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88 is the eighth full length studio album from Incubus.
The album was co-produced by Dave Sardy (Slayer, Helmet, Trouble) and Sonny Moore, better known as dubstep icon Skrillex. The album was nearly finished before Moore tweaked the mix on the song "Familiar Faces," which then spiraled into a full co-production job. Guitarist Michael Einziger commented, "It just kind of energized everybody in the band and we're really excited about the album, we can't wait for people to hear it.1. No Fun
2. Nimble Bastard
3. State of the Art
7. When I Became A Man
8. Familiar Faces
9. Love in a Time of Surveillance
10. Make No Sound in the Digital Forest
11. Throw Out the Map$19.99Vinyl LP - Sealed Buy Now
Morning ViewDouble gatefold sets presented on 180-gram audiophile vinyl.
Fans who discovered Incubus and their album Make Yourself through their massive radio hit Drive may be surprised that the band released a follow-up album so quickly. Yet the reality is that Make Yourself was a definitive sleeper hit, never peaking past the Top 50 of Billboard's album charts, but staying on those same charts for close to two years and in the process shifting over two million units. With each successive single that was released, the band gradually moved away from the nu-metal/Ozzfest crowd they had been initially lumped into and revealed the solid songwriting and talent for a good melody underneath the layers of surging guitars. The lessons learned from Make Yourself have definitely been applied to Morning View. While there is still a fair share of aggressive numbers (Circles, Blood on the Ground, and Under My Umbrella arguably the strongest of the harder tracks), the ratio of softer and mellower numbers have increased dramatically, to the point where hardcore fans of earlier material may be bewildered. For the most part, the transition works. Mexico is a sparsely arranged acoustic ballad that gives lead singer Brandon Boyd an opportunity to demonstrate his formidable vocal range. Are You In is an upbeat, funky tune reminiscent of Sugar Ray (and that's meant in a good way). The most offbeat track is the album closer, Aqueous Transmission, a tranquil, exotic-sounding ballad that sees the band successfully experimenting with Middle Eastern string arrangements. Not all the experiments gel (Echo), and there is a tendency, especially in the middle third of the album, for the songs to sound too similar in sound and tempo, but on the whole, Morning View is a fine follow-up to Make Yourself and a natural progression in the band's musical evolution. While it may not appeal to fans of the harder material, music lovers who like their rock a little less aggressive and a little more ambitious and, well, sensitive should give Morning View a spin.
1. Nice To Know You
3. Wish You Were Here
4. Just A Phase
6. Blood On The Ground
3. Have You Ever
4. Are You In?
5. Under My Umbrella
6. Aqueous Transmission$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Maps Of Non-Existent PlacesClaudio Sanchez has officially launched his record label Evil Ink Records and his first signing is New Jersey's young experimental progressive rock septet
Thank You Scientist. The newly formed label, distributed by INgrooves, will be releasing a fully remixed and remastered version of the band's 2012 debut
full-length record, Maps of Non-Existent Places, in time for their run with Coheed and Cambria's "Neverender:IKSSE3 Tour."
Claudio Sanchez knows a little bit about progressive music. His career has spanned 12 years and 7 albums, likely encompassing the longest concept
album arc in the history of rock and roll. Now, in effort to further support and promote his beloved complex genre, he has launched a label dedicated to
sharing a wealth of future talent with the first signing being the extremely talented seven-piece band Thank You Scientist.
For the uninitiated, Thank You Scientist was forged from the music program at Montclair State University in New Jersey when guitarist Tom Monda met
saxophonist Ellis Jasenovic and trumpeter Andrew Digrius. The three bonded over their love for Frank Zappa, Mahavishnu Orchestra, The Beatles and
Harry Nilsson. Those influences would become the seeds for what Thank You Scientist would evolve into today.
With the addition of vocalist Salvatore Marrano, bassist Greg Colacino, drummer Odin Alvarez and violinist Ben Karas, Thank You Scientist's lineup of
virtuoso musicians was complete. The band would go on to self-release an EP, The Perils of Time Travel, in 2011 followed by their debut full-length, Maps
of Non-Existent Places, in 2012, which caught the ear of Sanchez, a fellow purveyor of progressive stylings, and led to his signing of the band.
To pinpoint Thank You Scientist's sound would be inconceivable. On Maps of Non-Existent Places they hold a virtual master class on musicianship,
fusing elements of progressive rock with jazz fusion, classical, metal, psychedelic and pop for a head spinning, mind-blowing listening experience. The
seven-piece band, who collectively play some 20 instruments, boasts a hyper-composed sound which is indebted to their experience and formal training
in both classical and jazz idioms.
A Frank Zappa for the indie generation? Incubus jamming with the Mahavishnu Orchestra? Mr. Bungle and Steely Dan joining forces to fight Godzilla?
King Crimson and the Brecker Brothers serenading you at your bedside? It all seems so strange on paper, yet it's sure to satisfy your ears in the best of
2. A Salesman's Guide to Non-Existence
3. Feed the Horses
4. Blood On the Radio
6. Suspicious Waveforms
8. Concrete Swan Dive
9. In the Company of Worms
10. My Famed Disappearing Act$24.99Vinyl LP - 2 LPs Sealed Buy Now
A Crow Left Of The Murder...Double gatefold sets presented on 180-gram audiophile vinyl.
At the beginning of their career, Incubus was rightly lumped in with the legions of post-Korn alt metal/rap-rock bands swarming America in the latter days of the 20th century. But by their third album, 1999's Make Yourself, they had separated from the pack, as indicated by the presence of producer Scott Litt, best-known for his work with R.E.M. It signaled that the band was serious, and they began expanding their rap-metal template on that album and its follow-up, 2001's Morning View, completing their transition from juvenelia to maturity with 2003's Crow Left of the Murder. Switching from Litt to producer Brendan O'Brien, a man who has been with Pearl Jam longer than any of their drummers, Incubus has opted for a clean, crisp yet heavy sound which allows them to aggressively switch from crunching metallic riffs to jazzy prog interludes. It's an expansive musical vision charged with some righteous anger; although vocalist Brandon Boyd doesn't write explicit protests, there sure are enough allusions to social turbulence to make this the first politically aware alt metal album in many a year. This maturation is even more evident in the music, how the band actually swings on Zee Deveel, or how guitarist Michael Einzinger's jazz-influenced solos seem both carefully constructed and casually tossed off, or how Boyd's voice shifts from song to song (or during a song, as on the opening Megalomaniac, which sounds like a bizarre blend of Mr. Mister's Richard Page and John Lydon). All this maturation does mean that Incubus may shed some older fans, since the naked ambitions on this record are far removed from the earnest, angst-ridden earlier records, but so be it -- A Crow Left of the Murder... is far more interesting than any of their other records, or their peers'. At times, they may stretch themselves a little too far here, but the ambition is admirable and the achievements are tangible -- a real breakthrough for the band.
2. A Crow Left of the Murder
4. Talk Show on Mute
5. Beware! Criminal
6. Sick Sad Little World
8. Southern Girl
10. Zee Deveel
11. Made for TV Movie
12. Smile Lines
13. Here in My Room
14. Leech$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Make YourselfAvailable for the first time on vinyl! Double gatefold sets presented on 180-gram audiophile vinyl.
Produced by Scott Litt, Incubus' second full-length album, Make Yourself, makes a bid for broader mainstream success while keeping the group rooted in a hybrid of familiar late '90s alt-metal (i.e., roaring guitars, white-noise sonic textures, and an undercurrent of electronics) and Chili Pepper funk-rock. Where S.C.I.E.N.C.E. sometimes veered abruptly between the two genres without really fusing them, Make Yourself finds the band settling more comfortably into its sound, and once again, there are a few really good singles.
2. Nowhere Fast
4. The Warmth
5. When It Comes
1. Make Yourself
4. Battlestar Scralatchtica
5. I Miss You
6. Pardon Me
7. Out from Under$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
S.C.I.E.N.C.E.Available for the first time on vinyl! Double gatefold sets presented on 180-gram audiophile vinyl.
While the press and critics jumped over the sounds of Korn, Rage Against the Machine, and Limp Bizkit, Incubus quietly toured in support of S.C.I.E.N.C.E., their first major-label LP. Incubus' hip-hop influences come from their DJ and bassist instead of their singer. Brandon Boyd's vocals hit every range from quiet whispers to funk-styled rants to hard rock screams. He also adds percussion with a bongo on a few songs (and in concert its a strange sight for such a heavy band). Boyd's demeanor in concert and record is laid back and free flowing. There's no anger surrounding his lyrics or his singing. New Skin adds a lot of funk to modern heavy metal while Summer Romance (Anti-Gravity Love Song) is a spacy dance ballad. The numerous styles on the album don't always blend perfectly, but they create a solid sound that defines the band. Incubus also manages to make their songs upbeat and danceable as well as tunes to headbang to. An admirable feat in a genre that tends to reward decibel levels instead of quality.
3. New Skin
4. Idiot Box
6. Magic Medicine
7. A Certain Shade Of Green
8. Favorite Things
9. Summer Romance (Anti-Gravity Love Song)
11. Deep Inside
12. Calgone$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Light GrenadesAvailable for the first time on vinyl! Double gatefold sets presented on 180-gram audiophile vinyl.
On their fourth album, A Crow Left of the Murder, Incubus got heavier, both musically and lyrically, which might have developed their music but it shrank their audience. It's hard not to see their 2006 follow-up, Light Grenades, as a reaction to this situation -- not that they shrink away from the progression of Crow, but they polish and streamline their innovations from that album, resulting in a record that's sharper, cleaner, and more immediate in every respect. This naturally means that Incubus doesn't sound as heavy as they did earlier in their career, but they're still pretty somber here; even when the rhythms crash and the guitars wail, this is serious music, but they have a lighter touch here than they did on Crow. They also have a greater mastery of mood, as well as a greater musical variety than they displayed on the outset of their career. Often, they use trippy, vaguely psychedelic soundscapes to set a tone that they later blast apart with tightly focused blasts of fury, such as the skittering Anna Molly or the intense two-minute ballast of the title track -- or even how the acoustic introspection of Earth to Bella is ripped apart by shards of noise, not unlike Radiohead's Creep. Radiohead comes to mind a few times on Light Grenades, largely in how Incubus uses echoed guitars on their expansive mood pieces, but more often they sound like a leaner, hungrier latter-day Pearl Jam in their sense of purpose and dedication to serious rock. Perhaps that's why Diamonds and Coal stands out so strongly in the latter half of the record: it's a tightly constructed pop song, their catchiest ever, that's unlike anything else on the record in its hookiness, which makes it all the more impressive. And instead of suggesting that the rest of the record is lacking in hooks, it actually points out how Incubus has grown: that they not only feel comfortable releasing a piece of alt-pop as catchy as this, but they don't emphasize it, they merely present it as another dimension to their sound, just like how the delicate acoustic-driven Paper Shoes also sounds unlike the rest of the album yet still fits comfortably into the record's tapestry. These moments of lightness illustrate the confidence Incubus now has and their increasing musical dexterity too. On Light Grenades, they are a tightly focused, purposeful band, shifting moods and textures at the drop of a dime, proving that they have become a rare thing: a modern heavy rock band that actually grows and improves with each album.
2. A Kiss to Send Us Off
4. Anna Molly
5. Love Hurts
6. Light Grenades
1. Earth to Bella (Part I)
2. Oil and Water
3. Diamonds and Coal
5. Paper Shoes
6. Pendulous Threads
7. Earth to Bella (Part II)$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Tin Cans With Strings To YouFirst time available on vinyl
Mastered from the original tapes
Deluxe artwork packaging includes matte gatefold jacket and 11x22 insert
Formed in 1991, Sacramento California's far blazed a trail for a generation of alternative rock bands over their 8 year career, garnering critical acclaim at home and abroad by combining heartfelt, dynamic, vocals with a more streamlined musical approach than their contemporaries in the Pacific Northwest. The brainchild of Jonah Matranga (OneLineDrawing, New End Original) and Shaun Lopez (Rival Schools, Crosses), far released their cult-classic major label debut Tin Cans With Strings to You via Epic/Immortal in April of 1996 bringing a maturity and sensitivity heretofore unheard among their contemporaries and paving a path for bands like Biffy Clyro, Coheed & Cambria and Thursday by adding a refreshing emotional muscle to unfettered, driving rock songs.
Immediately met with critical acclaim, Tin Cans With Strings to You introduced far to a national audience via an aggressive marketing campaign and touring schedule with the likes of Incubus and Deftones, bringing their unique band of emotional rock to arenas across the nation. In the years that have past, the long out of print classic Tin Cans With Strings to You has grown to an mythological status and a touchstone moment for alternative rock in
the 1990's and beyond.
Tin Cans With Strings To You, is available on vinyl for the very first time through srcvinyl. Mastered for vinyl from the original tapes, Tin Cans With Strings to You stands as landmark masterwork untouched by time that rewards listeners with every spin, making full use of the dynamic range that only high quality vinyl can provide this special 2LP deluxe reissue is sure to be a hit with fans and collectors alike.
Without Jonah Matranga's soul-striating honesty and gut-punch emotional potency over the last 10 years, the current crop of sensitive boys with guitars would sound a whole lot different - Kerrang! Magazine1. What I've Wanted to Say
2. Love, American Style
3. In the Aisle, Yelling
6. Job's Eyes
8. Celebrate Her
9. Boring Life
10. Joining the Circus
12. Sorrow's End$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Eaten Back To Life (Awaiting Repress)Originally Released in 1990 this 25th Anniversary Edition Picture Disc Features the Original Uncensored Art!
Eaten Back to Life is the debut album by American death metal band Cannibal Corpse. It was released on 17 August 1990 through Metal Blade Records. The album was banned in Germany (censored versions were not available, but the ban was revoked in June 2006) and other countries because of the violent cover and the extreme nature of the lyrics. Glen Benton of Deicide and Francis H. Howard of Opprobrium (then known as Incubus) perform back-up vocals on Mangled and A Skull Full of Maggots.
The following statement can be found in the inlay of this album: This album is dedicated to the memory of Alfred Packer, the first American cannibal (R.I.P.)
This album has stronger influences of thrash metal than their future releases, as well as a slightly varied vocal style.1. Shredded Humans
2. Edible Autopsy
3. Put the to Death
5. Scattered Remains Splattered Brains
6. Born in a Casket
7. Rotting Head
8. The Undead Will Feast
9. Bloody Chunks
10. A Skull Full of Maggots
11. Buried in the Backyard$20.99Vinyl LP Picture Disc - Sealed AWAITING REPRESS Buy Now
DawningMight the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.
But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."
The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.
Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.
Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.
- Grayson Currin (Pitchfork)1. Lullabye
2. It Swarms
3. Sharpen Your Eyes
4. How Will This End
6. The Other Son$21.99Vinyl LP - Sealed Buy Now