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Scott Pilgrim Vs. The World SoundtrackOn Red Vinyl!
The soundtracks to movies adapted from comic books are often marketing free-for-alls; promoting bands takes precedence over choosing songs that make sense for the film. However, nothing could be further from the truth for Scott Pilgrim vs. the World's music. Since so much of the comic revolves around the bands that the characters play in, the film was already somewhat protected from having a bunch of random songs crammed into its soundtrack, but the film's creative team ensured that the music was done right. Director Edgar Wright's other films (Shaun of the Dead, Hot Fuzz, etc.) boast soundtracks that brim with personality onscreen and play more like mixtapes than albums in their own right; that feeling continues here with picks like Beachwood Sparks' By Your Side, T. Rex's Teenage Dream, and Frank Black's I Heard Ramona Sing.
The musicians who bring the comic's bands to life are just as cleverly chosen. Beck revisited his slacker-punk roots with the songs he wrote for Scott's band Sex Bob-Omb; though they're performed by Michael Cera and the other actors in the film, Threshold, Summertime, and Garbage Truck still have Beck's gloriously messy early-`90s vibe to them. Later, he contributes Ramona, a dreamy ballad that sounds more like his 2000s work. Meanwhile, Broken Social Scene are Crash and the Boys, the rival band whose I'm So Sad, So Very Very Sad lasts a whopping five seconds. Every part of the soundtrack shows how much care went into it, from choosing artists like Broken Social Scene and Metric to nod to the story's Canadian setting, to the 8-bit version of Threshold that reflects Pilgrim's immersion in video games. The sweetest detail may be the song that started it all: Scott Pilgrim, by the Canadian all-female band Plumtree from their 1997 album Predicts the Future, holds within it all the breathless true love and crunchy guitar goodness that sparked the comic.
Somehow, Scott Pilgrim vs. the World's music remains true not just to the comic, but to the work of everyone involved in the story at every stage, with plenty of fun and heart to boot. ~ Heather PharesEntertainment Weekly (p.75) - 'Garbage Truck' is the keeper, with a fuzz-punk groove that's no laughing matter.1. We Are Sex Bob-Omb - Sex Bomb-Omb
2. Scott Pilgrim - Plumtree
3. I Heard Ramona Sing - Frank Black
4. By Your Side - Beachwood Sparks
5. O Katrina! - Black Lips
6. I'm so Sad, so Very, Very, Sad - Crash and the Boys
7. We Hate You Please Die - Crash and the Boys
8. Garbage Truck - Sex Bomb-Omb
9. Teenage Dream - T. Rex
10. Sleazy Bed Track - The Bluetones
11. It's Getting Boring by the Sea - Blood Red Shoes
12. Black Sheep - Metric
13. Threshold - Sex Bomb-Omb
14. Anthems for a Seventeen Year Old Girl - Broken Social Scene
15. Under My Thumb - The Rolling Stones
16. Ramona [Acoustic Version] - Beck
17. Ramona - Beck
18. Summertime - Sex Bomb-Omb
19. Threshold (8-Bit) - Brian Lebarton$19.99Colored Vinyl LP - Sealed Buy Now
Leonard Cohen, the most elegant Canadian bard, whispers his way through his 2004 album 'Dear Heather' like a poet quietly musing over his life and loves. The mellow, hushed, and somewhat nocturnal character of the album commands attention through Cohen's deep baritone and Sharon Robinson's clear vocals. It's an intimate album that celebrates lost loves and friendships instead of mourning them, an introspective look on life from a ripe old age (Cohen turned 70 when the album was released). And Music On Vinyl is releasing this quietly powerful album for the first time on vinyl, so you can memorize the songs in time for his European tour later this year!1. Go No More A-Roving
2. Because OF
3. The Letters
5. Morning Glory
6. On That Day
7. Villanelle For Our Time
8. There For You
9. Dear Heather
11. To A Teacher
12. The Faith$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
GliderBeautiful post-folk ballads a thing of tremendous sonic depth one of the year's best debuts BOOMKAT
A bold and beautiful album CYCLYC DEFROST
haunting and atmospheric. THE 405
...compelling...it never dissolves after the first listen instead it only acquires new layers, new musical textures. THE GUARDIAN
It's a ravishing, terrific, gorgeous album-the rare kind that throws its listeners into reverie. PORTLAND MERCURY
Heather Woods Broderick excels at distilling her experiences into a soulful melancholy
that's enduring both for it's intimate relatable moments and its persistent
sense of mystery. Her uncanny ear for evocative production and gorgeous vocal
harmonies serves her well on her new album Glider. Throughout the album, the rich
dreamlike atmospheres she creates hint at a darkness looming on the horizon, while
the singularity of her ethereal voice always seems to linger long after the music has
As a talented multi-instrumentalist and vocalist, Heather has had the opportunity to
record and tour with plenty of incredible artists including Horse Feathers, Efterklang,
and Sharon Van Etten, which has kept her moving house and traveling around
the world for much of the past decade. She's currently living in Portland, Oregon,
but it's easy to imagine how her peripatetic lifestyle might diminish her sense of a
place to call home, while also strengthening her resilience, and her connection to
the reassuring constants in her life. As she explains Living in so many different
places has made me able to feel pretty comfortable everywhere. Her uncommon
sense of ease and grace, despite her hectic life, stems in part from her deeply
rooted and intertwined musical and familial background.
Music took root in Heather's life before she was even born, when her parents, both
musicians, met for the first time at one of her mom's gigs, which her dad was
attending. The two married and moved to Maine where Heather, second of three
children, was born at home. When she was 8-years-old the family moved across the
country to Oregon, and soon after moving, she asked if she could take piano
lessons, a practice she would continue through high school and into college. In
elementary school band she learned flute, and later picked up cello and guitar.
Though the songs on Glider aren't explicitly about touring, her life on the road
provides the backdrop and context for her songs that are often about relationships
that naturally fade as two people grow apart. I've realized that I really used the
songs on Glider and the time I put into writing them as a way to pay some attention
to things I'd been putting off, and to find some clarity around certain events, says
Heather. Building on what she learned from her first solo effort From the Ground
(2009), the dynamic structures and emotional complexity of her new songs are
evidence of how much she's grown as a person and as a songwriter. More confident
and self-assured than ever, songs like Fall Hard evolve from vulnerable bare piano
and vocals to hypnotizing swells of vocals reminiscent of Grouper or Cocteau Twins'
Elizabeth Fraser. Her voice soars in stride with a wall of guitars on Wyoming,
while Mama Shelter introduces a gentle groove as Heather conjures the sensuality
of Stevie Nicks. The album closes with the heartbreaking All for a Love, ending
with the refrain I can see our love is dragging you down. As dark as the sentiment
can be, Heather always seems to be leaning into the light.1. Up In the Pine
2. Mama Shelter
3. Fall Hard
5. The Sentiments
6. A Call For Distance
9. All For A Love$17.99Vinyl LP - Sealed Buy Now
Body ComplexFor Jakub Alexander, the languages of music and visual art are permanently intertwined. And he's always been this way - from his birthplace in communist Poland, to growing up outside of Detroit, to his current home in Greenpoint, Brooklyn. When music like Gas, early Dial Records, and Mille Plateaux releases in the 2000s popped up in my headphones, Alexander begins, it was completely visual for me. Something clicked from collecting pages out of old Architectural Digest magazines and being completely overwhelmed with inspiration for my own visions of interior architecture. The concept carries on still, now as an integral part of Body Complex, his second album as Heathered Pearls, which also features contributions from fellow Ghostly artists The Sight Below, Shigeto, and Outerbridge (mem. Beacon). Body Complex represents a new form of Alexander's visually inspired sound creation, but just as it points to changes in direction for the ambient-inclined producer, it also revisits the past experiences that make his music possible1. Cast in Lemon & Sand
2. Sunken Living Area
3. Interior Architecture Software
4. Personal Kiosk (ft. The Sight Below)
5. Holographic Lodge
6. Abandoned Mall Utopia (ft. Shigeto)
7. Perfume Catalogue
8. Artificial Foliage
9. Warm Air Estate (ft. Outerbridge)
10. Thought Palace$18.99Vinyl LP - Sealed Buy Now
Tape Deck HeartTape Deck Heart is the fifth studio album by London-based singer-songwriter Frank Turner, to be released on April 22, 2013, on Xtra Mile in the United Kingdom. It will also be released on Interscope worldwide. The album was preceded by the single, Four Simple Words, on 25 December 2012. The artwork for the album was done by SWFL tattoo artist Heather Ann Law. The opening track and first single, Recovery, premiered on Radio 1, on 4 March 2013 and was released on iTunes the following day.1. Recovery
2. Losing Days
3. The Way I Tend To Be
4. Plain Sailing Weather
5. Good & Gone
6. Tell Tale Signs
7. Four Simple Words
8. Polaroid Picture
9. The Fisher King Blues
11. Oh Brother
12. Broken Piano$17.99Vinyl LP - Sealed Buy Now
Look AroundA Remastered, Double Album Anthology, Handpicked By The Band
Formed in the early '80s in Olympia, Washington by Calvin Johnson, Heather Lewis and Bret Lunsford, Beat Happening combined a primitive pop sound with a D.I.Y. attitude and inspired countless artists along the way. The community that arose around the band and their label, K Records, was in many ways, the sonic antithesis of their Seattle neighbors (and friends) but was no less influential. Look Around is a remastered, double album anthology, handpicked by the band. It's a great starting point for the uninitiated as well a refreshing reminder to those who caught the wave the first time around.1. Our Secret
2. Foggy Eyes
3. Bad Seeds
4. What's Important
5. Look Around
7. In Between
8. Indian Summer
9. Other Side
10. Black Candy
11. Cast A Shadow
12. Nancy Sin
13. Knock On Any Door$20.99Vinyl LP - 2 LP Sealed Buy Now
Mars Loves VenusOriginally released on CD in 2004 via New Zealand's Lil' Chief Records, Mars Loves Venus is The Brunettes' second full length release and the one that spring-boarded their eventual signing to SubPop Records. It was after their signing to SubPop that most folks first discovered the band as they toured with The Shins and Rilo Kiley, among others.
Their line up for Mars Loves Venus featured the dual vocals and multi-instrumental skills of Johathan Bree and Heather Mansfield, James Milne (Laurence Arabia) on guitar (among other instruments) and Ruby Suns front-man Ryan McPhun on drums and backing vocals. Now, finally on vinyl, the first 250 copies of Mars Loves Venus will be issued on a custom-blended split-color vinyl.
Mars Loves Venus is a super quirky, super cute and oddly sensual record. If you're a fan you know what we're talking about. If you're not, think She & Him, Mates Of State or even Nancy Sinatra and Lee Hazelwood.1. Mars Loves Venus
2. Loopy Loopy Love
3. Polyester Meets Acetate
4. Too Big For Gidget
5. Whale In The Sand
6. You Beautiful Militant
7. The Record Store
8. These Things Take Time
9. Best Friend Envy
10. No Regrets
11. Leonard Says
12. Your Heart Dies$18.99Colored Vinyl LP - Sealed Buy Now
ALMI-NOS-2316xTS & The Past Haunts
Gone And GonerNo Sleep Records presents the first full-length album from TS & The Past Haunts spearheaded by Piebald's own Travis Shettel. During March of 2010, TS and the husband and wife rhythm section of Ben and Heather Heywood trekked up to Sacramento, CA to track what they presumed was going to be the origins of a new album. With Robert Creek at the boards, the album was tracked almost entirely live in a five-day span (only keys, percussion and vocals were overdubbed). There was not a single guitar overdub throughout the entire album, which TS has claimed had never happened in his entire recording history.
The band's live performances give the album an energy that doesn't normally see its way onto conventional studio albums rendering Gone & Goner as one of the best live performances in the long player form. Themes spread thick throughout the album including the eccentricity of jury duty, bus rides in the wee-hours of the morning, living life to the fullest and last but not least, unquenchable lust. What we have here are 10-songs of ruinous energy with harmonious overtones and, all in all, one hell of a ride.1. East Jesus
2. Janice Haynes
3. Let's Be Lazy
6. The 33
7. Heaven In Your Hair
8. All I Can Tell You
9. Patience Is Just Waiting
10. Citrus Mistress$18.99Vinyl LP - Sealed Buy Now
American Hustle SoundtrackLike Goodfellas and Boogie Nights before it, American Hustle's music celebrates the epic feel of '70s pop, rock, and disco and uses it to give its story extra heft. David O. Russell's tale of con men, Feds, and the mob has a lighter touch than either of those two movies, however, and this is reflected in the soundtrack's song choices. More than a few of these tracks are by Electric Light Orchestra as well as Jeff Lynne on his own, and the whimsical yet driving sound of 10538 Orchestra, Long Black Road, and Stream of Stars lends a tongue-in-cheek tone supported by Tom Jones' Delilah and Chris Stills' Live to Live. The album touches on some of the decade's definitive songs (Elton John's Goodbye Yellow Brick Road, Wings' Live and Let Die, Donna Summer's I Feel Love) but never sounds like a prepackaged hits-of-the-'70s collection, due in large part to unique choices like Harold Melvin & the Blue Notes' gritty version of Don't Leave Me This Way and Mayssa Karaa's otherworldly Arabic interpretation of Jefferson Airplane's White Rabbit, which is so striking that it's one of the finest songs on an album packed with big names. A nuanced and playful soundtrack, American Hustle works well as a companion piece to the movie that spawned it and on its own.
- Heather Phares (All Music Guide)LP1
1. Jeep's Blues - Duke Ellington
2. Goodbye Yellow Brick Road (Album Version) - Elton John
3. White Rabbit (Arabic Version) - Mayssa Karaa
4. 10538 Overture - Jeff Lynne
5. Live and Let Die - Wings
6. How Can You Mend a Broken Heart - Bee Gees
7. I Feel Love - Donna Summer
8. Don't Leave Me This Way - Harold Melvin & The Blue Notes
9. Delilah - Tom Jones
1. I've Got Your Number - Jack Jones
2. Long Black Road - Jeff Lynne
3. A Horse with No Name (Album Version) - America
4. Stream of Stars - Jeff Lynne
5. Live to Live - Chris Stills
6. Irving Montage - Danny Elfman$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Danny Elfman provides one of his most quintessentially Elfman-esque scores for one of Tim Burton's most quintessentially Burton-esque movies, Beetlejuice. The film's dark yet sardonically funny Main Titles is among Elfman's all-time best moments, bustling along with a dark joie de vivre (or is it joie de morte?) that defines the spooky fun of both this movie, and his collaboration with Burton. The score's stylized world also includes the ironically perky Travel Music; Incantation, a tensely percussive cue that unfolds into exaggerated brass and ghostly vocals and organs; and the eerily pretty but still whimsical Lydia Discovers. The tip-toeing pizzicato strings and pianos, and the theatrical brass, organs, harps, and percussion that appear on every track -- most definitively on tracks like Enter...The Family / Sand Worm Planet -- underline the film's live-action cartoonishness, with the music's hyperactive shifts, and the addition of Harry Belafonte's Jump In Line and Banana Boat Song (Day-O) just adding another layer of quirkiness to the whole thing. A perfect mix of silliness and spookiness, Beetlejuice remains one of Elfman's most consistent scores.
- Heather Phares (All Music Guide)1. Main Titles
2. Travel Music
3. The Book! / Obituaries
4. Enter...The Family / Sand Worm Planet
5. The Fly
6. Lydia Discovers
7. In The Model
8. Juno's Theme
11. The Flier / Lydia's Pep Talk
12. Day-O - Harry Belafonte
13. The Incantation
14. Lydia Strikes A Bargin...
17. The Wedding
18. The Aftermath
19. End Credits
20. Jump In Line (Shake, Shake, Señora) - Harry Belafonte$24.99Vinyl LP -Sealed Buy Now
The Flying Club CupSince its release in May of 2006, Beirut's internationally celebrated Gulag Orkestar album has soundscanned more than 45,000 copies, and the band has done a tsunami of interviews, photoshoots and features (including NY Times, Spin, Pitchfork, Urb, and Village Voice). This great fervor developed around an album conceived and constructed in a teenager's New Mexico bedroom.
Six months of recording has led to The Flying Club Cup, an homage to France's culture, fashion, history, and music. Two years ago, Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensembleoand moved west. Soaking up the likes of Francois Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith), Condon has been articulating his conversational French.
Most of the album was created at a nondescript Albuquerque office space, a.k.a. A Hawk and a Hacksaw's practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag's largely solo flight.The orkestar, which has solidified into a core group of eight members, has grand plans for replicating the album live, and is now an integral part of Beirut's identity. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire.
Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent of Mr. Zachary F. Condon, at present living in Paris-- unbounded by cultural borders and by where his heart travels.
A September-October '07 tour of nice theaters in large U.S. cities is in the planning stages, as are more dates in 2008.
Experience a special series of new Beirut videos at http://flyingclubcup.com
A Call To Arms
A Sunday Smile
Forks And Knives (La Fete)
In The Mausoluem
Un Dernier Verre (Pour La Route)
The Flying Club Cup
Untitled$18.99Vinyl LP - Sealed Buy Now
Broderick & Broderick10" Album Includes Cd Version of Album and Digital Version of Album
Broderick & Broderick is a collaboration
between renowned artist and multi-instrumentalist
Peter Broderick and his father Steven.
Peter is known for a number of projects, from
his solo instrumental works such as Float to his work
with bands such as Efterklang and Horse Feathers. He
has played with M.Ward, Laura Gibson and Loch
Lomond. Peter has scored a number of lms, while his
most recent release, 2012's "These Walls Of Mine,"
consisted of 10 vocal and lyrical tracks. He currently
resides in Berlin.
From the liner notes of Broderick & Broderick:
I don't think Steven is very comfortable in the
spotlight. On the rare occasions I've had the courage to
suggest putting a microphone in front of him and his
guitar, the common response has been a humble shrug
and a rain check. And then a lot of time passes before
we see each other again and I'm left with my
imagination when I want to hear one of his songs,
faintly but surely engrained in my musical memory.
Recalling those melodies and often learning to
play versions of them myself has been the red thread of
my own musical practice. Somewhat of a recording
enthusiast (or addict?) myself, I couldn't fathom a
project more meaningful than a session with Pop (as he
is known to us kids). So when I found out he would be
coming to Berlin for a few days at the end of June
2012, my mind ran wild with hopes and dreams of a
chance to nally capture those sounds.
Team Love is proud to present the result of this
idea to capture the melodies that were engrained in
Peter's psyche as a child. It's an additional honor to
have Peter's sister Heather Woods Broderick featured
on the album. Her vocal on the track "Let Me Love You
For Free" opens like a ower and stamps the release
with a mark of sheer beauty.1. Four Cats, Three Dogs, Several Ducks And A Rabbit
2. Let Me Love Your For Free
3. Ashokan Farewell
4. The Thunder Dance
5. POop's Song
6. Let Me Love You Again$13.9910 Vinyl LP + CD - Sealed Buy Now
Garden State SoundtrackThe soundtrack to Zach Braff's Garden State is nearly as much of a piece with the film as the similarly sweet, quirky combinations of sound and vision in Wes Anderson's films and soundtracks. Garden State, however, is more modern in its outlook and more emotionally direct, with a mixtape earnestness belied by using not one but two songs from the Shins' Oh, Inverted World. New Slang is an obvious choice, as the song just seems to grow in stature as time passes, but Caring Is Creepy, Oh, Inverted World's vulnerable, ever-so-slightly unhinged opening track, is not, and adds to the personal, diary-like feel of the album. The bright poignancy of the Shins' tracks stands out even more among the low-key melancholy of songs like Coldplay's Don't Panic, Remy Zero's Fair, and Colin Hay's I Just Don't Think I'll Ever Get Over You. The inclusion of Hay's track, Bonnie Somerville's Winding Road, and the Cary Brothers' Blue Eyes shows that Garden State doesn't go for the hipster, too-cool-for-school poses that one might expect from the soundtrack of a hot indie movie, even with the inclusion of Iron & Wine's cover of the Postal Service's Such Great Heights. Still, there's something of a collegiate feel to the soundtrack, especially with the re-rediscovery of Nick Drake (One of These Things First) and Simon & Garfunkel (The Only Living Boy in New York) as well as the tentative forays into electronica and trip-hop like Zero 7's In the Waiting Line, Frou Frou's Let Go, and Thievery Corporation's Lebanese Blonde. Perhaps this collegiate feel comes from the fact that those years are often the time when many people are the most ready and willing to explore music that is new to them (but not necessarily new), but, as the success of Garden State's soundtrack shows, any time can be the right time.
- Heather Phares (All Music Guide)LP 1
1. Don't Panic (Album Version) - Coldplay
2. Caring Is Creepy (Album Version) - The Shins
3. In the Waiting Line - Zero 7
4. New Slang (Album Version) - The Shins
5. I Just Don't Think I'll Ever Get Over You (Album Version) - Colin Hay
6. Blue Eyes (Album Version) - Cary Brothers
7. Fair (Album Version) - Remy Zero
1. One Of These Things First (Album Version) - Nick Drake
2. Lebanese Blonde (Album Version) - Thievery Corporation
3. The Only Living Boy in New York - Simon & Garfunkel
4. Such Great Heights (Album Version) - Iron And Wine
5. Let Go (Album Version) - Frou Frou
6. Winding Road (Album Version) - Bonnie Somerville$34.99Vinyl LP - 2 LPs Sealed Buy Now
...Little Broken HeartsWhite Colored Vinyl
Little Broken Hearts is the stunning and musically diverse new break-up album from Norah Jones and fifth full-length of her storied career. The 12-song set was produced by Danger Mouse (aka Brian Burton) and features original tracks co-written by Jones and Burton. The album is preceded by the lead single Happy Pills which ushers in a parade of sunshiny hooks and surprised both Jones and Burton from the moment they wrote it: "We didn't know if it fit on the record. But I couldn't stop singing it, and neither could Brian. explains Jones. Eventually we decided it was too much fun, it had to be there."
In addition to Jones and Burton, the album includes contributions from Blake Mills, Gus Seyffert, Joey Waronker, Heather McIntosh, the Sonus Quartet, Dan Elkin, Jonathan Hischke, Todd Monfalcone and Kennie Takahashi. Little Broken Hearts' artwork draws inspiration from the vintage movie posters that adorn Burton's Los Angeles studio and is loosely based on the poster for the 1965 Russ Meyer film Mudhoney.
Little Broken Hearts' is the fascinating next step in the artistic evolution of one of the music world's most consistently intriguing singer/songwriters. Jones first emerged on the world stage 10 years ago with the 2002 release of Come Away With Me, her self-described "moody little record" that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Come Away With Me has just become the 10th best-selling album of the Soundscan era and has sold 25 million copies worldwide.
Since then, Jones has released three more critically acclaimed and commercially successful solo albums with Feels Like Home (2004), Not Too Late (2007) and The Fall (2009), as well as two albums with her country collective The Little Willies.
The 2010 compilation Featuring Norah Jones showed her to possess an incredibly versatile voice by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock and the Foo Fighters. Jones previously collaborated with Danger Mouse on his acclaimed 2011 album Rome, a valentine to classic Italian film score music that also featured Jack White.1. Good Morning
2. Say Goodbye
3. Little Broken Hearts
4. She's 22
5. Take It Back
6. After The Fall
7. 4 Broken Hearts
8. Travelin' On
9. Out On the Road
10. Happy Pills
12. All A Dream$18.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Power Out
Back In Print Due To Popular Demand!
Electrelane's second album, The Power Out, is also their debut for the esteemed, arty British label Too Pure, the perfect home for a band that resembles so many of the imprint's other acts. The similarities appear early on, with the Stereolab-eqsue motorik and French vocals that drive Gone Under Sea, the wobbly-yet-charming singing on Birds that recalls Pram's Rosie Cuckston, and the intricate interplay of guitars and keyboards on every track that bring to mind th' Faith Healers (and their later incarnation, Quickspace). But these similarities are far from derivative; instead, on The Power Out, Electrelane feel like they're in the tradition of these other messy, angular, decidedly British art-punk bands, so much so that it's hard to imagine the band on any other label (with all due respect to Mr. Lady, who released Electrelane's debut, Rock It to the Moon). But even though the group perfectly defines the way that so many British art-school bands have sounded since the late '70s, in Electrelane's hands it still seems fresh.
The Power Out also seems fresher than Rock It to the Moon, perhaps because, paradoxically, it's more focused than their debut. That's a relative term, though; the noodly, jam-based feel that dominated Rock It to the Moon is still here, particularly on The Power Out's more rock-based songs such as Take the Bit Between Your Teeth and the closing instrumentals, Only One Thing Is Needed and You Make Me Weak at the Knees. But overall, the songs are more concise here, giving songs like On Parade and the lovely Enter Laughing an immediate, if not exactly poppy, feel.
The band finds different ways to channel the ambitions it so boldly displayed on Rock It to the Moon: Oh Sombra! is an eerie, passionate song fashioned from a sonnet from Spanish poet Juan Boscan, and This Deed borrows a line from Nietzsche to fit its appropriately dramatic air. Most striking of all is The Valleys, a choral rock piece that features Chicago A Cappella and Verity Sussman's arresting vocals, and attains a ceremonial, spiritual grandeur that hasn't been seen in many rock records save the Microphones' Mount Eerie. The Power Out manages to be unique without being a radical departure, and it augurs more good things for Electrelane's stint with Too Pure.
- Heather Phares (All Music Guide)1. Gone Under Sea
2. On Parade
3. The Valleys
5. Take the Bit Between Your Teeth
6. Oh Samba!
7. Enter Laughing
8. This Deed
9. Love Builds Up
10. Only One Thing Is Needed
11. You Make Me Weak at the Knees$18.99Vinyl LP - Sealed Buy Now
Changing LightOn her fifth solo album, Mirah breaks it down and builds it back up
again with the street smarts that only years behind the wheel of
love can inspire. Ready with the maps and driven to the rhythms
on the radio dial, Changing Light's ten songs carry us from
heartbreak to wholeness and all the places in between.
Uprooted from her home after a scorching break-up, Mirah spent
four years rambling and recording. Tracks were laid down in almost
two dozen houses and apartments - from the Northwest to
Southern California to the East Coast. Sparse demos were
recorded with co-producer Christopher Doulgeris in Portland and
Los Angeles. Embellishments were then added by a slew of friends
and collaborators, including Greg Saunier (Deerhoof), Mary
Timony, Emily Wells, and Heather McEntire (Mount Moriah). In
Philadelphia, Mirah and her sister Emily Zeitlyn (Divers) penned
"LC," an homage to childhood inspiration Leonard Cohen.
Seattle-based composer Jherek Bischoff drew up intricate string
arrangements which were recorded in the living rooms of each
individual player. And Tune-Yards producer Eli Crews
co-produced several tracks with Mirah in her new hometown of
Brooklyn, New York.
Changing Light's reassuring compass is found in Mirah's
shimmering vocals and incisive descriptions. There is yearning
("Gold Rush" and "Fleetfoot Ghost") and hot anger ("Goat
Shepherd"), but no shortage of lyrical and musical playfulness.
Whether it be the T. Rex-inspired rough edges of "Radiomind,"
the rollicking lo-fi bang-and-pop of "Goat Shepherd," or the lush
pop balladry of "Turned the Heat Off," the album corrals string
sections and vintage synths with horns, a multitude of guitar tones
and overdriven drums. With calm and clamor, Mirah brings us all
closer together through her universal honesty and occasional use
of the vocoder.
"It's a break-up record. It has some moments of darkness, some
twists and turns , but ultimately, there's a resolution," says Mirah.
So much can happen in four years, even forgiveness"
While Mirah has been making independent pop records for well
over a decade, Changing Light is the debut release on her new
imprint, Absolute Magnitude Recordings.1. Goat Shepherd
2. Oxen Hope
3. Turned the Heat Off
4. Gold Rush
5. Fleetfoot Ghost
6. I am the Garden
7. No Direction Home
8. 24th St
10. Radiomind$18.99Vinyl LP - Sealed Buy Now
ADAD-JAG-5517xSharon Van Etten
Are We ThereFor all the attention that was paid to her 2012 break-through Tramp, Sharon Van Etten is an
artist with a hunger to turn another corner and to delve deeper,writing from a place of honesty
and vulnerability to create a bond with the listener that few contemporary musicians can match.
Compelled by a restless spirit, Van Etten is continuously challenging herself. Now, the result is
Are We There, a self-produced album of exceptional intimacy,sublime generosity, and immense
Most musicians are quite happy to leave the production end of things to someone else. It's
enough to live your music without taking on the role of producer as well. Yet Van Etten knew it
was time to make a record entirely on her terms. The saying goes "fortune favors the bold" and
yet this boldness had to be tempered. For this,Van Etten found a kindred spirit in veteran music
producer Stewart Lerman. Originally working together on Boardwalk Empire,they gently moved
into new roles,rallying around the idea of making a record together in Lerman's studio in New
Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she
imagined.Van Etten also enlisted the individual talents of her band, consisting of Heather Woods
Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam
Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater),Jana Hunter(Lower Dens),
Peter Broderick, Mackenzie Scott(Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.
It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a
new awareness, a sign of Van Etten in full stride, writing,producing and performing from a place
that seems almost mythical, were it not so touchable and real. Always direct, and never shying
away even from the most personally painful narratives, Van Etten's songwriting continues to
evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then
resolution. She sings of the nature of desire, memory, of being lost, emptiness, of promises and
loyalty, fear and change, of healing and the true self, violence and sanctuary,waiting, of silence.
The artist who speaks in such a voice is urging us to do something,to take hold and to go deeper.
Living in this way,the questions of life remain alive, as close and steady as breathing. Many of the
ballads of old are as dark as pitch, and people for whom the issues of life and death were as vivid
as flame wrote them.You could turn off the electricity,remove all the instruments and Sharon's
voice and words would remain.They connect her to the mystic stratum which flows just beneath
the everyday, which is rarely acknowledged as the forces of distraction sweep our attention away.1. Afraid of Nothing
2. Taking Chances
3. Your Love is Killing Me
4. Our Love
6. I Love You But I'm Lost
7. You Know Me Well
8. Break Me
9. Nothing Will Change
10. I Know
11. Every Time the Sun Comes Up$19.99Vinyl LP - Sealed Buy Now
Future CrayonBroadcast will have their long out of print albums made available again through Warp Records on LP. This seminal catalogue encompasses the albums Work And Non Work, The Noise Made By People, Haha Sound, Tender Buttons, The Future Crayon and ...Investigate Witch Cults of the Radio Age.
Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's Illumination is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, Still Feels Like Tears from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's Where Youth and Laughter Go begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's Hammer Without a Master, which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with Daves Dream, it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named Chord Simple is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of Unchanging Window. While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music.
- Heather Phares (All Music)LP1
2. Still Feels Like Tears
3. Small Song IV
4. Where Youth and Laughter Go
5. One Hour Empire
6. Distant Call
7. Poem of a Dead Song
8. Hammer Without a Master
10. Chord Simple
1. Dave's Dream
3. Test Area
4. Unchanging Window / Chord Simple
5. A Man for Atlantis
6. Minus Two
7. Violent Playground
8. Belly Dance$24.99Vinyl LP - 2 LPs Sealed Buy Now
Don't Want To Let You DownSharon Van Etten has never needed much room to make a grand statement. With four albums during the
last six years, she's become one of music's most astute new cartographers of the heart, able to capture
emotional trials and triumphs with incisive lines and a voice that loses nothing in the translation and
transmission of feelings. Her second record, epic, needed only seven tracks to live up to its title. 2012's
Tramp and last year's Are We There, went longer, but Van Etten managed still to squeeze enormous
sentiments into especially small spaces. From start to rising stardom, Van Etten has forever understood the
impact of economy
It should come as no surprise, then, that the five-song EP I Don't Want to Let You Down offers documents
of surrender and disappointment, admission and longing in only 22 minutes. Produced by Van Etten and
Stewart Lerman, who also helmed Are We There, these songs are as sophisticated as anything Van Etten has
ever done. Supported by a string section during "I Always Fall Apart," Van Etten's voice rises alongside her
piano. Her prismatic harmonies betray the terror of the song's central admission and one of the new lyrical
cornerstones of her catalogue: "You know I always fall apart/It's not my fault/It's just my flaw/It's who I am."
During the title track, she slowly pushes her voice past an introductory murmur, as if scanning her
surroundings for the resolve to be stronger and more steadfast than she knows she has been. Building across
four minutes, the desperation of the title is expressed through guitars that get bigger, harmonies that get
broader. The chorus is a sing-along commandment, an indelible promise Van Etten makes to be better. The
War on Drugs' Adam Granduciel and David Hartley join Antibalas' Stuart Bogie, Peter Broderick and
Heather Woods-Broderick for "Pay My Debts." The longest song here, it's a cinematic number that smolders
like shoegaze before climaxing into an inescapable seesaw refrain.
The EP ends with a live rendition of "Tell Me." A demo from Tramp, but backed here by her four-piece
touring band, the tune becomes a kind of battle cry for respect and a charged pronouncement of Van Etten's
cultivated powers. It's a map of the singer's progression from an acoustic songwriter to a bona fide
bandleader, a reminder of the poignancy and efficiency her work has long paired.1. I Don't Want To Let You Down
2. Just Like Blood
3. Always Fall Apart
4. Pay My Debts
5. Tell Me [Live]$14.99Vinyl EP - Sealed Buy Now
IvywildNight Beds, the musical project of 26-year-old Colorado Springs native Winston Yellen, received much acclaim for his 2013 debut album, Country Sleep, scoring plaudits for its tortured take on alt country and Yellen's soaring vocals. But after finishing that album and before Country Sleep was even released, Yellen began experimenting with the kind of melancholic, neon-tinged R&B that makes up the mesmerising Ivywild. The thread that weaves through all of Yellen's music and holds it together is his unmistakable voice - plaintive, yearning, soulful, heartbreaking. Whether it's ascending over the luscious epic-electronics of Tide Teeth or aching alone on Country Sleep's opener Faithful Heights, Yellen's voice has a unique beauty matched by few of his contemporaries. The second Night Beds album draws on Yellen's original love of Bill Evans through to J Dilla and is made up of what Yellen calls sad sex jams and was inspired by a long-term love and a break-up which looms large throughout the albums veiled lyrics. Its genesis can be found in the stoned night in Nashville when Yellen first heard Yeezus. Lying on the floor, Yellen blared the album at top volume. Ivywild is a truly collaborative effort with a makeshift team of 25 musicians, notably Abe, Yellen's younger brother and closest friend - his credit on the album comes above Winston's own, so much value does he place upon the work Abe put in. Additional vocals come from Heather Hibbard, a singer from Maine who features on over half of the 16 track album, and was contacted by the gregarious Yellen through YouTube, after he found a video of her covering one of his songs. She came out to the studio the very next day. Finessing the poignant assortment of songs was a sometimes painful task, but dedicated to the core. I felt at some points we were losing our minds, he says. Initial versions of Me Liquor and God band On High: were 17 and 33 minutes respectively while Finished took four months to record. His editing process though was simple: If it makes you cry, keep it in. Field recordings also flood the record, offering it a deep textural grain. It is a luxury record, but it has a worn shirt feel, explains Yellen. It's lived in. It's like a quilt - but it took forever, cutting up all the vocals and letting it breathe.1. Finished
3. Me Liquor and God
5. Tide Teeth
7. [9_6] slack-jaw
8. Eve A
9. On High:
11. Lay Your Hands
12. All In Good Time (I Get You Wrong Interlude)
13. Moon Sugar
14. Love Streams
15. I Give It
16. Stand On My Throat$20.99Vinyl LP - 2 LPs Sealed Buy Now
Funky Was The State Of AffairsFergus 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
8. Earthling Men
9. The Uncanny Valley
10. Earthling Women
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$14.99Vinyl LP - Sealed Buy Now
Mahler - Symphony #2 (Speakers Corner) (Awaiting Repress)
The search for the extra-musical world in Gustav Mahler's philosophical and programmatic works will doubtless continue to occupy future generations of music scholars. Today's music lovers, however, are wholly satisfied with the highly varied interpretations and impressive sound reproduction - which is precisely what Mahler himself wished for his rugged works. For decades Mahler's dramatic musical masterpieces were misunderstood and scorned as "kapellmeister music". Luckily interest in his works was revived and all nine symphonies were recorded in the 1960s by the recently deceased conductor Sir Georg Solti. Right up to this very day, his cycle has clearly lost nothing of its aura, its reputation for "never having been surpassed" - how could it otherwise have been so successful for so many years in the light of all the highly competitive, more recent recordings?
After the success of the new pressing of Mahler's First Symphony (DECCA SXL 6113), it was high time that the Resurrection-Symphony became available on LP once more. And the result is most impressive. One can only hope that the complete Mahler cycle will one day be resurrected in vinyl.
- Heather Harper
- Helen Watts
- London Symphony Orchestra and Chorus
- Sir Georg Solti (conductor)
Recording : May 1966 at Kingsway Hall, London by Gordon Parry
Production: David Harvey
Format: 2LPs 33rpm / gatefold sleeve, booklet
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.$69.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Santana IVSantana IV is the wildly anticipated studio album that reunites the revered early '70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years - since 1971's multi-platinum classic Santana III - that the quintet has recorded together.
Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts.
The origins for the reunion go back several years, when Schon suggested that he and Carlos Santana record together. Santana liked the idea but went one better, proposing that they recruit Rolie, Shrieve and Carabello for what would be called Santana IV. After initial writing sessions and rehearsals took place in 2013, the group recorded throughout 2014 and 2015, amassing 16 spellbinding tracks that combined all their signature elements - Afro-Latin rhythms, soaring vocals, electrifying blues-psychedelic guitar solos, and irrepressibly jubilant percussion work - with widescreen hooks and melodies that will lodge themselves in the thicket of listeners' senses and stay there.
It was magical, Santana says. We didn't have to try to force the vibe - it was immense. >From there, we then needed to come up with a balance of songs and jams that people would immediately identify as Santana.
The band's signature sound arrives forcefully on the album opener Yambu, a righteously gritty and soulful stomper teeming with swirling B3 organ hooks and walloping guitar crunch.
The first single, Anywhere You Want to Go, is destined to storm the pantheon of Santana classics. Written by Gregg Rolie, it's a sexy, body-shaking winner and an unmistakable tip of the hat to the inescapable cha-cha/Latin jazz charms of Oye Como Va.
Ronald Isley (The Isley Brothers) is a special guest on two tracks. His vocals highlight the feverishly impassioned Latin-rock workout Love Makes the World Go Round and the hard-edged and funky Freedom in Your Mind. Guitar fans expecting fireworks from Santana and Schon will cherish Santana IV from front to back. All Aboard is a no-holds-barred guitar jam of the highest order, as is the slinky, soulful metal cruncher Caminando, which explodes with tectonic axe force. And on the unabashedly British blues-tinged Shake It, the two go toe to toe on not one but two extended solo runs that will have lovers of unhinged fretboard work rejoicing.
Carlos and I feel more connected than ever, says Schon. We get super-aggressive when we play, but also melodic and poetic. We have an incredible dialog with each other on our guitars.
Santana's recurring themes of love and tolerance are common threads throughout Santana IV, most dramatically on the epic tone poem album closer Forgiveness, a languid and breathtakingly gorgeous atmospheric groover.
Music fans familiar with the roaring lion artwork on Santana's 1969 debut album will instantly greet Heather Griffin-Vine's graphic for Santana IV as a gloriously realized update of that iconic image. I really think the music goes along with the cover, and vice versa, says Santana. It all fits together beautifully.
Few bands can pick up a musical dialog after 45 years apart, but on Santana IV each band member reaches a new level of virtuosity and communal intuition on a collection of songs that easily stands side-by-side with the group's treasured early work.
When you can go back and break new ground with joy and determination - and some whoop-ass energy - it gets you going, says Santana. I think we achieved something very rare. This music was screaming to come out of us. It wasn't about nostalgia. It was about passion.1. Yambu
2. Shake It
3. Anywhere You Want To Go
4. Fillmore East
5. Love Makes The World Go Round (Feat: Ronald Isley)
6. Freedom In Your Mind (Feat: Ronald Isley)
7. Choo Choo
8. All Aboard
11. Blues Magic
13. Leave Me Alone
14. You And I
15. Come as You Are
16. Forgiveness$29.99Vinyl LP - Sealed Buy Now
ADAD-EPI-0710xFrom First To Last
Dear Diary, My Teen Angst Has A Body CountFirst Time On Vinyl
Dear Diary, My Teen Angst Has a Body Count is the debut studio album by American post-hardcore band From First to Last. It was originally released on June 29, 2004, through Epitaph Records. The title was taken from a monolog in the film Heathers, in which Winona Ryder's character is writing in her diary. Production was handled by Lee Dyess and the band themselves. The album was remastered by Beau Burchell from Saosin, however, it is not indicated on the personnel, possibly due to a contemporary feud between the band. The album also is notable for being one of the earliest projects featuring singer and multi-instrumentalist Sonny Moore (who has since launched a successful solo career as an electronic music producer and performer, under the stage name Skrillex).1. Soliloquy
2. The One Armed Box Cutter vs The Flying Guillotine
3. Note To Self
4. I Liked You Better Before You Were Naked On the Internet
5. Featuring Some of Your Favorite Words
7. Secrets Don't Make Friends
8. Populace In Two
9. Kiss Me, I'm Contagious
11. Ride The Wings Of Pestilence
12. (untitled hidden track)$19.99Vinyl LP - Sealed Buy Now