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Left Of The Middle'
Left Of The MiddleImport
180 Gram Audiophile Vinyl
Includes 4-Page Booklet
First Time On Vinyl
Includes The Hit Singles Torn, Big Mistake, Smoke, And Wishing I Was There
Left Of The Middle is the 1997 debut album by three-time Grammy nominee, songwriter, actor and model Natalie Imbruglia. Spurred by the success of the hit single Torn, the album became an instant worldwide success, peaking the charts in Australia and reaching Top 10 positions in album charts in the US, UK, Germany, Netherlands, Canada and Italy. Left Of The Middle went certified platinum just five weeks after its release date, eventually selling over 7 million copies worldwide.
Imbruglia's first album became the largest debut for a new, alternative pop-rock female artist in history, selling more in its first week than records by Alanis Morissette, Meredith Brooks, and Fiona Apple combined.
Left of The Middle is finally available on vinyl for the very first time since the album's original release in 1997. Besides the huge hit Torn (85 million views on youtube), the album contains multiple classic tunes like Big Mistake (number 2 in the UK), Smoke (Top 5 in the UK), and Wishing I Was Here.1. Torn
2. One More Addiction
3. Big Mistake
4. Leave Me Alone
7. Pigeons And Crumbs
8. Don't You Think?
10. Wishing I Was There
12. Left Of The Middle$34.99180 Gram Audiophile Vinyl LP - Sealed Buy Now
What's Left To Let GoHailing from the United Kingdom, Goodtime Boys are one of Bridge Nine Records' newest signees. Signing to a hardcore label such as B9 carries with it an expectation that Goodtime Boys immediately buck. The band share more in common with La Dispute and Pianos Become the Teeth than other B9 bands like Foundation or Expire.
What's Left to Let Go starts off with Bloom, which has a chilling relaxed guitar intro. However when the full band come in, it kicks it up a notch with a melodic but upbeat rhythm. Then vocalist Alex Pennie comes in with his powerful vocals and really brings in the full sound of the band. I immediately noticed the accent on the vocalist, but it's a good thing as it makes the band sound different than most bands of this hard-to-name genre that has been gaining a lot of ground in the hardcore community. His lyrics are immediately at the forefront of everything, as well they should be, being powerful and emotional. The rest of the song keeps up this swing of going from relaxed to very powerful and back again like a lot of the songs on this record. However, it doesn't get monotonous or boring as the band have a good enough writing ability to keep the music interesting.
In the middle of the record the song Rest cools things off a bit coming in with a simple drum beat and an almost haunting guitar melody that fit the lyrics and vocal delivery perfectly. And that's the great simplicity of What's Left to Let Go; Goodtime Boys aren't afraid to use a pattern and vocal style that has been established, but do their own thing with it to try and keep it interesting. This album is technically a double EP and not a singular LP as the first five songs were previously released on the Are We Now, Or Have We Ever Been EP. However, if I had not known this I would not have figured it out from listening to the record as the songs flow so fluidly it sounds like one album. This is partially due to the band's cohesive writing and also partially due to those songs and the new songs being mixed by Defeater guitarist and Getaway Recordings engineer Jay Maas.1. Bloom
10. Sleep$15.99Vinyl LP - Sealed Buy Now
Public FlipperPublic Flipper Limited was originally released in 1986 as a double LP of live material culled from 1980-1985. The sound quality and playing are both a grimy, distorted mess, which suits the band just fine. Always alternating between the endearing and the abrasive, Flipper left no room for the middle ground of like. The album title is a shot at John Lydon and his alleged plagiarism of Flipper's artwork for his own PIL and it proves that Flipper was never opposed to alienating its audience, no matter how sanctified. Harsh, art-rock classics from one of San Francisco's most important post-hippy era bands.
1. New Rules No Rules
2. Hard Cold World
3. I'm Fighting
4. The Game' Got A Price
5. Love Canal
7. We Don't Understand
8. If I Can't Be Drunk
9. Sex Bomb
11. (I Saw You) Shine
12. Southern California
14. The Weel
15. Flipper Blues$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Point of Know ReturnImport
Back in 1977, the LP Point Of Know Return marked the commercial peak of Kansas. The Progressive Rock band had experienced tremendous success with their previous release (1976's Leftoverture) and were no longer starving for a hit, yet the sessions for their fifth album were tense. Steve Walsh briefly left the group in the middle of these sessions. Nevertheless, the LP turned out an even bigger success for the band than its predecessor. It would be their highest charting record and with four million copies sold, it was certified Quadruple Platinum by the RIAA.
The tour to support the album brought them to huge venues such as New York's Madison Square Garden and the LA Forum, with the tour book including an essay written by Rolling Stone contributor Cameron Crowe. The band became a staple on FM radio at this point, and during this period was one of the most popular rock acts in the country. "Dust In The Wind" became the hit single off of the album.1. Point of Know Return
3. The Spider
4. Portrait (He Knew)
5. Closet Chronicles
6. Lightning's Hand
7. Dust In The Wind
8. Sparks Of The Tempest
9. Nobody's Home
10. Hopelessly Human$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Tout Seul Dans La Forêt En Plein Jour, Avez-Vous Peur?Translated as "Alone in the forest in the middle of the day, are you scared?" This is the latest musical project from Genevieve Castree, a native of Quebec who moved to the US in 2004, and has spent her time trying to follow what's happening in this country and all around her. The music is dark and insistent, yet still has some hope left in its vocal chords that gives it its spine. This is a record about present times, but may very well be about what has happened in the past and what might just happen again in the future. Are you scared? The entire record is sung in French, with a book of English translations and illustrations.
1. Drapeau Blanc
2. La fille qui s'est enfermÉe sans la salle de bains
4. Deux Coqs
5. La Petite Cane dans la Nappe de PÉtrole
6. Au Viol!
8. La Mort et le Chien Obèse
9. Sous Mon Manteau
10. Sang Juene
11. L' homme qui vient de marcher sur une mine
12. Tout Seul dans la Forêt en Plein Jour$39.99Vinyl LP - Sealed Buy Now
Coochie BrakeA million years ago, a big rock fell out of the sky and landed right in the middle of Louisiana. Well, it wasn't Louisiana at that time. But that rock fell, and it hit hard making a giant dent. It gradually filled in but no matter what, it still left a dent. And that dent held just enough water that it became a primeval swamp known as Coochie Brake. Some young guys used to camp in Coochie Brake. They climbed the massive granite boulders that common sense said should not be there. They explored the caves. They sat still and let the Brake speak to them as only the Brake can. Those teens grew up to become The Residents.1. Theater of Shadows
2. The Noche Called My Nombe
3. Gotta Believe
4. Rot of Ages
5. Outside the Fence
6. Tied to a Cactus
7. Crocodile Tears
8. Dead Man on the Floor
10. Bitter Biter
11. Please Don't Go$19.99Vinyl LP - Sealed Buy Now
Where Greater Men Have FallenComments singer A.A. Nemtheanga on Where Greater Men Have Fallen: Some time at the end of 2013 we sat and began to plot a course for album number eight. We moved camp to a new rehearsal room and the ideas began to take shape. We felt it was time to try a new studio and engineer so we went to grouse lodge deep in the middle of Ireland and employed Gomez (Cathedral, Angelwitch, Grave Miasma) to come over and work on the new album. The band's idea was, of course, to keep the PRIMORDIAL trademarks but add a more live sound, broader and heavier. In 2014, we stand at the brink of releasing album number eight and, according to Nemtheanga: we feel revitalized, the hunger never left and we are ready for another chapter to be written in our history!1. Where Greater Men Have Fallen
2. Babel's Tower
3. Come the Flood
4. The Seed of Tyrants
5. Ghosts of the Charnel House
6. The Alchemist's Head
7. Born to Night
8. Wield Lightning to Split the Sun$29.99Vinyl LP - 2 LPs Sealed Buy Now
Welcome To The Midnight OpryWelcome to the Midnight Opry is the third full-length album by The Pine Hill Haints and its like a burning tumbleweed headed straight for an open field in the middle of a dry summer. Its bright, dangerous, vast and blistering. Laid out before you is a full rotation of snazzed-up, working-class rockabilly. The contradiction there is left open like that so youre given all sorts of room to mentally wander from one track to the other on an emotional journey that takes you from the range to the rock show, whatever you want to make it within those parameters, thats what it is.
Originally from Alabama, The Pine Hill Haints formed in the late 90s and have since released two full-length albums, both on K. Lead singer James Barrier is a sight to be seen at their live shows, of which they play many), poised tall and dandy behind his home-made wooden microphone stand. Hes backed by a family of a band that provides honey-toned instrumentation through the use of accordions, washboard, saws, buckets and of course the standards: guitar, bass and drums.
For this release, the band recorded at Dial Back Sound Studio in Water Valley Mississippi on 2 tape. The tracks were recorded live in one night, and then mixed the other night; the end result is anything but slap-dash however, it takes years of practice to become this quick on the draw.1. I Wish I Was a Jack-o-Fire
2. Desperation Blues
3. My Heart is a Star Beneath the Frost on the Ground
4. You Were Born to Suffer
5. 6 Angel Opera
6. The Low
7. 7 oclock in the Evening
8. Red Light
9. The Day the Sun Did Not Come Up
10. Moon Shadow
11. Handsome Molly
12. Carols to Crack Ice
13. Ghost Town
14. 1/2 Crime Part 2
15. Midnight Opry
16. I Know that Youre Gone but Last Night I Dreamed You Were Here$18.99Vinyl LP - Sealed Buy Now
Mirror ConspiracyThis highly anticipated follow up to Sounds From the Thievery Hi-fi left both critics and audiophiles delighted with Thievery Corporation's expert treatment
of bossa nova, dub, and downtempo. Featuring lush vocals by Bebel Gilberto, Pam Bricker, Lou Lou, and See-I, The Mirror Conspiracy is a fantastic
statement from ESL Music.
" their remix work since then has since established them as leaders of the pack. And true to its name, the Corporation surreptitiously lays down
overdubs of keyboards, congas, and percussive instruments to piece together a darkly beautiful piece of music in The Mirror Conspiracy." - Wall of Sound
"The only thing snappier than Rob Garza and Eric Hilton's Armani suits and Bruno Magli shoes is the suave, downbeat dance tracks the Washington D.C.
duo creates as Thievery Corporation. The pair's top-shelf aural cocktails, which involve a smooth mixture of dub reggae, trip-hop, acid jazz and Middle
Eastern musics, have been fueling the fires of backroom lounges and dimly lit bedrooms since the pair's first singles emerged in 1996. The Mirror
Conspiracy, TC's long-awaited sophomore album, raises the temperature of the mix by melding the synthetic serenity of lush keyboards with the warm
hues of live strings, brass, percussion and the pipes of a host of vocalists " - CMJ1. Treasures
2. Le Monde
4. Lebanese Blonde
5. Focus on Sight
6. Air Batucada
7. Só com você
8. Samba Tranquille
9. Shadows of Ourselves
10. The Hong Kong Triad
12. The Mirror Conspiracy
14. Bario Alto
15. Guide for I and I$24.99Vinyl LP - 2 LPs Sealed Buy Now
Clearaudio Performance DC Turntable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
The Performance DC shares sophisticated technology with Clearaudio's award-winning Ovation and Concept turntables, placing it in the middle of this series of three turntables featuring outstanding sound, unmatched value and ease of use. The Performance DC's main composite chassis consists of a specific density wood core sandwiched between two massive anodized aluminum plates. A band of polished silver aluminum is wrapped around the plinth's core, giving the Performance DC an elegant and modern look. The powerful and smooth-running DC motor is mounted to the composite main chassis and is effectively decoupled for enhanced dynamic range. The motor and belt are hidden from view, protected from dust and UV. They drive a precision machined aluminum sub-platter coupled to a 40mm thick POM platter, supported by Clearaudio's patented CMB (Ceramic Magnetic Bearing). The Performance DC's 33, 45, and 78 rpm speeds are selected by blue illuminated buttons, ergonomically integrated into the front left of the chassis. Precision adjustability is possible for each speed via user-accessible trim pots. The Performance DC comes with Clearaudio's magnetic bearing Verify Carbon Fiber tonearm and its interchangeable armboard design can accommodate a variety of 9 inch tonearms including Clearaudio's Clarify, Magnify and Universal tonearms.
Cartridge Not Included.$3,750.00Performance DC Turntable - Color & Tonearm Options Buy Now
FrankenchristRemastered And Available In A Deluxe Gatefold Sleeve
Released after a three-year studio hiatus, this album picks up right where Plastic Surgery Disasters left off. As always, the lyrics are among the most literate and angry in all of rock & roll. Goons of Hazard scores the culture of guns and the rednecks who love them, utilizing full-textured hard rock to set the verses. Soup Is Good Food lacerates the concept of disposable people in disposable jobs, pairing this idea with repeated guitar riff-based music that suggests a nightmare version of 1960s songs. Jock-O-Rama excoriates organized sports and macho attitudes; musically, the outer sections wed rockabilly and hardcore influences, sandwiching a slow middle section that spoofs martial numbers like Barry Sadler's Ballad of the Green Berets. This Could Be Anywhere has critical lyrics about racism and classicism set to music highly reminiscent of the Sex Pistols. Hellnation has garbled, wide-range, muckracking verses set to stun-speed punk that recalls numbers from In God We Trust Inc.
The excellent MTV -- Get Off the Air lambastes the corporate influences on rock & roll; musically, the song exhibits a tripartite structure, using a vacuously poppy opening, a speed hardcore central section, and a mid-tempo rocking finale that prominently features trumpet (a very brief coda reprise of hardcore ends the number). The finest selection on this album (and perhaps in the whole Dead Kennedys' canon) is the anthemic Stars and Stripes of Corruption. This number also utilizes a three-part construct, consisting here of a hard-rocking midsection flanked by faster, punk-oriented material. The verses here are stunningly detailed, describing what the band believes is wrong with the United States and what the solutions should be. This wonderful and challenging album is very highly recommended.
- David Cleary (All Music Guide)1. Soup Is Good Food
3. This Could Be Anywhere (This Could Be Everywhere)
4. A Growing Boy Needs His Lunch
5. Chicken Farm
6. Jock-O-Rama (Invasion Of The Beef Patrol)
7. Goons Of Hazzard
8. MTV - Get Off The Air
9. At My Job
10. Stars And Stripes Of Corruption$34.99Vinyl LP - Sealed Buy Now
The Beautiful & The Damned'The Beautiful and Damned' album and short film paints a very dire portrait of Gerald/G-Eazy that is very real and has never been shared by him before.
Originally Gerald saw limitations in his life so he created G-Eazy as a way to make it past those and live how he thought he wanted to live and become that rockstar he thought he wanted to be. The problematic pattern that has come from the rise of this star is that G-Eazy lives a constant dark clichÉ of addiction and over indulgence in his favorite vices that surround him each night in the lifestyle in which he's found himself. Heavy handed in reference to F. Scott Fitzgerald's novel of the same name, 'The Beautiful and Damned' shows us hung-over Gerald left having to clean up reckless G's aftermath on a daily basis.
The dueling narrative he conveys is as desperate, humble, and confessional as it is brazen, celebratory, and loud in its own hubris. He is in the middle of a very serious conflict with his alter ego and he has genuine concern as well as thoughts about how to get back to who he is as person.
This album and film is about the duality of these two characters who wrestle inside of him, and the beginning of that communication and process on how to preserve his true self.
On the back of his monstrous first single, "No Limit" featuring A$AP Rocky and Cardi B from his forthcoming album The Beautiful & Damned, the Bay Area's own multi-platinum rapper and producer G-Eazy has announced the highly personal 20-track double-album will be out on vinyl via RCA Records.
Special guests on the album include a cast of heavy-hitters featuring Halsey, Cardi B, A$AP Rocky, Kehlani, E-40, Charlie Puth, Anna of The North, and more.LP 1
1. The Beautiful & Damned (feat. Zoe Nash)
2. Pray For Me
3. Him & I (feat. Halsey)
4. But A Dream
5. Sober (feat. Charlie Puth)
7. No Limit (feat. A$AP Rocky & Cardi B)
8. The Plan
9. That's A Lot
10. Pick Me Up (feat. Anna of the North)
2. Leviathan (feat. Sam Martin)
3. Crash & Burn (feat. Kehlani)
4. Summer In December
5. Charles Brown (feat. E-40 & Jay Ant)
6. No Less (feat. SG Lewis & Louis Mattrs)
7. Mama Always Told Me (feat. Madison Love)
8. Fly Away (feat. Ugochi)
9. Love Is Gone (feat. Drew Love)
10. Eazy (feat. Son Lux)$25.99Vinyl LP - 2 LPs Sealed Buy Now
Major HandyMajor Handy was actually born Joseph Majay Handy, May 15, 1947. He thinks, if he understands what his mother's told him, that his parents had a child before him and named that boy Joseph Majay Handy. That son died near birth, and when the couple had their next child, also a boy, they decided to reuse the name. Eventually, after people had trouble recognizing the correct pronunciation, the middle name Majay morphed into Major. He says he did go by his first name initially. A lot of people called me 'Joe,' but that didn't ring no bell. And so, Major Handy it became.
Handy was born and raised as the oldest of seven children in St. Martinville, Louisiana, the parish seat of St. Martin Parish and right on the Bayou Teche. It's a rural town about 15 miles southeast of Lafayette and is generally considered the heart of the Creole and Cajun melting pot that makes this specific sub-region unique to anywhere else in the world. It's from right here that so much of the culture - the food, music, swamp life - that people associate with Louisiana comes.
Like with many people from St. Martinville, Handy's heritage is Creole, meaning it's tangled. I'm like a gumbo - everything. Alligator, fish, shrimp, Indian, Negro, white, whatever...I guess that's what that is. But I was raised as a black person, he says. The only time I ever mingled with white people was the music thing. 'Cause I didn't go to school with white people. I quit school in the ninth grade (just before school desegregation in Louisiana).
Handy's earliest musical inspiration came from his father, who had an old accordion that he toyed with as nothing more than a pastime, and some cousins who were fooling around with music. I saw that, and I wanted to take it and be better, Handy says. The first thing I picked up was a guitar. And I took it from there. His first professional gig came on bass in a cousin's band. From there it was back to guitar and eventually accordion as a bandleader. In between, he played in the bands of Rockin' Dopsie for many years as well as in the very first incarnation of Buckwheat Zydeco just after Buckwheat had left Clifton Chenier.
While he'd recorded previously as a bandleader, Handy's 2008 APO Records release Zydeco Feeling marked his first widely distributed release in 25 years.
This title is not eligible for discount.1. Jalapeno Cornbread
2. Bad Luck And Trouble
3. Well I Done Got Over It
4. Zydeco Feeling
5. Te Ni Nee Ni Nu
6. Lost My Baby$19.99180 Gram Audiophile Virgin Vinyl LP D2D -Sealed Direct to Disc (D2D) Buy Now
A Different ShipHere We Go Magic's sophomore album, Pigeons, had only been out a few weeks when the seeds for A Different Ship were planted in late June of 2010 at the Glastonbury Festival. The New York band had been on the road since Spring, wowing audiences with their uncanny live chemistry, turning album tracks into intricately groovy sonic explorations where the band seemed almost synchronously possessed. That had been their sweet spot since their earliest rehearsals together, when singer/songwriter Luke Temple, bassist Jennifer Turner, guitarist Michael Bloch, drummer Peter Hale and then-keyboardist Kristina Lieberson bonded over a shared belief in musical spontaneity and a kind of improvisation that feels too divinely ordered to be called "jamming."
At Glastonbury "the crowd wasn't giving us much to work with, except for these two guys standing in front," Temple continues. "One of them was dancing around like a maniac and I was like, 'I'm just gonna play for those two guys. Then I realized, 'That's fucking Thom Yorke and Nigel Godrich!'" The band, Yorke and Godrich became fast friends and the producer eventually proposed working together. In particular, the producer said he thought he could help them better communicate their hypnotic and hypnagogic live vibe on tape.
And he did. A Different Ship is Here We Go Magic's most remarkable and captivating album yet, with an emotional and musical arc that is alternately calming and anxiety-inducing, and often both at once. "I Believe In Action" and "Make Up Your Mind" sound like they're being beamed in from outer space, while more earthbound tracks such as "Miracle of Mary," "Over The Ocean" and "Alone But Moving" amble in a somnolent haze, with Temple's cool timbre cutting through the fog.
After demoing and tracking in both LA with Godrich and later upstate New York, the band ultimately ended up recording the bulk of the album in Godrich's London studio. By that time the band was bursting with new ideas and the songs just started flowing."I think the best stuff on the record is the stuff that was thought about the least," says Temple. "Tracks like 'Over The Ocean,' 'I Believe In Action,' 'Made To Be Old,' written in the morning and recorded the same afternoon.
In London, with an array of huge sounds at their disposal, they found it easier to stick to their "keep it simple" rule. "When Jen produced 'Pigeons,' the sounds were a lot more condensed and we got really into finding the infinite space inside something that's super on top of itself," explains Bloch. "Then suddenly when you're working in a studio like Nigel's, it's all these enormous sounds. Just one of Jen's bass notes fills up the room.
Despite an incubation period of nearly a year, and a writing process that spanned two continents, the ten songs of A Different Ship carry a consistent thematic concern, what the band describes as an "unresolved tension between valuing being alone and valuing being connected." Says Temple: "The music is beautiful, but feels like it's brittle and about to crack. It's always suspended in between major and minor, happy and sad, trying to find that middle ambiguous place. A lot of the endings of these songs just kind of stop, like things are left suspended, floating in space. That's a real characteristic of us as a band moving forward, even when we're sort of unsure, and knowing we'll find happy accidents along the way."1. Hard To Be Close
2. Make Up Your Mind
3. Alone But Moving
4. I Believe In Action
5. Over The Ocean
6. Made To Be Old
7. How Do I Know
8. Miracle Of Mary
9. A Different Ship$16.99Vinyl LP - Sealed Buy Now
NegotiationsNegotiations, the fifth full-length album written, recorded, and produced by The Helio Sequence, would sound different had it not been for a flood. In 2009, while touring in support of Keep Your Eyes Ahead, singer-guitarist Brandon Summers got an unexpected phone call in the middle of the night. Back home in Portland, OR, the band's studio/practice space was under nearly a foot of water. Heavy rains had caused the building's plumbing to overflow like a geyser. But Summers and drummer-keyboardist, Benjamin Weikel, were lucky: All of their best equipment was either on tour with them, or racked high enough off the studio floor to be spared.
Still, the band needed a new home. After three months of searching, Summers and Weikel settled into a 1500-square-foot, former breakroom-cafeteria in an old warehouse. They no longer had to work their recording schedule around loud rehearsals by neighboring bands, but were free to create late into the night in uninterrupted seclusion. With twice the square footage, the space also had room for more gear, a lot more gear. They decided to use this opportunity to try something different.
Summers and Weikel, who started playing together in 1996 and self-produced their first EP in 1999, have always been gearheads. But it wasn't until the success of Keep Your Eyes Ahead that they could afford to step things up: The duo spent months (and many hard-earned dollars) retooling their studio. They left behind much of the cleaner-sounding modern digital studio equipment and instruments they'd always relied on, and embraced vintage gear that would color their recordings with a warmer, deeper sound: Tape and analog delays, spring and plate reverbs, tube preamps, ribbon microphones, and analog synths.
As the new studio came together, so did the songwriting. It proved to be the most spontaneous, open, and varied writing process they had ever experienced. Weikel, who was listening to minimalist/ambient composers like Roedelius and Manuel Goettsching, had created dozens of abstract synth loops of chord progressions and arpeggios. The two would put a loop on and improvise together with Summers on guitar and Weikel on drums, recording one take of each jam. Other songs like "One More Time", "October" and "The Measure" quickly formed from rough one-minute sketches by Summers, while the down tempo "Harvester of Souls" was completely improvised musically and lyrically in a single take.
Tempering the free form approach to writing was Summers and Weikel's meticulous attention to production and arrangement. Taking cues from the spaciousness, subtlety, and detail of Brian Eno and late-era Talk Talk records, they moved forward. Listening to the recorded live jam sessions, they set to work transforming the ditties into actual songs. "Open Letter," "Silence on Silence", "Downward Spiral" and the title track - some of the spacier, mesmerizing songs on Negotiations - came together in this way. Summers' one-minute demos were brought to life in collaboration by Weikel spending weeks working on sound treatments and synth landscapes to enhance the songs.
Lyrically, Summers affirmed the improvised ethos, working deep into the night ad-libbing alone in front of the mic, abandoning pre-written lyrics and instead preferring to create in the moment. His delivery was largely inspired by the starkness and understated romanticism of Sinatra's Capitol era "Suicide Albums", imparting a more introspective and personal tone. "I used to view a lyric as a statement," he says, "Now, I see it more as a letter you're writing to yourself or a conversation with your subconscious."
This collection of shimmering, reverb-heavy songs is a meditation on those inner dialogues (hence, Negotiations) with solitude, memory, misgivings, loss, atonement, acceptance and hope. Most of all, it's a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.1. One More Time
3. Downward Spiral
4. The Measure
5. Hall of Mirrors
6. Harvester of Souls
7. Open Letter
8. When the Shadow Falls
9. Silence on Silence
11. Negotiations$19.99Vinyl LP - 2 LPs Sealed Buy Now
ACSO-APO-8315xDavid Abel & Julie Steinberg
Beethoven: Violin Sonata Op. 96 & Op. 25200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Stereophile's Recording of the Month For February 1984
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984
David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.
Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.
The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.
David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.
Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.
The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.
This title is not eligible for discount.1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
iFi Audio Mercury USB Cable
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
The iFi Mercury USB cable is the single-run brethren of the highly-regarded Gemini USB cable. The Mercury USB cable takes the standard USB transmission standard and re-writes it for high-end audio. Crucially, the special geometry adheres to the 90 ohm impedance specification better than even the USB 2.0 standard. Resistance is 3x lower than textbook. The Final USB machined connectors are proprietary for exceptional shielding and rigidity. The atypical RF3filter design is user-adjustable. With all these technological breakthroughs, one audition and there is no going back.
A simple, yet effective illustration is the graph below. The Mercury (along with the Gemini) cable adheres to the 90ohm specification of the USB transmission protocol exhibiting just a 1% deviation from the 90ohm impedance end-to-end (ie. connector + cable together).
Other expensive audiophile cables by comparison, vary as much as 15% (or 78ohm-103ohm!) This one key parameter is often overlooked yet is essential to maximise the quality of the signal transfer.
The Mercury USB cable. It really is mercurial.
The signal runs through the cable and connector. Therefore, the connector must be as exceptional as the cable. Most USB Cables use moulded plastic covered connections. Plastic cannot shield the high frequencies present in the USB Data link, so noise will radiate out. Durability is also compromised. The FINAL USB connectors provides impeccable end-to-end RF shielding, being machined entirely from solid aluminium. Gold-plated connections make for years of steadfast service.
iFi's proprietary machine connector looks and feels like it was hewn from a solid block of aluminium. This is not far from the truth. This is the iFi standard.
Addressing RF issues is usually non-existent in USB cables. Even those with filters fitted, they are off the shelf and as such, work only over too narrow a range. Also, too few are fitted and common RFI filtering is placed at the ends of the cables, leaving the whole length of the cable to act as effective antennae.
The Gemini cable is fitted with three custom-made metal oxide ceramic RF noise silencers. Each with different effective ranges; thus they greatly broaden the range over which RF noise is silenced. Further the middle silencer is design to be adjustable (moved along the whole length), to "detune" the antennae formed by the cable, depending on the conditions and requirements in the system. The other 2 silencers which are not affixed, should be kept as close to each respective end as possible.
The Mercury USB cable design is a complete and full solution that has left nothing to chance. It has a number of special attributes that enhance shielding, conductors and insulation that is quite simply, revolutionary.$119.00USB Cable - 2 Lengths Available Buy Now
VenturaIn 2010, Antoine Hilaire and Florent Lyonnet released the first Jamaica album. Produced by Peter Franco, an American engineer known for his work with Daft Punk and Xavier de Rosnay, one half of Justice, 'No Problem' is boosted by a terrific single: 'I Think I Like U 2. Jamaica is taking off. Followed an almost two year tour, more than 150 shows around the world, and success from Paris to Tokyo.
Jamaica felt ambitious when it was time to start working on their second album, without any weight or pressure : "On the contrary! We felt extremely light. We only realised that in a way we had to write our second first album."
They started writing 'Ventura' in Paris, knowing they would start recording in Los Angeles, fed by both fantasies of American culture, gathered from records or movies, and the reality they discovered while touring several months in the U.S. "We often played in the U.S. during our first tour, and America as we know it now is not only spectacular and Hollywood-centered. It's also filled with clubs and cranked up amps."
When they tell about the month they spent with Peter Franco in a rented house in Los Angeles to give life to their new songs, Antoine and Florent mention a discovery in a literal sense: "We thought about for a while naming this album 'Pinta, Nina, Santa Maria', like Christopher Columbus's ships." In the end, they named it 'Ventura'. For the musicians, the name reminds of its literal translation of "luck" and "fate", but also of the 72 Pontiac and of course, of Ventura Boulevard, one of the biggest roads in the San Fernando valley. It's also on Ventura Boulevard that Peter Franco set a house into a studio, where Jamaica locked itself for a month, surrounded by instruments borrowed from local musician friends, sometimes recording vocal takes while friends would walk across the living room to get fresh beverages from the fridge, heading to the pool.
The duo is greeted with prestigious guests. One day, Tunde Adebimpe, TV On The Radio singer, sings soulful and worried vocals on 'Golden Times', another day, Chris Caswell, longtime collaborator of Paul Williams's gives them a hand with a few keyboard arrangements. Their friend DVNO writes and sings the song 'Goodbye Friday' with them in a few simple and entertaining work sessions.
Jamaica comes back to Paris, where Antoine and Florent take back the numerous tracks recorded in the U.S., helped by their producer friend Samy Osta and his 2001 studio. They listen, select, arrange the many layers of music Peter Franco led them to gather, under the influence of his recent work on Daft Punk's 'Random Access Memories'.
Jamaica then settles in the Paris studio Tranquille Le Chat, where the owner Laurent d'HerbÉcourt just finished the recording of Phoenix's 'Bankrupt!'. Antoine and Florent find the perfect place to finish their record: it is bathed in daylight thanks to three large windows, which is seldom found in a studio. "To us, 'No Problem' shows a clubby and nightly aspect of the band, while 'Ventura' is meant to be the daylight album for Jamaica."
The band came in to record a few tracks, but never left the place or Laurent d'HerbÉcourt. They kept pushing in the direction they fancied in Los Angeles, helped by the huge Neve mixing desk that stands in the middle of the studio. The intent was to create a new depth to the band's sound, mixing electronic habits and an almost magical approach to analogue gear: "Depending on the moment of the day, the sound of analogue gear changes, machines heat up, like living things. It was very exciting for us, Jamaica being usually digitally driven."
Antoine and Florent's belief in a more organic sound was strengthened by Laurent d'HerbÉcourt: "While mixing, he definitely pushed us further towards a "radio" oriented direction, in the most noble and Fleetwood Mac sense of the word. A sunny pop that hides more sensibility when one really pays attention."
Songs like 'Two on Two', 'Golden Times', 'All Inclusive' or 'Ferris Wheeler' are fueled by this feel good music to listen to while driving along the Pacific Ocean. Other tracks reveal new leads for Jamaica, from 'Turbo' and 'Same Smile's' post surf music to 'Rushmore's' power balladry.
On the album cover stand the two Jamaica members, in a desert, in front of a plane and a wall made of guitar amps. Ready to take off?1. Two on Two
2. Hello Again
4. Golden Times
5. All Inclusive
6. Ferris Wheeler
7. High Then Low
11. Same Smile
12. Goodbye Friday$22.99Vinyl LP - Sealed Buy Now
VisualsMew frontman Jonas Bjerre has worked on the projections for the band's live shows since their early days. Usually, the Danish trio finish an album and Bjerre gets to work on the visuals. For their seventh record, though, the singer decided to turn things upside down, working on the visuals first and seeing if they informed the music. The resultant record feels like a culmination for one of rock's most ambitious and inventive groups: Visuals is where Bjerre and his bandmates, bassist Johan Wohlert and drummer Silas Utke Graae Jørgensen, join the dots of a career that has spanned over two decades. "We do everything on this album ourselves," says Bjerre. "We produced it ourselves, I did the artwork, I'm doing the visuals. Visuals felt like a fitting title. I like the idea that each song has a visual aspect to it somehow."
Mew have a tradition of, as Bjerre puts it, hiding away in a cave for three or four years between albums. The tour that accompanied 2015's +- album found the band reaching a creative peak that they felt was too exhilarating to be dampened by a period of extended cave-dwelling. They arrived home with demos that had been written on the road and the spark was lit. They wanted to break the cycle and make an album quickly. "We just felt like, "if we do it the normal way, it's gonna be another three or four years before we get to do it again'," says Bjerre. "If you keep doing it like that, ultimately you make a handful of albums and then you're ready for retirement." The trio wanted to make an album spontaneously, keeping the energy they'd generated on the road going.
They set to work in Copenhagen and started knocking the demos they'd written on tourbuses and in hotel rooms into shape. At the same time, new songs were emerging in reaction to what was going on around them. Mew aren't a political band but couldn't help but be affected by rolling news and the death of an icon. "It was pretty dark last year, so some of the darkness in the lyrics comes from that. You definitely get the feeling that things don't last forever when someone like David Bowie dies." Visuals was completed in just under a year - what Bjerre describes as an "incredible" feat for a band used to periods of prolonged tinkering. "Spending less time on it, you can still maintain the feeling you had when you first wrote it," says Bjerre.
Bjerre doesn't know where Mew songs come from. He finds it hard to pin down his lyrics, his melodies, himself. It's what makes his band so special, that thrill that songs could go anywhere, that understated verses could suddenly rocket skyward, anthemic choruses could implode into beautiful soundscapes or sophisticated grooves could be crushed like a tincan. "I don't consciously know why the songs come out the way they do," says Bjerre. "It's a lot of trial and error for us. Even though a song is on an album, it keeps growing because we get to go out and perform it for an audience. I like the thought it can keep growing. It's never really finished."
Visuals is Mew at their most compact, their chemistry at its most potent. With only one song over five minutes, it's their most concise album. Bjerre says there was no need for a grand, overarching concept. Each song on Visuals represents its own little chapter and story: nothing needed to be overly long. "Each album is like a collection of thoughts and ideas that fit the time we're in," he says. "They're like little diary entries, except they're a little bit more veiled perhaps. To me, albums are memories of times in my life."
The song that led the way was the slow-building euphoria of Nothingness And No Regrets. Bjerre says that Mew lyrics often have two or three different meanings, and the opener is a reflection on life and death at the same time as "imagining this team of people trying to accomplish something and ultimately failing." The expansive 80s-style pop of The Wake Of Your Life is about legacy and what's left after you've gone. "These are things you think about more and more the older you get." It started out as a synth-pop track with lots of programming before taking on a different shape when the band added guitars over the top. "We try to change the method of how we reach the destination all the time cos if you do things the same way all the time, the results will often be very similar," says Bjerre.
The discordant stomp of Candy Pieces All Smeared Out came about after Bjerre went back over some demos he'd made as a youngster on an Omega 500. "Some of them were interesting sonically so I kept some of the programming. We built the song on top of this really weird 8-bit computer track." The song sums up the emotional to and fro and ca
ptivating contrariness at the heart of Visuals: it's an album that's both nostalgic and contemporary, that looks back whilst marching forward.
The blissful glide of In A Better Place is a prime example of the impulsive environment that the songs were written in, a drumbeat by Jorgensen inspiring Bjerre to write a song immediately, whilst the atmospheric rock of Ay Ay Ay was based around a choir part that Bjerre had come up with a few years ago. All of the vocal parts were recorded in the booth that Bjerre had constructed in his apartment in Copenhagen. "I like waking up in the middle of the night and feeling inspired by something and being able to go in my booth and just sing it," he says.
Bjerre says that the celebratory groove of Learn Our Crystals "is one of our weirdest songs." Poppy and fantastical, it had a familiar feeling to the singer as soon as he wrote it. The soulful sway of Shoulders has an R'n'B feel to it, whilst Bjerre had earmarked the mesmerising intricacy Carry Me To Safety as the album's closer as soon as it'd been written. "I just like how it twists and turns," he says. "It's a reflection on life and being in a band, what it means to be in a band, dedicating so many years of your life to this thing."
Twenty years into their career, Mew have the irrepressible ebullience of a band on their debut album. Visuals feels like the beginning of a new chapter. "Mew is what I always come back to, it's a companion to my life. It's always been there, as long as I can remember. It's a big part of the footprint that we'll leave behind," says Bjerre. Mew march on: this is the sound of a band seizing the moment.1. Nothingness and No Regrets
2. The Wake of Your Life
3. Candy Pieces All Smeared Out
4. In a Better Place
5. Ay Ay Ay
6. Learn Our Crystals
7. Twist Quest
11. Carry Me to Safety$23.99Vinyl LP - Sealed Buy Now
Volume 5 (Awaiting Repress)Remastered from a Cassette Copy Source
From the late 1960s until the early 1990s, a vibrant music scene in Somalia's capital Mogadishu was teeming with pop and folk musicians exploring the boundaries of regional sensibilities. With inuences spanning several genres of Somali traditional music, often meshed with Western pop, jazz and Middle-Eastern elements, a swirling diversity of sounds were being created, consumed, supported and encouraged.
Dur-Dur Band emerged during a time when Somalia's distinctive contribution to the creative culture in the Horn of Africa was visible and abundant. Thousands of recordings made at the Somali National Theatre, Radio Mogadishu and other studios, were complemented by the nightclubs at Hotel Juba, Jazeera Hotel and Hotel al-Curuuba, creating a ourishing music scene.
This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced by the delity of this recording. However, the complex, soulful music penetrates the hiss.
By 1987 Dur-Dur Band's line-up featured singers Sahra Abukar Dawo, Abdinur Adan Daljir, Mohamed Ahmed Qomal and Abdukadir Mayow Buunis, backed by Abukar Dahir Qasim (guitar), Yusuf Abdi Haji Aleevi (guitar), Ali Dhere (trumpet), Muse Mohamed Araci (saxophone), Abdul Dhegey (saxophone), Eise Dahir Qasim (keyboard), Mohamed Ali Mohamed (bass), Adan Mohamed Ali Handal (drums), Ooyaaye Eise and Ali Bisha (congas) and Mohamed Karma, Dahir Yaree and Murjaan Ramandan (backing vocals). Dur-Dur Band managed to release almost a dozen recordings before emigrating to Ethiopia, Djibouti and America.
Dur-Dur Band was considered a "private band," not beholden to government pressure to sing about political topics. They practiced a love- and culture-oriented lyricism. Government-sponsored bands like those of the military and the police forces, as well as many of the well-known folk musicians, made songs that were chiey political or patriotic in nature.
In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Many of the
best-known musicians left the country. Music became nearly outlawed in Mogadishu in 2010. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briey enacted by Al-Shabab.
Dur-Dur Band is a powerful and illustrative lens through which to appreciate a facet of the incredible sounds in Somalia before the country's stability took a turn. But Somali music of all kinds continues to thrive thanks in part to the diaspora living in cities worldwide. An extensive network of news, music and video websites, along with dozens of voluminous YouTube channels, makes clear an exciting relentlessness among artists. Reports of musicians returning to Mogadishu from years abroad bodes well for the immediate future of music and expression in Somalia.1. Dur-Dur Band Introduction
5. Ilawad Cashaqa
6. Garsore Waa Ilaah
7. Aada Fududey Iga Ahow
8. Tajir Waa Ilaah
10. Amiina Awdaay
11. Dooyo$22.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
FutureIt's something we all want the answers for. It's something we fear. It's something we want to have a grip on.
So we ask for clearcut forecasts, desperately seeking security in precise, defined direction. Tossing and turning, we think if we could just glimpse the end of the book, we'd rest easy. We make plans and maps, charting out our lives and where we want them to go. We find ourselves filled with anxieties, pressure, worries
Jordan Feliz knows the feeling.
But he didn't write his newest album, Future, because he figured out all the answers to his path. Quite the opposite. This record was born out of Feliz making peace with the fact that he doesn't, none of us can, know what his future holds. Cling to your best-laid plans until your knuckles turn white, mark your calendar up and down, worry yourself dizzy But the real answer is accepting that we do not hold the future in our own two hands. And thank goodness, because the One who does has already written better stories for us than we ever could.
Following widespread acclaim for his first album, The River, Jordan Feliz began the journey of recording a new one. But the process didn't start how he expected or hoped.
"I started going through anxiety and honestly didn't know how to begin, because I felt like 'Everything I create isn't going to be good enough.'" Jordan remembers.
He was on tour, trying to write for the album, but experiencing panic attacks. He found himself unable to connect with the songs he'd been working on.
"My head wasn't in the right spot. My heart wasn't either. it was more focused on appeasing people. It was listening to myself and not to God."
Then back home with friends and co-writers Paul Duncan and Colby Wedgeworth, he marched not around the fear, but through it. And on the other side was solid ground.
"I said 'What if I just can't do it?' but then Paul says to me 'Look man, there's no pressure. Everything in your future has already been plotted by Jesus. He has paved every step of the way for you, in a way to have favor on your life. Our future is not wound up in our success, but in the inheritance of God.'"
With those words, something clicked for Jordan. He took a breath. He let go. He remembered that his future is held by the strong, kind hands of the Father.
"Sometimes it's really hard to silence out the world and just listen to the small, still voice. But once I refocused and listened to Him, He had a message for me," Feliz shares. "A fire was set in me to write a song about freedom. A song we can sing to be stoked that every single day there's a God that loves us, never ceases, and never fails."
That day they wrote "Witness," which would go on to be Feliz's first single for Future, in only 45 minutes.
"And that's when the record started."
It's certainly not the first time Jordan's had to rely on faith. Six years ago, following much prayer, he and his wife ventured to Nashville after feeling called to make the move; the only catch: they didn't even have enough money to make it all the way from California to Music City. They were depending on a few performance gigs Jordan had along the route.
"But all the shows I was scheduled to play got cancelled. At first we were stressed and asking 'What do we do?'. We just felt like the Lord was saying 'You need to go.You just need to trust me.' We had to decide to think about what the Lord has for us, instead of what we have for ourselves. Watch and prepare for what He can do, not what we think we can do."
He ended up with a spontaneous opportunity to perform for less than 30 people, who bought more than enough merchandise to get the Felizes to Nashville.
"We sobbed in the car," he reflects. "For God to show us that He gives us more than we even need "
Jordan tells that story in the album's track "All Along," his most personal song to date. With the first lyric describing his literal first moment of breath, Feliz goes on to tell some of his life's highlights, revealing God's presence through each moment of every season.
And that's what marks this album as a mature step forward for the singer-songwriter. The vibrant pop melodies are not only infectious, but deep-rooted in the vulnerable walks of faith he's ventured through in the past year.
"This record is just chock-full of story. Every single song," Jordan says. "It's kind of me taking a piece of my life, my heart, my beliefs, and my trust in God and just giving them to people. And hopefully they'll hold onto the message and learn to trust God even more through it."
He wrote most of the album on the road with a hectic tour schedule and only eight other writers. Feliz was surprised to find that he loved this unorthodox writing process, saying it allowed for him and cowriters to spend more time simply experiencing life together, then reflect on it through creating music. Gone was the pressure to sit in a room and crank out a hit song. The result: more authentic songs that come from inspiration found in everyday life. Songs the musicians poured themselves into- including one of Jordan's favorites, "Faith," which came about from a middle-of-the-night writing session.
"That never would've happened back home," Jordan laughs.
And as Feliz and his team were wrapping up, something incredible happened for an album that began from a place of insecurity. When it came time to make the final song decisions, typically a stressful and challenging process, Jordan felt an unexpected peace.
"Not even kidding, the day we left that meeting, we all just kind of knew those were the songs. With The River, we thought through every little thing, but this time it feels like the Lord just gave us these songs and was like 'This is it. You don't need anything other than these.' And we still wrote over 40 songs, but it was so clear that these were the ones that were going to be recorded. We hadn't even heard them produced yet, so we were just hoping it was all going to turn out right and it did. These songs were gifted to me by the Lord."
Jordan Feliz belts out "Witness" to a roaring crowd.
"Your love is moving mountains every day of my life. Can I get a witness?"
Hands shoot up, voices join in, souls worship. Jordan beams. It's the smile of a heart that knows it's landed in the hands of its Protector. The smile of a heart, fearlessly honest, that is connecting with others. A heart that's traveled through uncertainty, and probably will again, but will always find home in the story already written for it.
Jordan listens to the new record, the latest season of his life in musical form. Those early doubts have transformed into peace. The shame into compassion. The worry into joy, and the fear into excitement.
"Probably craziest of all is that I didn't see any of it coming together at beginning. I thought 'There's no way this is going to get done and I'm going to be able to handle it,' and it just happened. This entire project comes down to the fact that every day I'm learning how to trust God more and more and more."
He doesn't know how the next chapter reads. But he knows something more important: the Author.
"Every time I think about the concept of this record, it feels like it's purposeful for people to grab onto the idea of a song and hold onto it for a very long time. That's what it stands for. It stands for what's coming. It stands for what God has for our life."
Written. Held.1. Witness
2. Count That High
4. Streets Of Gold
6. Lay It Down
8. All Along
11. That's The Life
12. My Shelter
13. Blank Canvas$19.99Vinyl LP - Sealed Buy Now
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now