoples.


    Rope Commercial Vol. 1 will be the rst Three Legged Race record since 2012's
    acclaimed Persuasive Barrier (Spectrum Spools / Editions Mego) and Beatty's follow up to last
    year's video score collection, Soundtracks for Takeshi Murata (Glistening Examples, 2013).


    Beatty's recent celebrated performances as Three Legged Race abandoned prior
    synthesizer-dependent set-ups in favor of an intentionally dematerialized approach, employing just a sequencer program in an iPhone, and a lone tape machine. Conceptually, Beatty is
    detantly shrugging o the fetishized hardware-oriented model so rampant in current
    electronic music discourse. Beatty steps further in this recording, having added acoustic
    instruments (dulcimer and piano) and thoroughly processing sampled elements to warp the
    whole into un-recognizable dimensions.


    Outtted as a picture-disc, Beatty's design features a creamy, neon-green urban
    landscape; the face of a humanoid gure is merged with a screen of a smartphone, its
    consciousness fused to the glass. Dangling from the phone is one leg outtted in a woman's
    heel, presumably its sole means of transport. These kind of pathetic cyborg gures in states of
    physical ux frequently appear in Beatty's art. They function neatly as windows into Beatty's
    music as well, with its electronically marred voices and barren sonic spaces. These gures are
    Beatty's torpid avatars, in both his music and art, their humanism is strained by a confounding
    digital synergy.


    The picture-disc is an apt setting for Beatty's airbrush work, his favored rendering
    tool, and the general modus operandi of Beatty's electronic music as Three Legged Race. In all,
    Beatty renews obsolete materials discarded from a voracious commercial culture, and employs
    them in strangely poignant contexts. In Rope Commercial Vol. 1, such found samples are diced
    and strewn into uneasy chapters. There is the dizzying, terse All Ajax Dial, the interplanetary
    gale of Aside From Each Other and Together Overnight, the faintly whirring New Government, the white noise of The Humidity Mascot and perhaps Beatty's motif-to-be Rope
    Commercial. In this title track alone, something of the whole EP is condensed: intentionally
    un-heroic melodies plod out over a darkly redundant groove and voices are haltered in the
    instance of utterance. Its electronic music most overtly, but defrocked of its sheen, with any
    conceivable hallmark of commercialism littered on the gravel.

    1. All Ajax Dial
    2. Aside From Each Other and Together Overnight
    3. New Government
    4. The Humidty Mascot
    5. Rope Commercial
    Three Legged Race
    $16.99
    12 Picture Disc Vinyl EP - Sealed Buy Now
  • Freedom & Surrender Freedom & Surrender Quick View

    $24.99
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    Freedom & Surrender

    Freedom and Surrender

    The circuitous dance between the beginning and the end.


    Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.


    The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.


    When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.


    It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.


    I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.


    My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.


    In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.


    I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.


    Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.


    The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?

    -Lizz Wright

    1. Freedom
    2. The Game
    3. The New Game
    4. Lean In
    5. Right Where You Are
    6. River Man
    7. Somewhere Down The Mystic
    8. Real Life Painting
    9. To Love Somebody
    10. Here And Now
    11. You
    12. Blessed The Brave
    13. Surrender
    Lizz Wright
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Concrete Confessional The Concrete Confessional Quick View

    $24.99
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    The Concrete Confessional

    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $24.99
    Vinyl LP - Sealed Buy Now
  • Eight And A Half Eight And A Half Quick View

    $17.99
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    Eight And A Half

    Justin Peroff of Broken Social Scene plus Dave Hamelin and Liam O'Neil of The Stills equals Eight and a Half. When Broken Social Scene first emerged out of Toronto 10 years ago, a great deal of the band's success was attributed to the fact that most of its individual members had ties to other bands, or boasted established solo careers. Peroff, the band's drummer since 2000, was not without extracurricular pursuits of his own (acting, DJing, party promotion), but had never released music outside of the BSS banner. By 2009, the urge to explore something new was proving ever more impossible to suppress.


    Hamelin and O'Neil were old friends of Peroff's, Broken Social Scene and The Stills had shared stages as far back as 2003, but they weren't necessarily the most logical choice of collaborators: after all, Peroff was splitting his time between his temporary home in Los Angeles and recording sessions in Chicago for Broken Social Scene's Forgiveness Rock Record, while Hamelin and O'Neil were in the thick of touring for The Stills' 2008 album, Oceans Will Rise, and living in their native Montreal when off the road.


    However, over the course of several phone calls and emails, the trio realized they all shared a desire to create music that was distinctively different than the big-tent anthems their primary bands were known for, so much so that Peroff was willing to spend much of 2009 hopping back and forth between L.A., Chicago and Montreal to get this new, more electronically focused project off the ground, if only in fits and starts.


    What a difference a year makes, fast forward to the end of 2010 and Peroff was calling Toronto home once again, after Broken Social Scene completed its marathon Forgiveness Rock Record tour. And fortuitously enough, O'Neil and Hamelin had also become fellow residents, albeit for markedly different reasons: the former was hired to engineer Metric's follow-up to Fantasies at the band's Toronto-based Giant Studios, while the latter relocated after his girlfriend scored a new job in the city. O'Neil and Hamelin also suddenly found themselves with a lot of spare time on their hands: following a fall 2010 tour with Kings of Leon, The Stills had unceremoniously disbanded.


    And so the conditions were in place to elevate Eight and a Half from sideline recording project to a primary concern for those involved. And each member seized the opportunity to reinvent himself: where Peroff's steady back beat has always provided the solid foundation atop which Broken Social Scene could freely experiment, with Eight and a Half his drumming is thoroughly deconstructed, as reliant on electronic programming and looped breaks as live performance.


    O'Neil, traditionally a piano and horn player, focused on coaxing strange sounds and eerie ambience out of synthesizers and samplers. And Hamelin, who attempted a more rootsy, conversational style of singing as The Stills' secondary vocalist, pushed himself to croon in a higher register, and adopt a more confessional, emotionally naked mode of songwriting to better complement the minimal, mechanized productions.


    Though Eight and a Half's formation precedes The Stills' dissolution, it's tempting to interpret these songs from the melancholic desolation of "Scissors," to where-did-it-all-go-wrong self-examination of "Go Ego," to the turn-a-new-leaf pledge "The Turn Around," as a direct response to their demise. But the vulnerability, doubt and resignation embedded in Hamelin's voice and words are easily transferrable to anyone who's invested years of their life into something special only to watch it vanish in an instant.


    And Hamelin's recovery process, as well as Eight and a Half's own evolution from piecemeal recording project into proper flesh-and-blood band, is mirrored in the album's sequential shift from darkness to light: what begins as a chilly, claustrophobic and insular experience gradually opens up into a widescreen, kaleidoscopic splendor, spanning the mountainous surge of "Took A Train to India," the exuberant digital psychedelia of "Two Points" and the climactic/ecstatic curtain closer "Oh, My Head."

    1. When I Was Twenty Nine
    2. Scissors
    3. Go Ego
    4. The Turn Around
    5. Took A Train To India
    6. Wait Up
    7. Two Points
    8. Walked Into Diazepene
    9. Oh, My Head
    10. My Forevers
    Eight And A Half
    $17.99
    Vinyl LP - Sealed Buy Now
  • AudioQuest NightOwl Carbon Headphones AudioQuest NightOwl Carbon Headphones Quick View

    $699.95
    Buy Now
    x

    AudioQuest NightOwl Carbon Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Offering a unique combination of unsurpassed comfort,
    state-of-the-art design, and naturally beautiful sound,
    AudioQuest's first headphone, NightHawk, has been
    lovingly featured in the pages of magazines and websites
    as far-reaching as Stereophile, Rolling Stone, CNET, Wired,
    Head-Fi, Digital Trends, The Verge, and many more. This
    is evidence of the intensifying convergence between the
    high-fidelity and high-technology worlds, and testament
    to NightHawk's uncanny ability to captivate and inspire a
    diverse audience of thinkers, builders, engineers, and, of
    course, music lovers.


    While NightHawk's many innovative design elements-
    Liquid Wood earcups, biomimetic sound-diffusing grilles,
    and high-performance solid-conductor cable, to name just
    a few-have impressed listeners worldwide, many have
    expressed interest in different paint finishes, more versatile
    cables, and closed-back designs.


    AudioQuest takes the first of many steps toward satisfying
    those interests with two new around-the-ear models:
    NightHawk Carbon and NightOwl Carbon.


    The closed-back NightOwl Carbon further advances
    the state of the headphone art, replacing NightHawk's
    sound-diffusing grille with an intelligently designed
    aperiodic damping system for excellent isolation of both
    external noise, and ensuring privacy for the listener and
    those nearby.


    Hidden beneath the central circular portion of NightOwl's
    earcups, a vent runs along the perimeter of each dome
    and exits through a hidden airflow-resistive port. Thus,
    unlike other headphones that use a sealed enclosure,
    NightOwl is designed to effectively relieve the buildup of
    pressure, allowing the drivers to breathe freely, ensuring
    that any impulses quickly return to an innocuous resting
    state-with no ringing, oscillation, or resonance.
    Further, we've implemented several closely related
    acoustic, ergonomic, and cosmetic refinements, each of
    which seamlessly complements the whole, delivering
    improved performance while elevating the overall user
    experience.


    Acoustic Refinements


    • Modified internal parts: Tighter tolerances reduce air
      leakage for improved airflow and lower distortion
    • Two sets of earpads: Protein Leather Boost Pads seal
      tighter for better isolation and slightly enhanced treble
      clarity; Microsuede Pads breathe freer for greater comfort
      and slightly reduced bass impact
    • Improved plugs: High-purity Tellurium Copper (TeCu)
      base metal for smoother surface, higher plating quality,
      better mating contact, and, consequently, less noise


    Ergonomic Refinements


    • Improved headpad: Genuine leather headpad with
      stitched detailing for enhanced comfort, more luxurious
      look and feel
    • Improved cable: Shorter (4.25ft) length for easier use
      at the desktop or with mobile devices; flexible, nonbraided
      jacket increases durability, eliminates kinking,
      minimizes microphonics; robustly engineered and
      rigorously tested strain relief further increases durability;
      discrete microphone and smartphone controls enable
      phone calls and playback functions (Play, Pause, Skip)
      without compromising sound quality


    Cosmetic Refinements


    • Luxurious finish: Porsche Carbon Grey Metallic highgloss
      paint meticulously applied via multistage process
    • Improved inner presentation: Includes microfiber
      pouches for headphones and accessories for safer,
      simpler travel


    With the new semiopen
    NightHawk Carbon and closed-back NightOwl
    Carbon headphones, you can listen longer, later, and with
    greater pleasure, enjoying even deeper immersion in your
    favorite music, movies, videos, and games.


    AudioQuest
    $699.95
    Around-The-Ear Closed-Back Headphones Buy Now
  • Mysteries Mysteries Quick View

    $21.99
    Buy Now
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    Mysteries

    East London's Tigercats return with their new album and first release for Fortuna POP! Mysteries is vividly emotional and sonical-ly expansive, blending the very best of indiepop with complex song structures, lush production and beautiful arrangements. Tigercats combine the talents of songwriter, singer and guitarist Duncan Barrett with his brother Giles on bass, Laura Kovic on keyboards and vocals, and Jonny Evans on drums, as well as recent recruit Paul Rains from Allo Darlin' on guitar. And on Mysteries they're joined by living legend Terry Edwards (Gallon Drunk / Tindersticks), who contributes saxo-phone and trumpet on several tracks. Tigercats have toured across Europe, playing at Primavera and appearing on Spanish TV, while back in the UK they've appeared at both Indietracks and End of the Road festivals. Many of the songs on the album have been live sta-ples, starting off one way and mutating in to something totally different, giving the songs time to grow and develop before heading in to the studio. And once they did head in, bassist Giles Barrett's day job at London's legendary Soup Studios allowed the band nearly unlimited time to get deeper in to the recording process - so deep that it verged on insanity. Mysteries is the sound of a band of outstanding musicians fulfilling their potential and using their talents in the studio to realise their musical vision, retaining their infectious hooks, their heart and their sheer danceability, and coupling it with a bright new contempo-rary sound. Superbly crafted and full of personality, Tigercats' second album suggests that they won't remain a mystery much longer.
    1. Junior Champion
    2. Laura And Cesar
    3. King Of Vic
    4. Globe Town
    5. Call Me If You Need Me
    6. Wheezer
    7. Too Sad To Tell You
    8. Sleeping In The Back Seat
    9. So Haunted
    10. Wendy And Lisa
    Tigercats
    $21.99
    Vinyl LP - Sealed Buy Now
  • Double Exposure Double Exposure Quick View

    $17.99
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    Double Exposure

    While many rocking bands in San Francisco and beyond claim to be 'garage' bands' - Kelley Stoltz has actually recorded his new LP Double Exposure in the garage behind his house. And while the car oil stained floors are covered by oriental rugs and there are no snow shovels laying around - there is a collection of vintage synths, 17 guitars, tape echos, mellotrons, a 50's jukebox, a Teardrop Explodes poster, a tape machine used by The Residents, an amp used by Stooge James Williamson, and a myriad other noise making devices which rear their heads on his new record. All told the place is called Electric Duck Studio and it's become a muse capturing zone for Stoltz, as well as Sonny & the Sunsets, The Mantles, Tim Cohen, Life Stinks, The Sandwitches and many other tuneweavers big and small.


    Double Exposure is Kelley's first album in a while - near on 3 years since his last one, To Dreamers came out on Sub Pop. What the heck has he been doing since, you ask? Well, renovating the garage for one, and using said garage studio to engineer, produce or encourage the above named bands You see time flies when you're having fun. Add in some love, a little heartbreak, turning 40, deciding to jog everyday, staring at the wall, singing hundreds of songs into the phone, sleeping, recording an album of cover songs with his family, making a couple 45 singles, catching white wine buzzes, getting dropped by Sub Pop, playing keyboards on tour with Rodriguez, and signing on with old supporters at Third Man Records really it's as good old Sandy Denny sang, who knows where the time goes.


    Anyway, if you stir up all that stuff and a few other things we won't mention here, you have the makings of a fantastic and heartfelt record, Double Exposure has 10 new jams that Thee Oh Sees main man, John Dwyer, describes thusly, A piece of gold in your ear, A lovely thought in your mind, A breeze in the sun, This record is perfect


    Nicely put there Johnny! And you too will thrill to the sound of delay pedals twisting the keys on Inside My Head, crane your neck to the backwards guitars of Are You My Love, ramble and gamble to the clanging cymbals on the title track, question the sanity of a song called Kim Chee Taco Man, and finally, fall down and weep at the sweet fluted sentiments of It's Summertime Again.


    For all of you Aussie rules fans, the album was mixed and mastered by Mikey Young of Eddy Current Suppression Ring/Total Control and features Stoltz playing most of the instruments himself and overdubbing parts through his trusty 8 track tape machine.

    1. Storms
    2. Are You My Love
    3. Your Face
    4. Double Exposure
    5. Inside My Head
    6. Still Feel
    7. Marcy
    8. Kim Chee Taco Man
    9. Down By the Sea
    10. It's Summertime Again
    Kelley Stoltz
    $17.99
    Vinyl LP - Sealed Buy Now
  • Funky Was The State Of Affairs Funky Was The State Of Affairs Quick View

    $14.99
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    Funky Was The State Of Affairs

    Fergus and Geronimo's leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well. But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.



    Founding member Andrew Savage is very conscious of the risks the band took, the changes that were made in order to avoid being marginalized. Says Savage: "Jason (Kelly) and I had no interests in becoming lost in the indie rock/garage rock milieu. The nature of those early singles was that they were instantaneously gratifying, and we both wanted to make a record that was ultimately gratifying, but not necessarily instantaneous."



    Now we have an idea of how far Fergus and Geronimo are continuing to take their gradually conceptual ambitions, in the form of their second full-length record, Funky Was The State of Affairs.



    Like some of history's most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do: making an album that actually plays like a cohesively complete statement. "I feel like bands aren't really making albums anymore. By that I mean, a start to finish concept meant to be listened to in its entirety. Labels are more interested in singles, which is in a tail-wags-dog sort of way.



    And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include, "aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement." At times the story seems filtered through the earthling point of view; in the next, extraterrestrials listen to phone-tapped conversations by some understandably paranoid humans.



    Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo. Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, "No Parties," contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent: "Collecting devices, you're paying the prices/Of over consumption, with mental destruction."



    "Basically, its a dystopian sound-scape of our civilization's collapse," says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve "the tightness that can only come from recording with a live core," as "musicianship is extremely important to Jason and I."



    Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band, which evolved out of the equally experimental Jackie-O Motherfucker, there is an expansion in the group's improvisational capabilities that wasn't as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul ("Wiretapping Muzak I and II") to early '80s New York dance rock ("Marky Move") with an immodest ease.



    "Hi, I'm Heather Strange, and I'm a 23-year-old human earthling female" says a woman between the first and second track. "Really, I'm just looking for a man whose cerebral capabilities haven't been fried by LCD screens yet." Most people reading this might be able to relate to Heather's plight, or worse yet, sink under the weight of being the type of person she's desperately seeking to avoid. But such is the genius of Fergus and Geronimo. They have made all of these variously opposing forces; dark and light, alien and earthling, melody and noise, condemning and being condemned, something that you feel like listening to over and over again. If only to hear what happens next.

    1. Planet Earth is Pregnant for the 5th Time

    2. No Parties

    3. The Strange One Speaketh

    4. Roman Tick

    5. My Phone's Been Tapped, Baby

    6. Roman Nvmerals/Wiretapping Muzak I

    7. Spies
    8. Earthling Men

    9. The Uncanny Valley

    10. Earthling Women

    11. Drones

    12. Wiretapping Muzak II

    13. Off the Map

    14. The Roman Stuff is Where it's At

    15. Marky Move

    16. Funky Was the State of Affairs
    Fergus & Geronimo
    $14.99
    Vinyl LP - Sealed Buy Now
  • Hug Of Thunder Hug Of Thunder Quick View

    $25.99
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    Hug Of Thunder

    "I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.

    They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.

    Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."

    Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.

    "He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."

    As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."

    Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"

    Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.

    The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.

    The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".

    Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."

    But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.

    "The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."

    Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"

    That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.

    "My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"

    So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."

    1. Sol Luna
    2. Halfway Home
    3. Protest Song
    4. Skyline
    5. Stay Happy
    6. Vanity Pail Kids
    7. Hug of Thunder
    8. Towers and Masons
    9. Victim Lover
    10. Please Take Me With You
    11. Gonna Get Better
    12. Mouth Guards of the Apocalypse
    Broken Social Scene
    $25.99
    Vinyl LP - Sealed Buy Now
  • Undefeated (Out of Stock) Undefeated (Out of Stock) Quick View

    $16.99
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    Undefeated (Out of Stock)

    Bobby Bare, Jr. could've phoned in a career. He could've exploited the fact that he's the son of iconic Country Music Hall of Famer Bobby Bare, was born into Nashville's Music Row elite, and counted artists like Shel Silverstein as close family friends and George Jones and Tammy Wynette as next door neighbors. Instead, Bobby blazed a path of unique songwriting craftsmanship with a voice that blows through you like an unyielding wind on the desolate prairie.


    Undefeated is BBJ's first release since 2010 and what he calls his "break-up record," but the whole of it is much more involved: this isn't escapism; it's an emotional survival guide. Undefeated is ten songs of reality checks, clever wordplay, and daring arrangements, the aural companion to that buddy who pulls up a bar stool next to yours to help soak away your sorrows.


    Like a bespectacled, curly haired prizefighter whose opponent is on the ropes, Bobby goes at each release as if it might be his last round, focused, and full of energy and purpose. Undefeated is no different. The song list is a war chest of formidable uppercuts (e.g. distorted pop rock gems "North of Alabama By Mornin'" and "Don't Stand At the Stove"), eye-splitting right jabs (open and orchestral "Don't Wanna Know" and "The Elegant Imposter"), and sneaky left hooks (the crescendoing "As Forever Became Never Again").


    Undefeated is an album of distinct balance, but with raw and varied textures. "North of Alabama By Mornin'" leads with a murky, palm-muted electric guitar and striding, crunchy organ backbeat; a combination that is undeniably kinetic à la Humble Pie's '70s boogie grooves and sinister and sexy, like a Southern doppelganger to Greg Dulli/The Twilight Singers. Bare Jr.'s ghostly high/low vocal layers echo the bleak picture of a metaphorical road trip, when his confidence slips, "Am I holding the steering wheel or is it holding me?/ The transmission is slipping like a pigeon through a tiger's teeth." By the song's finale, though, jubilant yelps ("Oh! Ho! Ho! We're goin' home!") and the electric guitar's pinch-harmonic wailing, indicate that things are headed in the right direction.


    What's most striking about BBJ is his proficiency with a broad sonic palette that fluently conjures uncommon impressions of life's soul-arresting experiences. "The Big Time" is rock 'n' roll reinterpreted through the lens of soulful pedaled bass, celebratory and punchy brass, and the facade of big-city talk ("You're gonna miss me after I hit the big time/ Gonna get brand new famous friends."). In "Blame Everybody (But Yourself)" the band - Young Criminals' Starvation League - taps into a piano-inflected British invasion/Herman's Hermits sort of vibe, blended with the melancholic echo chamber aesthetic of My Morning Jacket.


    At other moments, Bobby channels his country DNA (like in the Hayes Carll co-penned "My Baby Took My Baby Away"), mirror-ball gazing '70s R&B/soul ("Undefeated"), and bright ballads from the hills and hollers of Venice Beach ("If She Cared"). From anyone else, this refusal to play it on the straight and narrow would sound cluttered and disjointed, but Bobby never breaks a sweat.

    1. North of Alabama By Mornin'
    2. If She Cared
    3. The Big Time
    4. Don't Wanna Know
    5. The Elegant Imposter
    6. Undefeated
    7. My Baby Took My Baby Away
    8. Blame Everybody (But Yourself)
    9. As Forever Became Never Again
    10. Don't Stand At The Stove
    Bobby Bare Jr.
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
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