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  • The King Of Limbs The King Of Limbs Quick View

    $22.99
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    The King Of Limbs

    Radiohead's highly anticipated eighth album, The King Of Limbs follows-up the artistic provocateurs' 7-time Grammy nominated 2007 release In Rainbows. The eight song collection was produced by longtime collaborator, Nigel Godrich and is arguably the most groove-oriented set of Radiohead's restless career.


    King Of Limbs was named in honor of one of Great Britain's oldest trees. Nicknamed 'Big Belly Oak' and located in the 4,000-acre Savernake Forest in Wiltshire, England, the tree is estimated to be around 1,000 years old and has a girth of over 36 feet. The album was recorded in a country home less than three miles from Big Belly.

    1. Bloom
    2. Morning Mr. Magpie
    3. Little By Little
    4. Feral
    5. Lotus Flower
    6. Codex
    7. Give Up The Ghost
    8. Separator
    Radiohead
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dagger Beach Dagger Beach Quick View

    $21.99
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    Dagger Beach

    Dagger Beachwas Recorded at Tiny Telephone on 2 Analog Tape Without the Use of Computers.


    The Vinyl Release Will be Issued as a QRP 200 Gram Audiophile Limited Pressing.


    While it's true I did endure a terrible break-up at the beginning of writing this record, this is not a break
    up record. Dagger Beach is a put-me-the-fuck-back-together record.


    The break up came in late 2011, after endless months of White Wilderness touring. I returned home to an
    empty house, and, as that's pretty unbearable when you're not quite right in the head, I decided to set out
    walking. I hiked the Lost Coast (36 miles of off-the-grid splendor in Southern Humboldt County), I hiked
    the entire 150-mile trail system of Pt. Reyes, I hiked for days, deep, deep in the woods, usually alone.
    As I walked and walked, listening to records on repeat, I started obsessing about music again. Three
    records found their way into my psyche and inspired much of this new record: Joanna Newsom's Have
    One On Me, Silver Jews' The Natural Bridge, and Radiohead's King Of Limbs. I don't think you'll find
    traces of these records in Dagger Beach, but their spirit and fearlessness deeply affected me. (Hence the
    shout-out on the record to one of my lifelong heroes, David Berman.)


    The first two reminded me how crucial great lyrics can be, how your experience of a record can evolve
    and change as you slowly decode complex and thoughtful writing. King Of Limbsshowed me how
    powerful linear songwriting can be, when subtle changes in form and repeating motifs slowly shift into
    something else entirely (just try to follow Morning Mr. Magpie on headphones). There are many songs
    on Dagger Beach that take this approach: Damage Control and Gaslight were both written to drum
    patterns played by Jason Slota, my long-time partner. Jason played drums alone, without music, and I
    adapted to his structures and rhythms. Doing this keeps me from relying on my usual tricks and
    structures and forces me into brand new territory.


    This strange experience, the endless hiking and backcountry camping off the grid, it completely changed
    the songwriting process for me. I edited lyrics while walking, I worked out songs in my head. It didn't
    come easy: the first time I camped alone (I was deep inside the million-acre Mendocino National Forest) I
    freaked out, ended my trip early, and wrote Raw Wood the next day. By the end of 2012, I could stay out
    for a week on my own.


    As the experience changed me, it changed the record. Dagger Beach is looser, weirder, and more free
    because of it

    Raw Wood
    Harlequin Press
    Song for Dana Lok
    How the West Was Won
    Interlude #1
    Song for David Berman
    Damage Control
    Song for the Landlords of Tiny
    Telephone
    Gaslight
    Sleep it Off
    Sonogram
    North Coast Rep
    Interlude #2
    John Vanderslice
    $21.99
    Vinyl LP - Sealed Buy Now
  • U-Men U-Men Quick View

    $44.99
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    U-Men

    This 3xLP Box Set Collects The Entire Studio-Recorded Output Of The U-Men


    Remastered


    Plus 5 Unreleased Songs


    With 16 Pages Of Photos, Liner Notes & Interviews With The Band


    Executive Produced By Jack Endino


    The U-Men are one of the best bands I've ever seen. They were
    hypnotic, frenetic, powerful and compelling. It was impossible to
    resist getting sucked into their weird, darkly absurd world. They
    effortlessly blended The Sonics, Link Wray, Pere Ubu, and
    Captain Beefheart. Their shows were loose-limbed, drunken
    dance parties and no two shows were alike. The U-Men were
    avant-garage explorers and, most importantly, they fucking
    rocked. I was lucky enough to live in their hometown and I saw
    them every chance I could.


    From 1983 to 1987, the U-Men were the undisputed kings of
    the Seattle Underground. No one else came close. They ruled a
    bleak backwater landscape populated by maybe 200 people.
    They were the only band that could unify the disparate
    sub-subcultures and get all 200 of those people to fill a room.
    Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate
    punks who shit in bathtubs at parties; Mod vigilantes who
    tormented the homeless with pellet guns; college kids who
    thought college kids were lame; Industrial Artistes; some random
    guy with a moustache; and eccentrics who insisted that they
    couldn't be pigeonholed: all coalesced around the U-Men.


    Sub Pop co-founder, Bruce Pavitt released the first record by the
    U-Men, a 4-song 12" EP on Bombshelter Records. By the time
    they had recorded songs for another record, Bruce was too broke
    to release it on his proto-Sub Pop label, so he hooked them up
    with Gerard Cosloy at Homestead Records. This was a big deal.
    Homestead had a heavy rep at the time with recent releases by
    Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that
    the release of their second 12", Stop Spinning, would propel the
    U-Men into the ranks of those Homestead acts and the
    worldwide underground would get hip to Seattle's finest.
    Following the departure of bassist Jim Tillman (replaced by Tom
    Hazelmyer of Amphetamine Reptile Records, and then Tony
    Ransome), the band recorded two fantastic singles, and recorded
    their one full-length album, Step on a Bug, for Black Label,
    which was run out of Fallout Records. They became increasingly
    disenchanted with the direction the Seattle underground was
    heading and called it quits in 1989.


    The U-Men had nothing to do with Grunge. They were their own
    unique thing. I loved them and I still miss them. I remember
    thinking at the time that most of their recordings were a little
    soft and didn't capture the power of the band live. Now, thirty
    years later, their records sound great to me and we are lucky that
    they exist. I'm stoked that Sub Pop complied these long
    out-of-print records and scrounged up some unreleased songs so
    that everyone has a chance to take a trip back to old weird
    Seattle.


    - Mark Arm, Seattle, August 2017

    LP 1
    1. Blight
    2. The Fumes
    3. Flowers DGIH
    4. Shoot 'em Down
    5. Gila
    6. Trouble Under Water
    7. Mystery Pain
    8. Last Lunch


    LP 2
    1. Clubs
    2. Cow Rock
    3. Green Trumpet
    4. A Year and a Day
    5. Ten After One
    6. They!
    7. U-Men Stomp
    8. Solid Action
    9. Dig It a Hole


    LP 3
    1. Whistlin' Pete
    2. 2 x 4
    3. A Three Year Old Could Do That
    4. Juice Party
    5. Flea Circus
    6. Too Good to Be Food
    7. Willie Dong Hurts Dogs
    8. Papa Doesn't Love His Children Anymore
    9. Pay the Bubba
    10. Freezebomb
    11. That's Wild About Jack
    12. Bad Little Woman
    13. Selfish

    U-Men
    $44.99
    Vinyl LP Box Set - 3 LPs Sealed Buy Now
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