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How To Be A Human Being

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  • How To Be A Human Being How To Be A Human Being Quick View

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    How To Be A Human Being

    How To Be A Human Being is a scrapbook of the band's time spent on the road, gathering memories and perceptions of different types of people from all around the world.
    1. Life Itself
    2. Youth
    3. Season 2 Episode 3
    4. Pork Soda
    5. Mama's Gun
    6. Cane Shuga
    7. The Other Side Of Paradise
    8. Take A Slice
    9. Poplar St
    10. Agnes
    Glass Animals
    Vinyl LP - Sealed Buy Now
  • How To Solve Our Human Problems (Part 3) How To Solve Our Human Problems (Part 3) Quick View

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    How To Solve Our Human Problems (Part 3)

    A new Belle and Sebastian release is always something to cheer. So three new releases leads to the inevitable conclusion: three cheers! Here is the latest installment in a career that has always pursued a singular and delightful vision of what pop represents and what it can achieve, a career that has seen them triumph against the odds to win a Brit award, be one of the first bands to curate their own festival, and play at the official London residence of the US ambassador (the last president's ambassador, not the current one's).

    Murdoch, as ever, is not the only writer. Sarah Martin (violin/vocals) brought in the delicious 'The Same Star', which marries Belle and Sebastian's melodiousness to a pounding Motown backbeat, and was produced by Leo Abrahams (Ghostpoet, Wild Beasts, Regina Spektor). "We'd met Leo in February of 2016, and I'd say that meeting and the recording of 'I'll Be Your Pilot' were the first tangible steps of this EP project," Martin says. "We didn't have a stack of songs to play him, but we liked him and he became a part of the plan from that point - and when I'd got to a point with 'The Same Star' where it just needed to be recorded, I thought it could benefit from having a producer to steer things, and fortunately we had a slot in the diary marked 'Leo' coming up. It's not a song we'd laboured over playing for months - it fell together quite quickly thanks in large part to Bob's [Bobby Kildea, guitarist] enthusiasm and Stuart's willingness to dismember an old song and repurpose the break, so that it wasn't just the same three chords over and over and over."

    There's one big reason why 15 songs are coming out on three EPs, rather than one album. "We'd made a couple of LPs, Tigermilk and If You're Feeling Sinister, within the space of six months," Murdoch says, remembering the early days of the band's career, and how that fed into their decision-making this time.

    1. Poor Boy
    2. Everything Is Now (Part Two)
    3. Too Many Tears
    4. There Is An Everlasting Song
    5. Best Friend
    Belle And Sebastian
    12 Vinyl EP - Sealed Buy Now
  • How To Solve Our Human Problems (Box Set) How To Solve Our Human Problems (Box Set) Quick View

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    How To Solve Our Human Problems (Box Set)

    Box Set Features All Three 5-Song 12 EPs In One Convenient Package

    A new Belle and Sebastian release is always something to cheer. So three new releases leads to the inevitable conclusion: three cheers! Here is the latest installment in a career that has always pursued a singular and delightful vision of what pop represents and what it can achieve, a career that has seen them triumph against the odds to win a Brit award, be one of the first bands to curate their own festival, and play at the official London residence of the US ambassador (the last president's ambassador, not the current one's).

    Murdoch, as ever, is not the only writer. Sarah Martin (violin/vocals) brought in the delicious 'The Same Star', which marries Belle and Sebastian's melodiousness to a pounding Motown backbeat, and was produced by Leo Abrahams (Ghostpoet, Wild Beasts, Regina Spektor). "We'd met Leo in February of 2016, and I'd say that meeting and the recording of 'I'll Be Your Pilot' were the first tangible steps of this EP project," Martin says. "We didn't have a stack of songs to play him, but we liked him and he became a part of the plan from that point - and when I'd got to a point with 'The Same Star' where it just needed to be recorded, I thought it could benefit from having a producer to steer things, and fortunately we had a slot in the diary marked 'Leo' coming up. It's not a song we'd laboured over playing for months - it fell together quite quickly thanks in large part to Bob's [Bobby Kildea, guitarist] enthusiasm and Stuart's willingness to dismember an old song and repurpose the break, so that it wasn't just the same three chords over and over and over."

    There's one big reason why 15 songs are coming out on three EPs, rather than one album. "We'd made a couple of LPs, Tigermilk and If You're Feeling Sinister, within the space of six months," Murdoch says, remembering the early days of the band's career, and how that fed into their decision-making this time.

    EP 1
    1. Sweet Dew Lee
    2. We Were Beautiful
    3. Fickle Season
    4. The Girl Doesn't Get It
    5. Everything Is Now

    EP 2
    1. Show Me The Sun
    2. Same Star
    3. I'll Be Your Pilot
    4. Cornflakes
    5. A Plague On All Other Boy

    EP 3
    1. Poor Boy
    2. Everything Is Now (Part Two)
    3. Too Many Tears
    4. There Is An Everlasting Song
    5. Best Friend

    Belle And Sebastian
    12 Vinyl EP Box Set - 3 EPs Sealed Buy Now
  • How To Solve Our Human Problems (Part 2) How To Solve Our Human Problems (Part 2) Quick View

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    How To Solve Our Human Problems (Part 2)

    A new Belle and Sebastian release is always something to cheer. So three new releases leads to the inevitable conclusion: three cheers! Here is the latest installment in a career that has always pursued a singular and delightful vision of what pop represents and what it can achieve, a career that has seen them triumph against the odds to win a Brit award, be one of the first bands to curate their own festival, and play at the official London residence of the US ambassador (the last president's ambassador, not the current one's).

    Murdoch, as ever, is not the only writer. Sarah Martin (violin/vocals) brought in the delicious 'The Same Star', which marries Belle and Sebastian's melodiousness to a pounding Motown backbeat, and was produced by Leo Abrahams (Ghostpoet, Wild Beasts, Regina Spektor). "We'd met Leo in February of 2016, and I'd say that meeting and the recording of 'I'll Be Your Pilot' were the first tangible steps of this EP project," Martin says. "We didn't have a stack of songs to play him, but we liked him and he became a part of the plan from that point - and when I'd got to a point with 'The Same Star' where it just needed to be recorded, I thought it could benefit from having a producer to steer things, and fortunately we had a slot in the diary marked 'Leo' coming up. It's not a song we'd laboured over playing for months - it fell together quite quickly thanks in large part to Bob's [Bobby Kildea, guitarist] enthusiasm and Stuart's willingness to dismember an old song and repurpose the break, so that it wasn't just the same three chords over and over and over."

    There's one big reason why 15 songs are coming out on three EPs, rather than one album. "We'd made a couple of LPs, Tigermilk and If You're Feeling Sinister, within the space of six months," Murdoch says, remembering the early days of the band's career, and how that fed into their decision-making this time.

    1. Show Me The Sun
    2. The Same Star
    3. I'll Be Your Pilot
    4. Cornflakes
    5. A Plague On Other Boys
    Belle And Sebastian
    12 Vinyl EP - Sealed Buy Now
  • I Wanna Be Around I Wanna Be Around Quick View

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    I Wanna Be Around

    Recorded during his peak era, Tony Bennetts I Wanna Be Around continues the crooners upward trajectory as he nestles into a superb batch of heartfelt ballads, softly swinging pop, and frisky bossa nova with the kind of charm, control, and coolness reserved for a legend. The follow-up to the singers breakthrough I Left My Heart In San Francisco (also available from Mobile Fidelity on 180g LP), this 1963 set is every bit its predecessors equal. Read: A bonafide vocal classic.

    Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in to-die-for sound. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. And were not just talking about the inferior digital editions. Previously unheard degrees of warmth, expressiveness, and detailing are just some of the newly uncovered aspects of this majestic recording.

    Pairing again with producer Ernie Altschuler and pianist Ralph Sharon, and adding the skills of expert arranger Marty Manning, Bennett navigates his way through heavenly pop territory, turning phrases that bridge myriad moods and feelingswistful, romantic, sentimental, longing, happy, autumnalwhile making listeners feel each and every word that seemingly tumble out of his mouth. Bennett fully invests himself in the performances. And part of the appeal is just how relaxed he remains, a trait that helped him propel both the title track and The Good Life into Top 20 hits.

    Decades before hed join the likes of Bono for a Duets album that reprised some of the classic material found here, Bennett perfected on I Wanna Be Around a traditional vocal pop sound that is best described as the touch of velvet. His mellow singing spans from conversational to soaring, his timbre sensational and note-perfect. Bennett inhabits the lyrics as if every song were expressly written for his voice. Whats more, the arrangements remain sympathetic, neither over- nor underdone, resulting in a superb combination of color, style, sophistication, and suaveness.

    Mobile Fidelitys collectible 180g LP resonates with standard-setting transparency, imaging, projection, smoothness, and dimensionality. Capturing a human voice remains the most difficult recording task. Suffice it to say that this LP will join the ranks of the very best recordings you own. And of course, the music is on the same elevated level as the sound.

    This title is not eligible for discount.

    1. The Good Life
    2. If I Love Again
    3. I Wanna Be Around
    4. I've Got Your Number
    5. Until I Met You
    6. Once Upon a Summertime
    7. If You Were Mine
    8. I Will Live My Life for You
    9. Someone to Love
    10. It Was Me
    11. Quiet Nights of Quiet Stars
    12. Autumn in Rome
    Tony Bennett
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Be More Kind (Pre-Order) Be More Kind (Pre-Order) Quick View

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    Be More Kind (Pre-Order)

    Frank Turner has announced his seventh studio album, Be More Kind, which is set for release via Interscope Records. Months after the release of Songbook, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. The new album combines raw political and personal universal anthems with the intricate folk and punk roar trademarks of Turner's sound imbued with new, bold experimental shades.

    Be More Kind was produced by Charlie Hugall (Florence And The Machine, Halsey) and White Denim's Austin Jenkins and Joshua Block. "I wanted to try and get out of my comfort zone and do something different," says Turner. Originally, he contacted Jenkins and Block at their Niles City Sound studio in Fort Worth, Texas with the idea of recording a soul album in the vein of Dexys Midnight Runners. He found they were equally enthusiastic when he changed his mind and decided he wanted to record a more rock-led album with tints of electronic pop. "I have an obscure corner of my music taste where I'm into glitch electronic music and Warp Records," says Turner. "It's not an electronic record but I got into arpeggiator synths." While 2015's Positive Songs for Negative People was cut in nine intense days, Be More Kind was made over a period of seven months giving Turner the opportunity to turn songs on their head, try different versions, and shake up the dynamics within his band.

    Turner was halfway through writing a very different sort of album, a concept record about women from history who had been ignored, when he was reading a collection of Clive James's poetry and one particular line compelled him to re-think his direction. The line, from a poem called Leçons Des TÉnèbres, reads: "I should have been more kind. It is my fate / To find this out, but find it out too late." "It devastated me the first time I read it," Turner says. "A lot of older, wiser people tend to say things like that, that the things that come out in the wash at the end of a human life are the way you treated the people around you. In the modern world, that's a lesson that all of us, myself included, could do to learn."

    Turner and his band, The Sleeping Souls, were touring America in 2016 "when the world decided to go collectively nuts" and the songs that make up Be More Kind started to come together. "Somewhere in the record, there's a convergence of the ideas of personal and political, which is a central theme of the album," Turner says. One of the other driving themes of the album is empathy, even for your enemy. "You should at least be able to inhabit the mental universe of the people you disagree with. If you can't do that, then how do you communicate with people other than through force of arms, which is something we all agree is a bad idea."

    The first track to be released from Be More Kind is "1933", a clattering, state-of-the-nation anthem. Furious and direct, it's inspired by articles Turner saw that suggested the alt-right was punk rock. "That filled me with a mixture of incredulity and anger," says Turner. "The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry." The other theme in the track is summed up by the line, "If I was one of the greatest generation / I'd be pissed / I'd be screaming at my grandkids / that we already did this." "These ideas are surfacing again that collectively as a species we've already shot down," says Turner.

    1. Don't Worry
    2. 1933
    3. Little Changes
    4. Be More Kind
    5. Make America Great Again
    6. Going Nowhere
    7. Brave Face
    8. There She Is
    9. 21st Century Survival Blues
    10. Blackout
    11. Common Ground
    12. The Lifeboat
    13. Get It Right
    Frank Turner
    Vinyl LP -Sealed PRE-ORDER Buy Now
  • Glen Campbell: I'll Be Me Soundtrack Glen Campbell: I'll Be Me Soundtrack Quick View

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    Glen Campbell: I'll Be Me Soundtrack

    Honored in 2012 with the GRAMMY Lifetime Achievement Award, Country Music Hall of Fame member Glen Campbell has recorded his last song.
    I'm Not Gonna Miss You was written by Campbell and Julian Raymond specifically for a new documentary titled GLEN CAMPBELL: I LL BE ME. Produced by Raymond, the song was recorded in the Los Angeles-based Sunset Sound Factory and East West Recording Studios.

    With a mere handful of piano chords, then a swell of harmonies, I m Not Gonna Miss You opens into the poignant, yet clear-eyed revelation of the things Alzheimer s steals. Almost lumbering through the melody, Campbell s weathered tenor confesses the painful truths of what is lost, the cost and the reality that it will all be lost to him, the man who can t remember. Pedal steel weeps, strings bathe the melody that rises against drums and an electric guitar that mirrors the unbreakable passage of life and time.

    GLEN CAMPBELL: I LL BE ME is an epic human drama that intimately showcases the man and his music throughout Campbell s struggle with Alzheimer s. Chronicling the story of love, laughter, resilience and power of song, this film shows how against all odds, America s greatest country star would not give up. Directed and produced by James Keach (producer of Walk The Line) and produced by Trevor Albert (Groundhog Day).

    Big Machine Records will proudly release a soundtrack for the film that also features The Band Perry, who previously paid tribute to Campbell during the 2012 GRAMMY Awards. The project also features Campbell s daughter Ashley who performs an original song.

    We are so honored to not only release Glen Campbell s final recording, but to be associated with such a profound film that will help raise awareness of those suffering from Alzheimer s and spotlight the important role of those who care for them, remarked Big Machine Label Group President & CEO Scott Borchetta who serves as the project s Executive Producer with Keach.

    Additionally, several of today s biggest musical stars appear in the film to pay tribute to the legend including Bruce Springsteen, Bill Clinton, The Edge (from U2), Paul McCartney, Jay Leno, Vince Gill, Jimmy Webb, Taylor Swift, Blake Shelton, Sheryl Crow, Keith Urban, Brad Paisley, Steve Martin, Chad Smith, and The Band Perry.

    1. I'm Not Gonna Miss You - Glen Campbell and The Wrecking Crew
    2. Gentle on My Mind (Documentary Version) - The Band Perry
    3. Remembering - Ashley Campbell
    4. All I Need Is You - Glen Campbell
    5. The Long Walk Home - Glen Campbell
    6. Wichita Lineman (Live from Ryman Auditorium) - Glen Campbell
    7. A Better Place (Live from Ryman Auditorium) - Glen Campbell
    8. Gentle on My Mind (Single Version) - The Band Perry
    9. Home Again - Ashley Campbell
    10. I'm Not Gonna Miss You (Single Version) - Glen Campbell
    Glen Campbell & The Band Perry
    Vinyl LP - Sealed Buy Now
  • The Mediator Between Head And Hands Must Be The Heart The Mediator Between Head And Hands Must Be The Heart Quick View

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    The Mediator Between Head And Hands Must Be The Heart

    It was the city of Belo Horizonte, Brazil that launched the ascent of their native sons in SEPULTURA (Portuguese for "grave") in 1983 with a trajectory unsuspectingly aimed at the worldwide metal music scene. A band with humble economic beginnings whose musical identity was forged in the context of living through Brazil's authoritarian military dictatorship, SEPULTURA would go on to become Brazilian ambassadors to the metal world, revered master architects of the death/thrash genre, and the most successful heavy metal band from the Federal Republic of Brazil.

    When SEPULTURA experienced a line-up change in the mid-1990s that was widely covered by the metal press around the world, remaining members recruited American Derrick Green in 1997 to front the band, a position the Cleveland, Ohio native has held for the past fifteen years and counting. This past June, long-time guitarist Andreas Kisser (who joined in1987), original bassist Paulo Jr., and drum prodigy Eloy Casagrande, SEPULTURA entered the studio in Venice, California with renowned producer Ross Robinson (KORN, MACHINE HEAD, FEAR FACTORY) - who also worked on the band's landmark 1996 release, »Roots« - and co-producer Steve Evetts (THE DILLINGER ESCAPE PLAN, SYMPHONY X, INCANTATION) - who previously worked on SEPULTURA's »Roorback« (2003), the »Revolusongs« EP (2002), and »Nation« (2001) - to record the band's seventh studio album with Green (and their second album for Nuclear Blast): »The Mediator Between The Head And Hands Must Be The Heart«, scheduled for release this October.

    Inspired by Austrian filmmaker Fritz Lang's classic 1927 movie "Metropolis," SEPULTURA leans heavily on the strength of their thrash metal influences to make a statement against the dehumanizing effects of technology. Guitarist Andreas Kisser delves a little deeper:

    "In the movie, a crazy millionaire wants to transform a robot into a real person. That's kind of the opposite of what we live today. More than ever, we are robotized through the worldwide web, Google glasses, chips under our skins and globalized slavery our society suffers nowadays. Being that the novel was written in the early 1920s, it's almost prophetical. The phrase that inspired me - the main message of the story - points to the heart as being the human factor that keeps a man a man - not a robot. The heart beats with freedom of choice. We have to think for ourselves to create a real world, not a matrix."

    Exploring the miseries and privileges associated with technological power, »The Mediator Between The Head And Hands Must Be The Heart« - SEPULTURA's angry dystopian documentary in sonic form - also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion, and the still-widening divide & unbridgeable gap between pampered citizens who live in decadent luxury and the working poor who withstand unbearable living & working conditions to simply survive.

    The album's opening track, 'Trauma Of War', begins as a cacophony of noise that gives rise to an urgent panic that spins into a paranoiac distress about others making decisions that will lead to our demise in war. In 'The Vatican', we listen as yearning souls pray to their god to alleviate their suffering as the furious vocals, guitars, and drums document the moment when the faithful come face-to-face with the reality of their absent god too self-absorbed with being adored to notice humanity's cries for help. 'The Bliss Of Ignorants' is an indictment by those who intimately know the depths of human suffering against those who don't wish to know. 'Grief' weeps with its gnosis of such a feared emotion. With so many recent natural disasters throughout the world, who could deny the truth behind human greed & corruption sung about in 'Manipulation Of Tragedy'?

    With both the 2014 FIFA World Cup championship and the 2016 Olympic Games headed to Rio de Janeiro, Brazil, a worldwide audience will surely be mesmerized by the glamour surrounding these world-broadcasted events. But there are those who bear witness to what won't be televised; there are those who have seen the decades of daily strife of Brazilian citizens with wide-open eyes.

    »The Mediator Between Head And Hands Must Be The Heart« never lacks confidence in what SEPULTURA knows: "I live in São Paulo, one of the big metropolises in the world with more than 20 million people living and working in it," asserts Kisser. "I know how it is to live in daily chaos. Our music reflects a lot of that feeling."

    Featuring a guest appearance by former SLAYER drummer Dave Lombardo, »The Mediator Between Head And Hands Must Be The Heart« does what many great albums do: it captures a moment in time and carves out a place to have a dialogue with listeners with an honesty that rings so true, it becomes a part of our arsenal with which to defend ourselves against the wrongdoings of the world.

    1. Trauma Of War
    2. The Vatican
    3. Impending Doom

    4. Manipulation of Tragedy
    5. Tsunami
    6. The Bliss Of Ignorants
    7. Grief
    8. The Age Of The Atheist
    9. Obsessed
    10. Da Lama Ao Caos (Chico Science & Nação Zumbi cover)
    Vinyl LP - 2 LPs Sealed Buy Now
  • Learning To Crawl Learning To Crawl Quick View

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    Learning To Crawl

    What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.

    Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.

    The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?

    Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.

    New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.

    Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.

    This title is not eligible for discount.

    1. Middle of the Road
    2. Back on the Chain Gang
    3. Time the Avenger
    4. Watching the Clothes
    5. Show Me
    6. Thumbelina
    7. My City Was Gone
    8. Thin Line Between Love and Hate
    9. I Hurt You
    10. 2000 Miles
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Felt Felt Quick View

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    There are those in our ranks who are touting this new triumphant
    collection from Montreal's art-rock heroes SUUNS as the
    most outright grooved record they've made. But hold it right
    there. Not so fast. SUUNS have always had that deep groove
    on fucking lock, albeit oft-slithering within an austere and/or
    sneering veneer. Consider, if you will, how Kraftwerk had far
    more funk flowing through their wires and cables than most of
    we flesh bodies. Same goes for the necromancers of SUUNS.

    And their world class drummer Liam O'Neill has heroically
    accepted the challenge of playing in and around programmed
    beats like a diabolical, sentient metronome. O'Neill's kit is a bit
    more out front than it's been in a hot minute and he's as patient
    and ferocious as ever. Meanwhile, Singer/guitarist Ben Shemie's
    sourmilk deliver is as frightening and enchanting as ever, but
    now coming from some deep area that feels like a human heart.

    And as alluded to by its title and neon-warm album art, SUUNS'
    Felt is gonna make you feel things. You're gonna learn
    something about your body listening to cuts like on DJ Shadow-leaning,
    head-bobber "Look No Further" or "Make It Real,"
    which could be a radio signal of a lost Silver Apples cut - that
    is, before it becomes a doomsday siren breakup song. These
    four gentlemen could be making beats for 21 Savage or Migos.
    But for now, lucky for you, they're ruthlessly set on being one of
    the planet's finest, bravest bands.

    1. Look No Further
    2. X-ALT
    3. Watch You, Watch Me
    4. Baseline
    5. After the Fall
    6. Control
    7. Make It Real
    8. Daydream
    9. Peace and Love
    10. Moonbeams
    11. Materials
    Vinyl LP - Sealed Buy Now
  • The Application Of Loneliness, Ignorance, Misery, Love And Despair... The Application Of Loneliness, Ignorance, Misery, Love And Despair... Quick View

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    The Application Of Loneliness, Ignorance, Misery, Love And Despair...

    "The Application of Loneliness, Ignorance, Misery, Love and Despair - An Introspective of the Human Condition":

    A concept album based on the contents of the aforementioned title; Taking a look at the human state; what we see and what we feel in certain situations and how we look at things totally uniquely.

    With the deluxe vinyl being released through Back On Black, this is a record that harnesses the essence of October File: Anger and belief. Power and persistence.

    October File have earned a formidable reputation as one of the UK's heaviest and most intensely original bands over their eventful career.

    This four-man post-punk-hard-core crew, formed in 2003 by guitarist Matt Lerwill and bassist Steve Beatty, have doggedly redefined what it means to convey ferocity and fury through the art of riffs, rhythms and incendiary, politically-charged lyrics; amassing a substantial fan base from across the rock, punk and metal spectrum and garnering countless effusive and ecstatic reviews from all corners of the rock and metal media.

    LP 1
    1. I Fuck the Day
    2. Heroes Are Welcome
    3. Reinvention
    4. The Water
    5. Elation

    LP 2
    1. Upon Reflection
    2. Where the Clouds Meet the Horizon
    3. All Rise All Fail
    4. To Be Watched Upon

    October File
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Let's Dance Raw Let's Dance Raw Quick View

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    Let's Dance Raw

    Japanese Singer-Songwriter, Multi-instrumentalist's
    Follow-up To 2012's How To Live With A Phantom

    Japanese singer, songwriter and multi-instrumentalist Shintaro
    Sakamoto returns with a new full-length, Let's Dance Raw, which
    Other Music Recording Co. (distributed by Fat Possum) releases on
    September 16. The album is the follow-up to Sakamoto's solo debut,
    the otherworldly folk-pop masterpiece How to Live with a Phantom
    (2012, Other Music).

    While How to Live with a Phantom was the first many around the
    globe knew of Sakamoto, he has long been an icon in his homeland,
    having long fronted the psychedelic phenomenon Yura Yura Teikoku,
    a Tokyo-based band that emerged from Koenji's legendary UFO
    Club scene and, across their 20-year trajectory, achieved mainstream
    success throughout the country. Following the group's break-up in
    2010, Sakamoto began working on How to Live with a Phantom, a bold
    stylistic departure that eschewed Yura Yura Teikokou's psychedelic
    freak-outs for a much quieter and harder-to-define sound.

    From first glimpse of the cover of Let's Dance Raw, it's clear that
    once again, we are entering uncharted territory. The record's sleeve,
    painted by Sakamoto, features the artist sitting upon a black throne,
    a steel guitar resting on his knee like a child being protected from
    the ominous mushroom cloud of smoke billowing behind him.
    A grinning skull has replaced Sakamoto's face. This dichotomy of
    bright, innocent beauty and subtle perversity is the essence of Let's
    Dance Raw, with Sakamoto moving even further from the tough
    underground power-trio psychedelic rock of his former band.

    He hinted at the new sound throughout his solo debut, and here
    the music is blown wide open, with the steel guitar as the unifying
    force throughout. Sakamoto purchased and learned how to play the
    instrument just prior to writing and recording Let's Dance Raw, and
    it enriches the post-apocalyptic exotica on these ten songs, fusing
    together the bright and breezy shimmer of Hawaiian slack-key hula
    melodies, the dusty shuffle of southwestern desert blues, and the
    space-age bachelor-pad music of postwar suburban dreamers. The
    result is an album that revisits the soundtracks of musical escapism
    made popular in postwar American and Japanese cultures-and
    deftly updates them.

    It's all anchored by deep, jazzy grooves straight out of a 1970s
    AM radio broadcast, and peppered with flourishes of Brazilian and
    Latin percussion throughout. Atop the music, Sakamoto sings of the
    human race's downfall, the weight of the lyrics made contrastingly
    perverse via duets with robotic vocoder voices and helium-voiced
    cartoon chipmunks cooing in an unsettling fashion alongside him.
    While Sakamoto once again handles the bulk of the instrumental
    duties, faithful drummer and percussionist Yuta Suganuma also
    returns for this set, as well as bassist AYA, on loan from fellow Japanese
    psychedelic explorers OOIOO.

    1. Future Lullaby
    2. Birth Of The Super cult
    3. Extremely Bad Man
    4. Let's Dance Raw
    5. Like An Obligation
    6. Gently Disappear
    7. You Can Be A Robot, Too
    8. Why Can't I Stop?
    9. Never Liked You, But Still Nostalgic
    10. This World Should Be More Wonderful
    Shintaro Sakamoto
    Vinyl LP - Sealed Buy Now
  • Landscape Dream Landscape Dream Quick View

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    Landscape Dream

    Landscape Dream is Abram Shook's followup to 2014's Sun Marquee, an album VICE called
    pleasant as fuck and Texas Monthly called compelling, weird, and lovely. Applying
    what he learned through writing and recording Sun Marquee, Landscape Dream demonstrates
    how much Shook's songwriting and production acumen has sharpened over the past year.
    Creating Sun Marquee was a learning process, where songs were often forced out of experiments
    in recording techniques. As Abram explains, I had a lot of thoughts I just threw out
    there, but often I arrived at dead-ends and had to figure out how to make something out of
    what was available. However, on Landscape Dream he went back to writing with just voice
    and guitar and then used arranging, production, and recording ideas pulled from Sun
    Marquee. The effectiveness of his new approach is clear from the 70's rock of Find It and
    Chelsea to the African vibes of Get Gone, the dreamy Brazilian vibes on 5AM and Beach
    Glass, and the slow-jam soul found on Perfect, Jaw, and Vessel.

    To capture the songs, Abram joined forces with some of Austin's elite engineers including Erik
    Wofford, Danny Reisch, Justin Douglas, Grant Johnson, and Christopher Cox. Over the course
    of several months the team explored where each of these 12 songs would go. One example of
    how far they took the songs from their original form is the energetic Find It, which started
    as a fast tropicalia tune Abram wrote on a classical guitar, but through production choices
    evolved into an ode to garage-rock, psychedelia, and Zepplin all in one.

    Like many of us, Abram dreads the exhausting sea of digital noise, which can be detrimental
    to our ability to foster meaningful human connections. To escape the deluge of social media,
    texts, emails, etc, he takes a daily walk in a vast, underutilized South Austin park with his dog.
    Carving out a little time to step away from the laptop and cell phone has become a crucial
    ritual for Abram, allowing him to reflect, and get some perspective on the world and how he
    fits into it. Landscape Dream features several songs that reference that precious time he
    spends communing with nature.

    In addition to working on his own music, Abram became a touring member of the Austin-based
    band Shearwater in 2014. As tiring as touring can be, escaping the noise of his everyday life
    provided him with intense periods of self-reflection. Much like his daily walks, he found the
    solitude of touring to be a nourishing and enlightening reminder of what really matters, and
    that awareness and clarity helped him pen many of the brilliant songs you'll hear on
    Landscape Dream..

    1. Never Die
    2. Chelsea Walls
    3. Vessel
    4. Beach Glass
    5. Receiving You
    6. Get Gone
    7. 5Am Tribute
    8. Find It
    9. Perfect
    10. Understood
    11. Arrows
    12. Jaw
    Abram Shook
    Vinyl LP - Sealed Buy Now
  • The Future's Void The Future's Void Quick View

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    The Future's Void

    "'Satellites' pulls in sounds with operatic force...
    Easily the most bracing thing yet from an artist
    already more bracing than most."
    - Pitchfork (Best New Track)

    "It sounds amazing. Seriously. It's the fucking
    best." - Stereogum

    "An Industro Fuzz Giant - 'The Future's Void' will
    swallow early 2014." - Spin

    Erika M. Anderson first graced the limelight under
    the guise of EMA in May 2011, when the brilliantly
    scuffed debut album Past Life Martyred Saints was
    released to a multitude of acclaim. After fronting
    the genre-defying cult duo Gowns, Past Life
    Martyred Saints offered a deeper glimpse into the
    world of EMA.

    If Past Life Martyred Saints was an inward
    exploration of human relationships and their
    toll, The Future's Void catapults them out into
    space, both thematically and musically. Drawing
    from references as diverse as The Neuromancer,
    NIN & riot grrl, the album meditates on universal
    themes of how we interact with the wider world
    and how that interaction is increasingly modified
    by technology.

    "This record is the sound of resistance to digital
    commodification" Erika explains. "I naturally
    gravitate towards hooks and melodies and in
    some ways, the structure of these songs is the
    poppiest yet. The harshness and production
    strikes a balance with that so they don't sound like
    they could be on adverts."

    1. Satellites
    2. So Blonde
    3. 3Jane
    4. Cthulu
    5. Smoulder
    6. Neuromancer
    7. When She Comes
    8. 100 Years
    9. Solace
    10. Dead Celebrity

    Vinyl LP - Sealed Buy Now
  • The Way We Separate (Awaiting Repress) The Way We Separate (Awaiting Repress) Quick View

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    The Way We Separate (Awaiting Repress)

    Thomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon,
    introduced themselvesto the world with theNo Body and ForNow EPs,
    both released last year on Ghostly International. The EPs were united
    by minimalist, R&B-inuenced instrumentation, and also by a lyrical
    theme, with both serving as meditations on the darkness that
    underpins the most intense of human emotions: love.

    The duo's debut album The Ways We Separate both consolidates and
    developsthese ideas. The album focuses, asthe title suggests, on the
    idea of separation - both within the context of relationships and in a
    more intimate, psychological sense. As Mullarney explains, The
    narrative contained inside The Ways We Separate deals with two kinds
    ofseparation: one where two entities grow apart, and the other where
    we grow apart from ourselves. Over the course of a relationship, the
    two sometimes happen together, one being the result of the other.
    Desires, passions and regrets are central to the songs on The Ways We
    Separate, which take a variety of perspectives to construct a nuanced
    reection on the album's central theme. 'Between the Waves' draws a
    clever analogy between relationships and soundwaves falling out of
    phase: I know all the ways we separate/ Where we start to fade at
    di erent frequencies. 'Overseer' catalogues a parting of the ways with
    discom ting clarity: Isn't it ne?/ Taking it slow?/ Watching you watch
    me walk out your door. And album closer 'Split in Two' explores how th
    extremes of love and loss can take you far away from being the person
    you thought you were, making explicit the connection between the two
    ideas of separation: What I'd do for you?, sings Thomas Mullarney,
    Split myself in half/ Divided into two.

    Musically, The Ways We Separate nds Beacon working with a richer
    sonic palette than ever before -as Gossett says, The production on
    this album is much more expansive than anything thing we've done
    thusfar. We spent a lot of time exploring new gear and experimenting
    with how to pull a wide range of sound out of various instruments.
    Some ofthe key sonicsthatshaped this LP are analogue synthesis, lots
    of heavily processed guitar work, and vocal layering/processing. While
    the abiding mood remains that of late-night introspection, the
    production draws from elements of hip hop and a wide gamut of
    electronic music, marrying intricate beats and subtle textures to
    honeyed pop melodiesthat belie the album's conceptual depth. Rarely
    has bleakness sounded so pretty - this is a record that's deceptively,
    compellingly beautiful, an exploration of a place both discom ting and
    darkly seductive.

    1. Bring You Back
    2. Feeling's Gone
    3. Between The Waves
    4. Drive
    5. Overseer
    6. Late November
    7. Studio Audience
    8. Headlights
    9. Anthem
    10. Split in Two
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Lifer Lifer Quick View

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    MercyMe asks the question - what does it mean to be a "lifer" in the kingdom of God. Life is both a noun and a verb. It is the condition that distinguishes humans from inorganic matter, including the capacity for growth, functional activity, and continual change. It's about how to spend ones' life in a particular way, under particular circumstances, with vitality, vigor, and energy. When we do 'life' from a place of faith in God, we become unstoppable and unwavering. We feel connected to something so much bigger than ourselves and it's that understanding that makes us committed to be "Lifer's". Filled with positive, uplifting lyrics, along with energetic beats and soaring melodies, "Lifer" delivers the massive hits that MercyMe is known for.
    1. Lifer
    2. You Found Me
    3. Grace Got You (feat. John Reuben)
    4. Best News Ever
    5. Even If
    6. Hello Beautiful
    7. We Win
    8. Happy Dance
    9. Heaven's Here
    10. Ghost
    Vinyl LP - Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

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    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."

    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."

    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"

    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."

    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."

    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."

    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."

    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."

    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."

    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    Vinyl LP - Sealed Buy Now
  • Eternally Even Eternally Even Quick View

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    Eternally Even

    In regards to his second full-length, Jim James says I wanted to make an album that hopefully speaks to the issues of the day, many of which, sadly, are issues we have been dealing with since the beginning of time. Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt...our earth is being destroyed by climate change...people are not treating each other with equality and respect... and I think- are we going to make it? Are we going to figure it out and fix it before it's too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it's still possible. I still have hope in humanity. I'm just trying to be a part of the discussion and encourage people to speak out for equality, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times, but it's important we speak our minds, cast our votes, and do not give in to fear and hatred.
    1. Hide In Plain Sight
    2. Same Old Lie
    3. Here In Spirit
    4. The World's Smiling Now
    5. We Ain't Getting Any Younger Pt. 1
    6. We Ain't Getting Any Younger Pt. 2
    7. True Nature
    8. In The Moment
    9. Eternally Even
    Jim James
    Vinyl LP - Sealed Buy Now
  • Funky Was The State Of Affairs Funky Was The State Of Affairs Quick View

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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
    Vinyl LP - Sealed Buy Now
  • Inri Inri Quick View

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    From dark and primitive origins comes this highly refined and directed musical statement, both aesthetically and musically wrought from the primal polarities of angst, rendered into simple but effective fast, furious, and cryptic black metal.

    Similar in many ways to Sodom or Massacra, this music features floating highspeed riffs from which pseudopods of dogmatic rhythm emerge to stamp out their defiant message. The last seconds of the title track, Fuck you...fuck you!...fuck you, Jesus Christ exemplify the paradox of this album: raw punkness contrasting with the need for ideology.

    Guitar seems haphazard, solos in the afterthought tradition of Bathory and early Burzum, but delivers the rapid trembling hand rhythm of soaring metallic riffs and melodies.

    Underneath bangs a primitive and ill-programmed mechanistic beat which might be dubbed Rudiments of Rhythmic Awareness for Context and left to the abyss. How are these riffs? Simple fluid note wraparounds racing toward a tonal note...some center...some context...or maybe simply giving up. They fit in a narrow compositional sense of lucidity in this entity, alone, and work together for the power of its unique countenance.

    At their core musicians inspired by punk music, Sarcofago blend with their hardcore the moron-rock destructiveness and theatrical pro-Satan anti-life program of heavy metal black metal bands, creating an over-the-top image imbued in the anti-aesthetic style of resistance and hatred to all which would accept it, protecting virus of dark spiritual nature to recipient human listeners. Variations of few elements project ideas: some profound, some careless, some inspired, some vapid.

    - American Nihilist Underground Society

    1. Satanic Lust<
    2. Desecration Of Virgin
    3. Nightmare
    4. I.N.R.I
    5. Christ's Death
    6. Satanas
    7. Ready To Fuck
    8. Deathtrash
    9. The Last Slaughter
    Vinyl LP Reissue - Sealed Buy Now
  • Home Economics Home Economics Quick View

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    Home Economics

    Limited Edition Of 1000 Copies On Wine Colored Vinyl

    Mastered By Bob Weston At Chicago Mastering Service

    Prinzhorn Dance School are still recognizably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of 2008 like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed 2011 predecessor Clay Class. All the best six-track albums - The Fall's Slates, Orange Juice's Texas Fever - know exactly what they want to say and how they intend to say it. Home Economics shares that infectious sense of urgency. There's not an inch of spare meat on it - from Reign's snatched moment of optimism, through Battlefield's restorative meeting of minds with an urban fox on a drunken walk home in the early hours, to Let Me Go's concluding tribute to "a love that won't rewind and will not be deleted". Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole.

    1. Reign
    2. Battlefield
    3. Clean
    4. Haggle
    5. Education
    6. Let Me Go
    Prinzhorn Dance School
    Colored Vinyl LP - Sealed Buy Now
  • Come My Fanatics Come My Fanatics Quick View

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    Come My Fanatics


    What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.

    We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).

    Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!

    The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.

    The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.

    - NausikaDalazBlindaz (The Metal Archives)

    1. Return Trip
    2. Wizard in Black
    3. Doom-Mantia
    4. Ivixor B / Phase Inducer
    5. Son of Nothing
    6. Solarian 13
    7. Demon Lung
    10. Return to the Son of Nothingness
    Electric Wizard
    Vinyl LP - 2 LPs Sealed Buy Now
  • Indoor Living Indoor Living Quick View

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    Indoor Living

    With a lot of Superchunk products, it's easy to think there's a simple message because
    the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
    shout-sung tag lines that beg for an audience to croon along-"Let's burn last
    Sunday"-are just the overarching structure of a record that moons over details:
    "Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
    twisting apart ("The arc of lights / above your head / is not to be believed").
    "Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
    search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
    space is mine / Yeah I hardly have the right to sing about it."

    Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
    can write a break-up record, anyone can color in a broken heart all black. It takes a
    more sophisticated eye to find the light and perfect moments that happen even when
    we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
    for mercy comes across like an in-joke ("We both know that I've got bad knees") in
    "Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
    fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
    ("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
    Popular Music," the record's angriest slice of heartache, has a protagonist that can't
    quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
    me to use," but "making mosaics of scenes from the parts of my life that you left me
    to lose."

    Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
    knowing you won't is hard. Adulthood is about forsaking the black and white
    resolutions of youth for a more complicated, and resonant, resilience: From "Burn
    Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
    break / Well, they just bend." In music and with people, maturity happens when the
    sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
    Indoor Living shows that you don't have to lose a single joule of energy in becoming a
    little more self-reflective. You just have to be willing to take it all in.

    Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
    wanted it to be. Though of course-of course!-I've listened to the record on and
    off in the intervening time, I had forgotten how familiar this record is to me. I had
    forgotten I knew all the words to every song, could anticipate every hesitant drop in
    rhythm and wavering chorus. This record was the soundtrack of being 25 and because
    of that, it does remind me of a really specific time; but that time is not so much the
    late '90s as the turning point between adolescence and adulthood, which happens later
    and later to me every year.

    -Ana Marie Cox, 2013

    1. Unbelievable Things
    2. Burn Last Sunday
    3. Marquee
    4. Watery Hands
    5. Nu Bruises
    6. Every Single Instinct
    7. Song for Marion Brown
    8. The Popular Music
    9. Under Our Feet
    10. European Medicine
    11. Martinis on the Roof
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Raw Youth A Raw Youth Quick View

    Buy Now

    A Raw Youth

    The focus of the album is the recurring conflict between minorities (the raw youths) and society: The oppressor and the oppressed. Each song is a different story of a youth from a different era. Some of them want to die because their faith in humanity has ended, some want to fight the authority, think outside themselves. 'Sold Less Than Gold' reflects the story of women who are sold into marriages or into sex slavery and how resilient their spirits are. Despite the different time periods, history repeats itself. There will always be conflict and sadly, despite the rebels in our history, there are people that are zombified. A Raw Youth is an awakened collective consciousness of wanting to live and not fear death.
    1. Shave The Pride
    2. My Mallely
    3. Reason to Die Young
    4. La Uva (Ft. Iggy Pop)
    5. Sold Less Than Gold
    6. Stab My Back
    7. They F**k You Over
    8. Witchless C Spot
    9. The Hitch Hiker
    10. Lonely & Drunk
    11. Oil The Shoe If The Critter Knew Any Better
    12. My Half (Ft. John Frusciante)
    Le Butcherettes
    Vinyl LP - Sealed Buy Now
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