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Killing MachineKilling Machine is the fifth studio album by British heavy metal band Judas Priest. With its release in October 1978, the album pushed the band towards a more commercial style; however, it still contained the dark lyrical themes of their previous albums. At about the same time, the band members adopted their now-famous leather-and-studs fashion image. It is the band's last studio album to feature drummer Les Binks.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. The Green Manalishi (With the Two Pronged Crown)
8. Killing Machine
9. Running Wild
10. Before the Dawn
11. Evil Fantasies$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Killing MachineKilling Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States
Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks
Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity
Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.
Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.
Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.
To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."
This title is not eligible for discount.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. Killing Machine
8. Running Wild
9. Before the Dawn
10. Evil Fantasies$24.99Vinyl LP - Sealed Buy Now
The Killing Gods (Clear Vinyl)Pressed On Limited Edition Clear Vinyl
MISERY INDEX returns with a fury worthy of the title of their new album, The Killing Gods. With their fifth full-length, the American icons of hard hitting brutality display the strength of maturity grown out of the experience gained as a relentless touring machine. The general trend of their continuous evolution to incorporate fewer core elements and move towards classic death metal finds a new high water mark with "The Killing Gods". Now brace, hold tight and duck for cover, for the wrath of the gods is upon us!LP 1
2. The Calling
3. The Oath
4. Conjuring The Cull
5. The Harrowing
6. The Killing Gods
7. Cross To Bear
1. Gallows Humor
2. The Weakener
4. Colony Collapse
5. Heretics$24.99Colored Vinyl LP - 2 LPs Sealed Buy Now
SONM-LEG-4515xRage Against The Machine
Rage Against The MachineRanked 368/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
180 Gram Pressing!
The pairing of guitar hero Tom Morello, who played his instrument like a DJ, and political activist Zack de la Rocha who spit out his lyrics with a vengeance, may have seemed unlikely but the results were explosive to say the least. With their 1992 self-titled debut they created a fierce mix of hip-hop, punk and heavy rock that was as progressive as it was political. Features the aggressive hit singles Killing in the Name Of and Bullet in the Head.1. Bombtrack
2. Killing In The Name
3. Take The Power Back
4. Bullet In The Head
5. Settle For Nothing
6. Know Your Enemy
7. Wake Up
8. Fistful Of Steel
9. Township Rebellion
10. Freedom$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SONM-LEG-1081xRage Against The Machine
Rage Against The Machine (Picture Disc)Pissed off and angry is the best way to describe Rage Against the Machine's first album. A fierce mix of hip-hop, punk & heavy rock exploded all over the music scene in 1992.
At first sight an unlikely band; Tom Morello, a nerdy guitarhero who played his guitar like a DJ, political activist Zack de la Rocha who spitted out his lyrics with a vengeance. Together with Brad Wilk on drums and Tim C. on bass they produced one of the most angry records of 90's.
The album even contained, dare we say it, hit singles like Killing in the name of and Bullet in the head. Put the needle on the record and get blown away (again)!1. Bombtrack
2. Killing In The Name
3. Take The Power Back
4. Settle For Nothing
5. Bullet In The Head
6. Know Your Enemy
7. Wake Up
8. Fistful Of Steel
9. Township Rebellion
10. Freedom$24.99Vinyl LP Picture Disc - Sealed Buy Now
Love Will Kill All (Awaiting Repress)Bleeding Through is one of the most important bands to take the mixture of metal and hardcore to international prominence in the last decade. Whether touring with Ozzfest (twice) as well as Vans Warped Tour, MTV's Headbanger's Ball: The Tour and with Slayer, Marilyn Manson, AFI, HIM, Machine Head, Senses Fail, Parkway Drive and more. They have been featured on the cover of Revolver (twice), Metal Edge, Outburn, Under The Volcano and Chord.1. Darkness, A Feeling I Know
2. Fade Into The Ash
3. End Us
4. Cold World
5. Dead Eyes
7. No Friends
8. Set Me Free
9. No One From No Where
12. Life$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Quazarz vs. The Jealous MachinesQuazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.
Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.
The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.
On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.
Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.
And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.1. Welcome to Quazarz
2. Gorgeous Sleeper Cell
3. Self-Made Follownaire
6. Julian's Dream (ode to a bad)
7. 30 Clip Extension
8. Love in the time of Kanye
9. Sabonim in the Saab on 'em
10. The SS Quintessence
11. Late night phone calls
12. Quazarz on 23rd$19.99Vinyl LP - Sealed Buy Now
Downfall Of Mankind
Brazilian all-female thrash commando unit Nervosa is synonymous with raw aggression and untamed power - a massive punch right in the face both live and immortalized on two records so far! For their third album Downfall of Mankind, the trio joined forces with producer Martin Furia who previously worked with Destruction, Flotsam & Jetsam and Evil Invaders and also toured with Nervosa as a sound engineer. The result perfectly captures the live energy and the old school character that defines the band without neglecting the strengths of a modern, compact soundscape. Riff-fests like 'Vultures' and 'Kill the silence' grab the listener by the throat and succeed with straight-ahead stomp and economical arrangements - it comes as no surprise genre legends such as João Gordo (Ratos de Porão), Rodrigo Oliveira (Korzus) and Michael Gilbert (Flotsam & Jetsam) were thrilled to be studio guests! A highly focused killing machine that will give the thrashing competition a run for its money.1. Intro
3. Never Forget, Never Repeat
6. And Justice for Whom?
8. Kill The Silence
9. No Mercy
10. Raise Your Fist!
11. Fear, Violence And Massacre
13. Cultura do Estupro
14. Selfish Battle (Bonus Track)$19.99Vinyl LP - Sealed Buy Now
Acid or Blood (Discontinued)Comes with a digital download! With a distinctly Midwestern work ethic, and an absolute refusal to bow down to the forces of status quo, adversity, or inferior riffage, Racebannon emerges a rawer, meaner, leaner killing machine, hell-bent on blowing out the ears and minds of listeners strong enough to stand the audioerradication. Acid or Blood blasts raw and ruthless molten fury from the Cannon: Bannon into the unsuspecting heads of the musical elite worldwide, and shifts perceptions of what is heavy, cerebral, or arty. The core creative nucleus of Racebannon has remained unchanged, but the music has become deadlier and more destructive. No wimping out, no breakdowns and no keyboards: just pure, unbridled aggression channeled through amplification, voice box, and drum set.1. Translucent Lifeforce
2. Sister Fucker
3. Hard Way
5. Vampyric Solution
6. Candida & Parasites
8. Terror & Dread
9. Bella Ciao
10. Bad Case of...$15.99Vinyl LP Buy Now
The Blind Hole (Awaiting Repress)Atlanta's ultimate killing machine DEAD IN THE DIRT releases The Blind Hole, the faction's debut full-length recording, via Southern Lord.
As witnessed on the trio's previous works, 2010's Vold EP and first release for Southern Lord, 2011's Fear 7", as well through their vicious on-stage presence, DEAD IN THE DIRT crushes everything in their path with a vehement and volatile crust/hardcore attack. Inspired by the scriptures of His Hero Is Gone, Left For Dead, Infest and DropDead, the faction creates some of the most morose and tonally oppressive music conceivable, all fueled with enraged socio-political lyrical content and straightedge/Vegan ethics.
The Blind Hole surges with twenty-two tracks in less than twenty-four minutes, their downtuned, caustic riffs packed into the melee creating the most destructive blasting DEAD IN THE DIRT material yet. Though surging with crushing distortion, the album boasts incredibly clear production values, recorded at Bricktop Recording Studio with Andy Nelson (Weekend Nachos) in Chicago, and mastered by Brad Boatright (Nails, All Pigs Must Die, Baptists, Sleep). The cover was illustrated by Bo Orr as with the band's Fear EP.1. Suffer
2. The Blaring Eye
4. Strength Through Restraint
5. Idiot Bliss
6. You Bury Me
10. No Chain
11. Will Is The War
13. One More Day
14. The Pit Of Me
18. Pitch Black Tomb
19. The Last Nail
20. Two Flames
21. Knife In The Feathers
22. Halo Crown$13.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
DIM MAK 20th AnniversaryLimited Edition (2000 Unit Run) Deluxe Package
12 Inch 180 Gram Marbled Vinyl in Printed Sleeve
Gatefold Jacket with Pocket for Booklet & Custom XX Die Cut
20-Page Commemorative Booklet
Steve Aoki's Dim Mak Records celebrates its 20th anniversary! To commemorate the milestone, Dim Mak has combined a large format 20-page booklet and 4 of the most seminal records in its catalog, hand-picked by Aoki himself, into a deluxe collectors package. This limited edition 2000 unit pressing features one 12-inch 180 gram marbled vinyl in printed sleeve, a gatefold jacket with a pocket for the booklet and a custom XX die cut. The large format 20-page commemorative booklet features hand-written commentary from Steve Aoki and rare photos from The Cobrasnake. The record features Take Back the Night from This Machine Kills (Aoki's first hardcore band), available on vinyl for the first time in over a decade.1. Take Back The Night (This Machine Kills)
2. Banquet (Bloc Party)
3. Warp 1.9 (The Bloody Beetroots feat. Steve Aoki)
4. Dum Dee Dum (Keys N Krates)$19.9912 180 Gram Audiophile Virgin Vinyl EP - Sealed Buy Now
Screaming For Vengeance (Awaiting Repress)Screaming for Vengeance on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Double-Platinum 1982 Blockbuster Remains Judas Priest's Most Commercially Successful LP
Includes Electric Eye, Screaming for Vengeance, You've Got Another Thing Comin'
Dual Magnesium-Burn Guitars, Leather-Tough Percussion, Molten-Hot Melodies Help Form Triangular Equilibrium of Speed, Accessibility, and Attitude
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
You've got another thing comin'! Distinguished by dual magnesium-burn guitars, leather-tough percussion, molten-hot melodies, and the unmistakable piercing falsetto of operatic vocalist, Screaming for Vengeance became the soundtrack to millions of music lovers' lives in the early 1980s as Judas Priest continued to lay waste to its contemporaries' softer, cheesier hard-rock styles. An effort on which precision-based speed, mainstream accessibility, and resilient attitude meet in triangular equilibrium, the 1982 set remains the British metal legends' top-selling record.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP shows off the grand intersection of daring adventure and commercial purpose achieved via ironclad production values and entrenched grooves. The latter particularly benefit from this analog pressing, as the group never overlooks the importance of rhythm and pace even when stoking tempos to engine-combusting levels. Leagues ahead of the sonics gracing its peers' albums from the time, the sense of balance, separation, and realism is on par with that of big-budget rock creations.
Staked by the breakout "You've Got Another Thing Comin'," which burns white-hot with foot-pounding riffs, prize-fighting percussion, and singer Rob Halford's gun-for-hire blare, Screaming for Vengeance clutches hold of the jugular and doesn't let go. A return to the band's gritty, purist roots, the record revisits the themes of darkness, menace, and the unknown firmly established on the pioneering Stained Class and Killing Machine. Along with those albums, and British Steel, Screaming for Vengeance is the template for the catchy albeit uncompromisingly heavy crossover success Metallica, Megadeth, and Anthrax enjoyed years later.
With the one-two opening tandem of the instrumental "The Hellion" and stomping "Electric Eye," overseen by Halford as if he's embodying the persona of a wicked James Bond villain, Priest sounds utterly futuristic and terrifying, the instruments seemingly on a swivel and the sawed-off tones flooding the guitar solos with intimidation. A classic head-out-to-the highway anthem ("Riding on the Wind"), a racing proto-thrash banger ("Screaming for Vengeance"), and a scorching exorcism ("Devil's Child") function as the metal-hued bolts that hold the foundations of this Top 20-charting benchmark in place.
Perhaps more so here than on any other record, Priest spit-shines hooks and collusive six-string harmonic leads to perfection, giving listeners ying-yang doses of pain and pleasure, sweet and bitter. Songs at once invite sing-a-longs and fist-pumping responses. Screaming for Vengeance marked the last time Priest would sound this heavy in the 80s. No wonder it was voted the 12th best metal album of all time in Martin Popoff's definitive book of the same name.
This title is not eligible for discount.1. The Hellion
2. Electric Eye
3. Riding on the Wind
5. (Take These) Chains
6. Pain and Pleasure
7. Screaming for Vengeance
8. You've Got Another Thing Comin'
10. Devil's Child$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Burn My Eyes (Awaiting Repress)
180 Gram Gold Colored Vinyl
Limited To 1500
Released to massive European acclaim, Machine Head's full-length debut, Burn My Eyes, successfully bridges the gap between second-generation Bay Area thrash (Testament, Death Angel, etc.) and the modern-day Pantera school of hard knocks. Produced by underground stalwart Colin Richardson, Burn My Eyes is a bone-shattering exercise in brutality that gives Pantera's classic, Vulgar Display of Power, a good run for its money. A veteran of the Bay Area thrash scene, guitarist/vocalist Robb Flynn emerges as Machine Head's anchor. As guitar player of the riff-heavy yet vocally challenged band Vio-Lence, Flynn had already distinguished himself as a riff-making machine on tracks like Serial Killer and Kill on Command. Interestingly, with the release of Burn My Eyes, every effort was made to cover up Flynn's involvement with his ex-bandmates. Looking back at it, it's easy to understand why. Because of the quick word of mouth in the underground metal community, comparisons to his ex-bandmates would have limited the impact of the record, possibly thwarting its merits. If Vio-Lence held promise, Machine Head was a different proposition all together. Anthems like Davidian are monstrous slabs of metal that, by far, eclipse anything Flynn had previously done. Nevertheless, Burn My Eyes is a classic debut and one that helped launch a huge European groundswell for the band that would result in a tour as Slayer's support act. A few months later, the Head would return and headline the very same venues in which they'd opened for Slayer.
- John Franck (All Music Guide)1. Davidian
3. A Thousand Lies
4. None But My Own
5. The Rage to Overcome
6. Death Church
7. A Nation on Fire
8. Blood for Blood
9. I'm Your God Now
10. Real Eyes, Realize, Real Lies
11. Block$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Live At The Grand Olympic AuditoriumImport
Zack de la Rocha, Tim Commerford, Tom Morello and Brad Wilk formed Rage Against The Machine in 1991 and released their highly successful self-titled debut album in 1992. Their fiercely polemical music against cultural imperialism and government oppression, mixed into a Molotov cocktail of punk, hip hop and thrash was a groundbreaking style.
Live At The Grand Olympic Auditorium is a double LP and contains material of Rage Against The Machine's last two shows recorded in September 2000.
Hits such as Killing In The Name, Bulls On Parade, and Bullet In The Head are even more intense than on the studio albums and the two covers (MC5's Kick Out The Jams and EPMD's I'm Housin') complete this true collector's item that's fetching high prices on Ebay, Discogs etc.
A must-have for all record collectors and RATM-fans alike!LP1
1. Bulls On Parade
2. Bullet In The Head
3. Born Of A Broken Man
4. Killing In The Name
5. Calm Like A Bomb
7. Bomb track
8. War Within A Breath
1. I'm Housin'
2. Sleep Now In The Fire
3. People Of The Sun
4. Guerrilla Radio
5. Kick Out The Jams
6. Know Your Enemy
7. No Shelter
8. Freedom$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
REDD-STK-4615xThe Glitch Mob
Drink The SeaThe Glitch Mob is a collaboration of three Dj's (edit, Ooah and Boreta) that play the genre of dance music known as glitch hop. Glitch hop is characterized by the use of sound effects made to resemble a computer or machine encountering some sort of technical problem (aka glitching). This might be hard to imagine for some so here is an example [url]http://www.youtube.com/watch?v=Gwcdc5zUuGM&feature=related[/url]. The Glitch Mob never used the glitch aesthetic quite that often but rather only in parts to help transitions or add variety. On Drink The Sea however, the glitch sound is gone and the band seems to have opted for a more heavy house sound with some trancy influences.
- Simon Harris (Sputnik Music)1. Animus Vox
2. Bad Wings
3. How to Be Eaten by a Woman
4. A Dream Within a Dream
5. Fistful of Silence
6. Between Two Points (feat. Swan)
7. We Swarm
8. Drive It Like You Stole It
9. Fortune Days
10. Starve the Ego, Feed the Soul$19.99Vinyl LP - Sealed Buy Now
ADAD-VAG-3619xMark Lanegan Band
Phantom RadioMark Lanegan returns with a full-length album in which he takes a slightly different direction, incorporating drum machines and electronics. Produced and co-written by Alain Johannes (Queens of the Stone Age). British guitarist Duke Garwood assisted with I Am The Wolf, violinist Sietse van Gorkom co-wrote The Killing Season, and Lanegan's girlfriend. Shelley Brien added vocals to the set's Floor of the Ocean.1. Harvest Home
2. Judgement Time
3. Floor Of The Ocean
4. The Killing Season
5. Seventh Day
6. I Am The Wolf
7. Torn Red Heart
8. Waltzing In Blue
9. The Wild People
10. Death Trip To Tulsa$19.99Vinyl LP - Sealed Buy Now
Set For ExtinctionLimited Edition
Kill The Client embodies the essence of nihilistic grindcore on their Relapse debut Set for Extinction. Nineteen tracks explode like IEDs and spread with the subtlety of sonic napalm, driven froth by punishing low-end distortion and the machine-gun drumming of Bryan Fajardo. The band has reached a new apex with Set for Extinction, and in the process created a post-millennial classic.$18.99Colored Vinyl LP - Sealed Buy Now
Now We Can See (Awaiting Repress)Though not a concept record and not a sequel, Now We Can See picks up right where The Thermals left off, at the end of their last LP, 2006's The Body, The Blood, The Machine, where they were either obliterated by nuclear war, or walked the earth as the last living souls, until they dropped dead of quite unnatural causes. Either way, the story continues. The Thermals imagine death by drowning, in attempts to de-evolve (When I Died, At The Bottom of the Sea), death by psychosis (We Were Sick, I Called Out Your Name), and death by French exit (You Dissolve). But as much death as there is on this record, it won't get you down! These songs are really about life. After all, The Thermals are only fictionally deceased.
The Thermals have returned to what they do best, writing undeniably catchy punk tunes. - Spin1. When I Died
2. We Were Sick
3. I Let It Go
4. Now We Can Wee
5. At The Bottom of the Sea
6. When We Were Alive
7. I Called Out Your Name
8. When I Was Afraid
9. Liquid In, Liquid Out
10. How We Fade
11. You Dissolve$14.99Vinyl LP -Sealed AWAITING REPRESS Buy Now
Time Is Up (Awaiting Repress)Limited Edition, Hand Numbered Vinyl Pressing of the Band's Popular 2011 Album
The unexpected rebirth of vintage American thrash midway through the 2000s was a pleasant if short-lived surprise, once veteran fans and newbies alike realized there was precious little left to do with the hallowed old genre that hadn't already been done before, and better. Every last '80s thrash band of note and their snotty little brother reunited and released comeback albums of varying quality (heck, even Metallica finally broke down and returned to their roots, though for entirely different reasons), but only a handful of young 'uns released albums worth remembering, once the worshipful good vibes subsided, including California's Warbringer, Brazil's Violator, Virginia's Municipal Waste, and, now, Colorado's Havok. Already impressive on their 2009 debut effort, Burn, the Denver quartet really puts it all together on the 2011 sophomore Time Is Up, marrying the necessary old-school thrash hallmarks with enough fresh ideas and memorable hooks to keep boredom at bay on neck-snapping riff machines like Fatal Intervention, Scumbag in Disguise, and Out of My Way. It's also worth noting that slower tempos and heightened melodicism are not out of the question for the band, either, even if the experiments don't always work as well on some cuts (see the spotty Killing Tendencies) as others (the excellent D.O.A.). Ultimately, it would still be quite a stretch (OK, it would be an outright lie) to praise Havok for introducing any innovations with Time Is Up (but then that's not their goal), and one can never help but wonder whether the band's tight-as-f**k musicianship would have been possible before the advent of Pro-Tools, but this is still about as good as it gets for modern, moshing entertainment.1. Prepare For Attack
2. Fatal Intervention
3. No Amnesty
5. Covering Fire
6. Killing Tendencies
7. Scumbag in Disguise
8. The Cleric
9. Out of My Way
10. Time Is Up$18.99Vinyl LP Colored - Sealed AWAITING REPRESS Buy Now
Pattern + Grid WorldPattern + Grid World is the new EP from producer/musician Steven Ellison (aka Flying Lotus). While his album Cosmogramma was high in concept and wide in musical collaboration, Pattern + Grid World pulls the focus back to Ellison and his machines. These machines are speaking from the go, as Clay introduces itself in a fog of synth and vocoder and gives way to one of the many surprises here, the schizophrenic ping-ponging electro of Kill Your Co-Workers. Drenched in alternating melodies, it's a synthetic counterpart to the grand string and harp arrangements of Cosmogramma, making acclaimed illustrator Theo Ellsworth's subtly psychedelic cover image of vision-through-noise all the more intimate.1. Clay
2. Kill Your Co-Workers
4. Time Vampires
5. Jurassic Notion/M Theory
6. Camera Day
7. Physics For Everyone!$16.99Vinyl LP - Sealed Buy Now
Slow DazzleIn 1975, mad scientist and Velvet Underground alum John Cale returned to the lab to record another experiment. Slow Dazzle, his fifth solo album and second collaboration with Roxy Music's Brian Eno and Phil Manzanera, dissects rock and avant-garde, hacks the limbs off of pop and jazz, and fuses the styles together into a limber, impassioned creation.
Back on domestic vinyl for the first time in decades, this RTI-pressed edition of Slow Dazzle is cut at Mobile Fidelity by in-house engineer Krieg Wunderlich and features stunning sonics. Quiet surfaces, faithful artwork, and the opportunity to hear Cale's incisive fare unfold amidst wide soundstages and black backgrounds-not to mention the emotionally unsettling content within-make this Wax Cathedral LP a must for music aficionados.
Sometimes jaunty and beer-soaked, sometimes maniacally spitting into the microphone about killing his wife's lover, sometimes despairing, sometimes sweet, Cale holds forth with schizophrenic authority. Manzanera's sordid guitar dirges ambidextrously switch to cheerful riffs as Eno's synthesizer rubber-bands its way through sunshine and smoke-machine fog. Chris Thomas, who recorded with the Beatles and engineered albums for Pink Floyd and the Sex Pistols, throws haunted violin and dissonant electric piano into the formula.
Whether he's heaping neon sleaze atop earnest surf harmonies in an ode to the Beach Boys' Brian Wilson (Mr. Wilson), lulling you into a blurred, easy-listening trance (Ski Patrol, I'm Not the Loving Kind), or growling a pre-goth era cover of Elvis' Heartbreak Hotel" with mascara-running intensity, Cale delivers an elastic range of artistry. Ditties like "Dirty Ass Rock 'N' Roll" and "Guts" place psychopath tendencies into the body of a catchy pop song, turn up the electricity, twitch, and grab.
By all means, Cale's experiment was a success. Slow Dazzle is alive.1. Mr. Wilson
2. Taking It All Away
3. Dirty-Ass Rock 'N' Roll
4. Darling I Need You
6. Heartbreak Hotel
7. Ski Patrol
8. I'm Not The Loving Kind
10. The Jeweller$21.99Vinyl LP - Sealed Buy Now
Days Are GoneDays Are Gone is the debut album from indie-rock outfit/sisters Haim.
Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.
Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.
Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.
- Dan Hyman (Rolling Stone)1. Falling
3. The Wire
4. If I Could Change Your Mind
5. Honey & I
6. Don't Save Me
7. Days Are Gone
8. My Song 5
9. Go Slow
10. Let Me Go
11. Running If You Call My Name$23.99Vinyl LP - 2 LPs Sealed Buy Now
Get Back Home In The USA (Pure Pleasure)Recorded when Hooker was well into his '60s 'comeback', Get Back Home features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Hooker must have been feeling a bit homesick, as the first song is Get Back Home In The USA, where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel. After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues T.B. Is Killing Me and the unbridled despair of When My First Wife Left Me. Hooker recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Hooker's raw, biting guitar work is at its best here. Even the umpteenth recording of the Hooker chestnut Boogie Chillen is invested with uncommon verve. With the addition of six powerful bonus cuts, Get Back Home is both an excellent introduction into the sultry, menacing world of Hooker and a vital addition to the collections of his hardcore fans.
- John Lee Hooker (vocal, guitar)
Format: 2LPs 33rpm
Recording: November 1969 at Monestier-Lemay Studio, Pau, France
Production: Jacques Morgantini
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Get Back Home In The USA
2. TB Is Killing Me
3. Cold Chills
4. I Had A Dream Last Night
5. Love Affair
6. Little Rain
7. When My First Wife Left Me
8. Big Boss Lady
9. Back To Your Mother
10. Boogie Chillen
11. Sitting Here Thinking
12. I Wanna Ramble
13. Hi-Heel Sneakers
14. Im So Worried Baby
15. Im Going Upstairs
16. Crazy Bout You$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Brotherhood Of The SnakeThe forbearers of thrash resemble a Lovecraftian brotherhood. They're the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high. Testament stand proudly among the same vanguard that boasted "The Big 4" and beyond.
For over three decades, the Bay Area quintet-Chuck Billy [vocals], Eric Peterson [guitar], Alex Skolnick [guitar], Steve DiGiorgio [bass], and Gene Hoglan [drums]-has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without compromise or any signs of slowing down. Over the course of seminal releases ranging from The Legacy and Practice What You Preach to The Gathering and The Formation of Damnation, which won "Best Album" at Metal Hammer's 2008 Golden Gods Awards, the group's sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012's critically praised Dark Roots of Earth assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band's highest U.S. chart bow ever. However, in 2016, Testament returns with more teeth than ever on Brotherhood of the Snake [Nuclear Blast]. "The first record is always classic because you form the band, you're totally into it, you go through the club scene, find yourself, and write your initial album over multiple years," explains Eric. "Then, you get signed and end up in a cycle. We took some time to do Brotherhood of the Snake, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven't had this many thrash tracks since The Legacy. It's a new era."
"I view Testament like I did when we started," adds Chuck. "I've been fortunate to be doing this for over 30 years. It means a lot. We're just going to continue doing what we do." Following a whirlwind of touring in support of Dark Roots of Earth, the guys began individually writing in late 2013. In between a rigorous tour schedule, new music organically assembled. During the spring of 2016, they hit the studio with Juan Urteaga [Machine Head, Exodus] and quickly cut the album's 10 tracks.
"Having separate periods to write set it apart," Eric continues. "Everybody played hard. Chuck really surprised me and belted out stuff that's more melodic over the heavy speed metal riffs. It blended really well together." "It does flow," Chuck agrees. "There's a lot of musicianship going on there, and I was finding hooks in the moment. I was able to feel it and just go."
The record commences on a deadly note with the title track. A whiplash-inducing riff catapults Chuck's unmistakable growl forward before snapping into mind-numbing leads. It's a brutal breakneck basher on par with the band's best. "It was actually one of the first songs we put together," says the singer. "Once we heard it mixed, we were all like, 'Wow, we have the direction we're going in. It's really heavy.'"
Elsewhere on the record, "The Pale King" gallops ahead on an apocalyptic barrage of drums and guitars before culminating on an unshakable chant. "It was really natural," smiles Eric. "It has that old school vibe, but this new energy to it. It never lets up. I love that!" Brotherhood of the Snake concludes on the crushing yet cinematic "The Number Game," which evinces Chuck's knack for a vivid lyrical story.
"I actually wrote it with Steve 'Zetro' Souza," he recalls. "I had that chorus, and it was one of those things where it had to be repeated. It's 14 days and 14 nights where this guy's on a killing spree. He does a countdown, and your life is based on the number you are. It was trip."
A fascinating concept rears its head during many of Brotherhood of the Snake's key moments, nodding to the mythical race from which the record it shares a name. "There's a connection between the alien world and religion, and the whole storyline came from it," explains Chuck. "There's a story of a Sumerian race 6,000 years ago that went on crusades to basically dethrone religions. The earth was basically the place where their leader, The Pale King, set people to be imprisoned and mine for gold. It got the ball rolling."
Ultimately, this Brotherhood remains as powerful as ever. "If a Testament fan knows our history or has followed our last couple of records, they'll hear the progression," the front man leaves off. "Everything is right there and in-your-face. That's the way it should be with us."1. Brotherhood Of The Snake
2. The Pale King
4. Seven Seals
5. Born In A Rut
6. Centuries Of Suffering
7. Neptune's Spear
8. Black Jack
10. The Number Game$28.99Vinyl LP - 2 LPs Sealed Buy Now