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Celebrate 35 Years Of Chic!
Impeccably Mastered From The Original Atlantic Tapes By Joe Reagoso
First Time 180 Gram Audiophile Vinyl!
In 1977, Chic (Nile Rodgers, Bernard Edwards and Tony Thompson)
hit the upper rungs of the charts with their smash debut Lp Chic featuring Dance, Dance, Dance as well as the killer funk of Everybody
Dance. A year later, their fortunes multiplied to the top of the charts with C'est
Chic (FRM-19299 ) The #1 LP featuring the huge chart toppers Le Freak and
I Want Your Love, Chic truly were at the top of their game around the world.
With all of these hits accumulated in a very short time, Chic roared back
with their huge best-selling platinum plus smash Risque. The seven song funk
and dance masterpiece would go on to include one of the biggest songs of
the era with the #1 Good Times. It's familiar and stunning guitar riff and its
powerful bass and drum attack would prove even more rewarding a few
years later, as Good Times would go on to be sampled and develop another
shelf life all its own thanks to the '80s rap movement.
Further hit tracks blew wide open as My Forbidden Lover and My
Feet Keep Dancing all became classic dance, soul and pop hits throughout
the rest of 1979 into 1980 making Risque one of the best-selling albums of
RisquÉ has been out of print on vinyl now for several decades .that
is until now!
Friday Music is very proud to continue The Chic 180 Gram Audiophile
Vinyl Series with the 35th Anniversary release of their biggest album Risque.
Mastered impeccably by Joe "Soul Man" Reagoso from the original Atlantic
Records tapes, this is the first time ever the masterwork has been issued on
180 Gram Vinyl and as an added anniversary bonus, we are presenting
this great album with a first time gatefold cover, featuring all of the stunning
artwork and lyrics which haven't been seen in LP format for decades.
More Chic is on the way too .Look for more spectacular 180 Gram
Vinyl and more impeccable compact disc deluxe editions exclusively from
your soulful friends at Friday Music.1. Good Times
2. A Warm Summer Night
3. My Feet Keep Dancing
4. My Forbidden Lover
5. Can't Stand To Love You
6. Will You Cry (when You Hear This Song)
7. What About Me$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Average White BandFirst Time Friday Music 180 Gram Audiophile Vinyl
Mastered Impeccably By Joe Reagoso At Friday Music & Capitol Mastering
Their self-effacing name to the contrary, Average White Band was anything but - one of the few white groups to cross the color line and achieve success and credibility playing funk, with their tight, fiery sound also belying their Scottish heritage, evoking American R&B hotbeds like Detroit, Memphis, and Philadelphia instead. Singer/bassist Alan Gorrie, guitarists Hamish Stuart and Onnie McIntyre, tenor saxophonist Malcolm Duncan, keyboardist/saxophonist Roger Ball, and drummer Robbie McIntosh comprised the original Average White Band lineup. Veterans of numerous Scottish soul and jazz groups, they made their debut in 1973 as the opening act at Eric Clapton's Rainbow Theatre comeback gig, soon issuing their debut LP, Show Your Hand, to little notice. After adopting the abbreviated moniker AWB, a year later the band issued their self-titled sophomore effort, topping the American pop charts with the Arif Mardin-produced instrumental "Pick Up the Pieces." The record's mammoth success was nevertheless tempered by the September 23, 1974 death of McIntosh, who died at a Hollywood party after overdosing on heroin.
Ex-Bloodstone drummer Steve Ferrone replaced McIntosh for AWB's third album, 1975's Cut the Cake, which scored a Top Ten hit with its title track as well as two other chart entries, "If I Ever Lose This Heaven" and "School Boy Crush." (Put It Where You Want It, issued later that same year, was simply a retitled and repackaged Show Your Hand.) With 1976's Soul Searching, the group reclaimed the full Average White Band name, scoring their final Top 40 hit with "Queen of My Soul." Following the live Person to Person, they issued Benny & Us, a collaboration with soul legend Ben E. King. However, after subsequent outings, including 1978's Warmer Communications, 1979's Feel No Fret, and 1980's Shine, failed to recapture the energy of AWB's peak, the group dissolved in 1982, with Ferrone later joining Duran Duran and Stuart recording with Paul McCartney. Gorrie, Ball, and McIntyre reformed Average White Band in 1989, tapping vocalist Alex Ligertwood for their comeback effort Aftershock. Oft-sampled by hip-hop producers throughout the 1990s, the group continued touring prior to releasing Soul Tattoo in 1996. The live album, Face to Face, followed three years later.1. You Got It
2. Got The Love
3. Pick Up The Pieces
4. Person To Person
5. Work To Do
6. Nothing You Can Do
7. Just Wanna Love You Tonight
8. Keepin' It To Myself
9. I Just Can't Give You Up
10. There's Always Someone Waiting$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Riding With The KingWhen it comes to the greatest rockin'
bluesmen in history, at the top of the
electrified traditional list is B.B. King;
at the top of the contemporary list is
Eric Clapton. Riding With The King
brings the two living legends together
for an entire album for the first time.
When it comes to rockin' blues, Riding
With The King is as great as it will
Nathan East, bass
Steve Gadd, drums
Andy Fairweather-Low, guitar
Jimmie Vaughan, guitar
Doyle Bramhall, guitar, backing vocals
Tim Carmon, organ
Susannah Melvoin, backing vocals
Wendy Melvoin, backing vocals
Joe Sample, keyboards
Simon Climie1. Riding With the King
2. Ten Long Years
3. Key To the Highway
4. Marry You
5. Three O'Clock Blues
6. Help the Poor
7. I Wanna Be
8. Worried Life Blues
9. Days of Old
10. When My Heart Beats Like A Hammer
11. Hold On, I'm Comin'
12. Come Rain or Come Shine$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Columbia Years 1968-1969All Tracks Previously Unreleased (Except Track B5/8)
Production By Miles Davis & Teo Macero
Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders
Remastered From The Original Analog Master Tapes
New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive
One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.
Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.
The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.
Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.
This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.1. Hangin' Out
2. Politician Man
3. Down Home Girl
4. Born On The Bayou
5. I'm Ready, Willing & Able (Take 1)
6. I'm Ready, Willing & Able (Take 9)
7. It's My Life (Alternate Take)
8. Live, Love, Learn
9. My Soul Is Tired$25.99Vinyl LP - Sealed Buy Now
WorldwildWelcome to Worldwild! Worldwild is the culmination of a long Pterodactyl adventure, an artrock odyssey through lush pastures of layered vocal harmonies, mountainous rhythms and thick, dark forests of fuzzy, piercing guitars. On Easter Sunday, 2008, in a rustic motel in backwoods Pennsylvania, one day before crossing the border into Canada, Pterodactyl discovered an experience (Worldwild) that they wanted to keep with them and pursue musically. They felt like they were on a family vacation through a colorful new reality, an experience of solitude and connectedness, alone yet one with everyone.When they returned to Brooklyn Joe began recording demos in his bedroom studio that would be the foundation for most of the material on the record, the sounds and textures of which were beautiful and intriguing, but seemed at first to be at odds with what the band had been known for in the past. But Pterodactyl had found a new, triumphant future in Worldwild: a schizophrenic, desperate idealism that shone through the confusion of the dozens of vocal tracks and guitar samples Joe had put down. The record that results, which they recorded with Jeremy Scott over six months in 2008, showcases many different facets of the band and its influences but maintains a narrative coalescence throughout, a story of hours upon hours singing alone into a bedroom computer, of frustration and redemption, of petty but heated personal battles between friends, melodies running rampant through sleepless summer nights, triumphant moments of trust and cooperation, and a faith and optimism in the spirit of adventure. Pterodactyl is Joe and Matt, Zach (Ex Models, Knyfe Hyts, the Seconds), and Jesse (Twin Powers, When Dinosaurs Ruled the Earth).
1. Rising & Shining
2. First Daze
4. Share the Shade
5. Old Clouds
6. Easy Pieces
9. No Sugar
10. Ghost Facts
12. One with Everyone$14.99Vinyl LP -Sealed Buy Now
The Dreamer Is The DreamFor his third ECM album as a leader, Chris Potter presents a new acoustic quartet that naturally blends melodic rhapsody with rhythmic muscle. The group includes superlative musicians well known to followers of ECM's many recordings from New York over the past decade: keyboardist David Virelles, bassist Joe Martin and drummer Marcus Gilmore, who each shine in addition to the leader on multiple horns. The Dreamer Is the Dream features Potter on tenor saxophone - the instrument that has made him one of the most admired players of his generation - in the striking opener Heart in Hand and such album highlights as Yasodhara, as well as on soprano sax (Memory and Desire) and bass clarinet (the title track).
Potter is an artist who employs his considerable technique in service of music rather than spectacle, says The New Yorker, and his composing develops in texture and atmosphere with every album. Along with his previous ECM releases, Imaginary Cities and The Sirens, he has appeared on some of the label's most acclaimed discs, including Paul Motian's classic Lost in a Dream and Dave Holland's Grammy Award-winning What Goes Around.
Chris Potter (tenor & soprano saxophones, bass clarinet, clarinet, ilimba, flute, samples)
David Virelles (piano, celeste)
Joe Martin (double bass)
Marcus Gilmore (drums, percussion)1. Heart in Hand
3. The Dreamer Is the Dream
4. Memory and Desire
6. Sonic Anomaly$25.99180 Gram Virgin Vinyl LP - Sealed Buy Now
Greatest Hits: Volume 2While 2 Live Crew are certainly associated with a moment in time, Luke and company's body of work is surprisingly deep. More a re-examination of their entire career than a bookend to its first part, GREATEST HITS Volume 2 contains both the Miami bass troupe's top 40 hits, the signature track Me So Horny, and the biography of its aftermath Banned in the U.S. A. This collection digs further into the 2 Live Crew catalog, which includes minor hits such as the Manfred Mann sampling Do Wah Diddy and the Clinton Scandal reworking of the act's biggest hit, Bill So Horny, a true timepiece.LP 1
2. Bill So Horny
3. Me So Horny
4. Do Wah Diddy
5. Pretty Woman
6. C'mon Babe (Doo Doo Brown Version)
7. Hoochie Mama
8. Shake a Lil' Somethin'
9. 2 Live Party
1. Banned in the U.S.A.
2. Sex, I Like It, I Love It
3. We Want Some Pussy (Live in Berlin Extended Mix)[Live]
4. Baby Baby Please Just a Little More Head
5. Who's Fucking Who
6. Get It Girl (Extended Mix)
7. Fuck Shop$17.99Vinyl LP - 2 LPs Sealed Buy Now
Tougher Than LeatherToo many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP.
By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl, and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] - get lost in their crates.
For starters, the album's first single, "Run's House" b/w "Beats To The Rhyme" is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called "turntablism" a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.
The second single, "Mary, Mary," driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like "Walk This Way," the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. "Papa Crazy," driven in concept and by a sample from the Temptations' "Papa Was A Rolling Stone," followed a similar pop-leaning path.
Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like "Radio Station," they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. "Tougher Than Leather" reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And "They Call Us Run-DMC" and "Soul To Rock And Roll" both bring things back to their early days, with sure-fire park jam rhymes and killer cuts.
Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl, and Jay!1. Run's House
2. Mary, Mary
3. They Call Us Run DMC
4. Beats To The Rhyme
5. Radio Station
6. Papa Crazy
7. Tougher Than Leather
8. I'm Not Going Out Like That
9. How'd Ya Do It Dee
10. Miss Elaine
11. Soul To Rock And Roll
12. Ragtime$22.99Vinyl LP - Sealed Buy Now
Teen MenTeen Men is comprised of two musicians, Nick Krill and Joe Hobson (members of The Spinto Band), and two visual artists, Albert Birney and Catharine Maloney. Their music is a mix of melodic-psychedelic guitar, keyboard, samples and electronic/ambient tones. Possessing the ability to be both dreamy and concise their songs reflect a love of pop music and a dedication to song craft. Teen Men perform in concert with a homemade interactive video synchronized to the music that resembles a public access TV art project.1. Hiding Records (So Dangerous)
2. Adventure Kids
3. The Sea, The Sea
4. It's All Rushing Back
6. Township (Not Sure)
7. Fall Out A Tree
8. New Kind
9. Los Angeles
10. Kids Being Kids$15.99Vinyl LP - Sealed Buy Now
Blow-Up SoundtrackBlow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks.
The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record.
Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, Stroll On (actually, an adaptation of Tiny Bradshaw's The Train Kept A-Rollin'), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to Bring Down The Birds was sampled by Deee-Lite for their 1990 hit single Groove Is In The Heart featuring Bootsy Collins.1. Main Title - "Blow Up"
2. Verushka Part I
3. Verushka Part II
4. The Naked Camera
5. Bring Down The Birds
6. Jane's Theme
7. Stroll On
8. The Thief
9. The Kiss
11. Thomas Studies Photos
12. The Bed
13. End Title - "Blow Up"$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
EchoesWally Badarou is a French-born synthesizer specialist, and long-time associate of the British band Level 42, known for its blend of funk, pop, soul and rock. He has co-written and performed on a number of the band's tracks since their recording dÉbut in 1980, later co-producing them. Though not an official member, he has long been considered an informal fifth member.
Badarou was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah Sticky Thompson), the in-house recording team of Compass Point Studios responsible for a long series of albums of the 1980s recorded by Grace Jones, Tom Tom Club, Joe Cocker, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. His keyboard playing can also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, Talking Heads, Foreigner, Melissa Etheridge, Manu Dibango and Miriam Makeba.
Echoes (1983) is his second solo album, which included Chief Inspector, Hi-Life and Mambo, which was sampled for Massive Attack's Daydreaming of the Blue Lines album. You can actually feel Caribbean sunshine with this music. Badarou breathes real life into his synthesizers on this album of happy, upbeat, and danceable instrumentals.1. Keys
6. Endless Race
7. Chief Inspector
10. Rain$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Moody CoupCo La is the primary project of musician and producer Matt Papich, whose
explorations of sample-based electronic music have culminated in Moody
The emotional palette of Moody Coup, Papich's second album and rst for
Software Recording Co., is more complex than its exuberant predecessor
Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly
bucolic tone drew from the saccharine core of reggae, exotica, and 60s girl
groups, the bedrock of Moody Coup is elusive and abstract.
The various genre coinages that have been tagged to Co La's music before
- new exotica, Avant-luxury, furniture music, etc. - fail to accommodate the
brainier obsessions behind Moody Coup's genesis. A new brand of alchemy
occurs in the album, where cryptic sources are enhanced and embellished
to a point of transcendence. This departure is the brilliant process o of Co
La's unpredictable electronic music.
Highlights of Moody Coup include Remarkable Features, which
consolidates the prior seismic scope of Daydream Repeater into a dance
oor standout. Deaf Christian transforms a Neil Sedaka doo-wopper into
a mesmerizingly dark House cut, complete with synth chasms and haunting
voice chants (supplied here and throughout the record by Angel
Deradoorian). The meticulously crafted Suspicious ventures into more
calming pastures -- an extra dimensional, dubbed-out take on the Psychic
TV gem by the same name.
At the outset of Moody Coup, Sukiyaki (To Die For) melodically alludes
to the Kyu Sakamoto song Sukiyaki." The original was penned as a
mournful assessment of post-war Japan's relationship to the US, albeit
dressed by Sakamoto as a love song. Ironically, Sukiyaki became a hit
oversees in the US and was later covered by A Taste of Honey. Rather than
translating the lyrics, A Taste of Honey set new words to the original
melody. (Stranger still, the word Sukiyaki itself refers to a Japanese hot
It's important to note that the wide range of reference sources does not
serve Moody Coup as a supercial demonstration of Papich's eclectic taste.
Instead, all of the micro pieces function mosaically, creating an impression
at a macro level that is extremely potent as music as well as concept. Co
La's intellectual obsessions are rooted in questions about how music is
dilated by the cultures who created it and the power structures that shape
those cultures (see Sukiyaki), while his musical obsessions are always
rooted in the sensual, the beautiful and the immediate.
Papich describes the working Co La method on Moody Coup as
"employing the hegemony of delete." He likes to be interrupted, and is
fond of working in places where domestic concerns are on equal terms with
studio practice. Much of Moody Coup was made in the kitchen of Papich's
Baltimore home -- a place where he describes having the "best
interruptions." Assistant to Papich's production was friend Joe Williams,
who programmed and performed all synths. Tracks were additionally
consolidated from eld recordings, samples and composed in Ableton Live
and mixed in Brooklyn at Gary's Electric Studio, located at the Software HQ.1. Sukiyaki To Die For
2. Melter's Delight
3. Remarkable Features
4. Deaf Christian
6. Suspicious (Sandman Fix)
7. Baby's Breath
8. Head in Hole in Space
9. Sympathy Flinch
10. Make it Slay (Barbershop Solo)$13.99Vinyl LP - Sealed Buy Now
Not RealNot Real' is the second album by Stealing Sheep which has been written, recorded and produced by band members Becky Hawley, Emily Lansley and Lucy Mercer at their studio in Liverpool. The band met in 2010 and work together creating music and visual art.
The unifying theme of the new album 'Not Real' is an interplay of fact and fiction; the edge of dreams and limits of reality. These visions are grounded by bright melodies and insistent beats and unified by vocal harmonies; sometimes metronomic and chant-like, sometimes choral and pop.
It follows their debut, 'Into the Diamond Sun', released in 2012 by Heavenly Recordings. The first album morphed their individual styles to create a 'medieval-kraut-folk' inspired sound. They were described as an unanticipated 'pagan pop revival' and since its release have toured as guests of Postal Service and Alt-J, opened for St.Vincent in Paris, performed the songs of David Lynch at the Barbican and collaborated with the Radiophonic Workshop on an original soundtrack to the cult 70's science fiction film 'Le Planete Sauvage'.
For the second album they have concentrated on developing the sonic aesthetic of their new music. "We are more focussed about what we are trying to do. Everything has a reason for being there." They have been experimenting with tuned percussion, programmed beats, trigger samples and worked with effected synths, utilising the guitar and lap steel more sparingly and introducing more processed sounds. They've drawn inspiration from 50's exotica, electronic music and 80's pop and have been greatly influenced by the likes of Grace Jones, Can, Delia Derbyshire, Eden Ahbez, Moon Dog and John Carpenter. Grayson Perry's pop-folk art and the band's self-created mythologies were also a source of inspiration for song writing.
This is an alternative pop record that has been 'self-manufactured' by the band. Having learned new skills in the studio over the last years, the band (assisted by Sam Crombie and Joe Wills) have self-produced the album. They have used the studio not only as a writing tool but also as an instrument; experimenting with post production and varying instrumentation and layered textures. "We started off in pre-production doing all the demos ourselves" say's Becky "the demos captured an atmosphere that we wanted to carry forward to the album. The result was a hypbrid of casual takes and more considered recordings
Individual songs on the album have different environments and creatures that go with them, often inspired by the galactic rather than earth-bound imagery. Becky: "I imagine dehumanised worlds, planets with creatures that have evolved in a completely different way
The visual side is highly important to the band, all of whom have art backgrounds. "We like to be involved in all the aspects of the presentation because it's symbiotic to the music." They collaborate with artists and with 'the costumologists', coming up with ideas like "outfits that texturally reflect rhythms" and "frequency triggered, light-up costumes". The colourful and organic album cover, a collaboration between photographer Charlotte Rutherford and collage artist Louise Mason, shows their confident image for this record: as they tread the lines of surreal pop.
There is no stopping the imaginations of Stealing Sheep - but like lucid dreams, these are controlled fantasies and skilfully created worlds. Follow them on a hypnagogic journey as they sing: "listen to yourself and look within".1. Sequence
3. Not Real
4. This Time
10. She$22.99Vinyl LP - Sealed Buy Now
Constant FutureConstant Future is the career-defining statement from Brooklyn-based noise-pop trio Parts & Labor. The albums 12 tracks deliver the bare essentials that made them sui generis totems of modern art-punk: synthesized keyboard riffs distorted into oblivion, percussion pummeled hypnotically, crackling drones that haunt and soothe, fearless melodies hollered skyward. Their last release, 2008s acclaimed Receivers, saw Parts & Labor blasting off in all directions and creating collage art from hundreds of fan-curated samples. But fifth album Constant Future finds them crashing back to earth, focusing pointedly on what they do best: unique, electronic landscapes melded with buzzing, anthemic hooks. Parts & Labor have distilled the lessons and experiences of nearly 10 years as a band into a catchy, blown-out masterwork.
Maximalist engineer Dave Fridmann (Flaming Lips, Mogwai, Sleater-Kinney, MGMT) co-produced and mixed the album with P&L at his Tarbox Road Studios in Casadega, NY. A band already known for their dense, futuristic sound was ultimately transformed into something massive, beaming, downright nuclear. The album is the product of two years of vigorous writing and demoing which resulted in more than 40 songs. For the actual recording, Parts & Labor settled in a former boxing ring in Milwaukee to track the record themselves, with drummer Joe Wong leading the charge.
Over Constant Future's 39 minutes, vocalists Dan Friel and BJ Warshaw steadfastly chronicle several whirlwind years of growth, taking lyrical cues from the artful work of their musical heroes (Sonic Youth, Lungfish, Fugazi,Wire). The pair weave tales of teeth-baring city-scapes (Fake Names, Echo Chamber), the anxiety of death (Rest, Never Changer) and the horrifying pitfalls of our nascent century (Outnumbered, Skin And Bones). But, as their sunny refrains would imply, theres always a glimmer of hope, acceptance and love buried just beneath Parts & Labors paranoid surface (Without A Seed, Hurricane, A Thousand Roads).1. Fake Names
3. Constant Future
4. A Thousand Roads
6. Pure Annihilation
7. Skin And Bones
8. Echo Chamber
9. Without A Seed
10. Bright White
12. Never Changer$16.99Vinyl LP -Sealed Buy Now