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  • Little River Band Little River Band Quick View

    $34.99
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    Little River Band

    The Little River Band are considered to be among Australia's most significant bands, having sold over 30 million records. The soft rock harmony group released their self titled debut in 1975 and modelled after American bands such as The Eagles and Doobie Brothers.


    Guitarist Graham Goble and singer Glenn Shorrock dominated the songwriting on this astonishingly strong debut that brings both the crunchy electric guitars, luminous acoustic guitar, and smooth harmonizing of It's A Long Way There as well as the hauntingly beautiful movie-within-a-song The Man in Black.

    1. It's A Long Way There
    2 Curiosity (Killed The Cat)
    3. Meanwhile...
    4. My Lady And Me
    5. I'll Always Call Your Name

    6. Emma
    7. The Man In Black
    8. Statue Of Liberty
    9. I Know It
    Little River Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • American Tunes American Tunes Quick View

    $26.99
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    American Tunes

    Nonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.


    Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.


    Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.


    Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.


    That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.


    Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.

    LP 1
    1. Delores' Boyfriend
    2. Viper's Drag
    3. Confessin' (That I Love You)
    4. Mardi Gras In New Orleans
    5. Lotus Blossom
    6. Waltz For Debby
    7. Big Chief
    8. Rocks In My Bed
    9. Danza, Op. 33
    10. Hey Little Girl


    LP 2
    1. Rosetta
    2. Come Sunday
    3. Southern Nights
    4. American Tune
    5. Her Mind Is Gone
    6. Moon River
    7. Bald Head

    Allen Toussaint
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pinkerton Pinkerton Quick View

    $34.99
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    Pinkerton

    Pinkerton on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1996 Sophomore Album Cited on Countless Best-of Decade Lists


    Includes El Scorcho, Pink Triangle, Tired of Sex, and The Good Life


    Loosely Related to Puccini's Madame Butterfly, Confessional Album Lays Bare Frustration, Confusion, Awkwardness, and Loneliness Amidst Power-Pop Settings


    Mastered from the Original Master Tapes: Experience the Album's Edgier Feel as Originally Intended


    Few records claim as bizarre a history as Weezer's Pinkerton. Upon release in 1996, the band's sophomore effort failed to meet sales expectations, lacked a hit single, and drew primarily negative reviews from the press. Then, via word of mouth and reevaluation, the Little Album That Could began to build a reputation as an initially misunderstood masterwork-a bold, brave, and exposed creation that happened to have hyper-contagious hooks to accompany the confessional lyrics. Today, it's cited on virtually every Best Albums of the 1990s list in existence.


    Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's analog version of the effort Rolling Stone awarded a full five-star review upon revisiting it eight years later brings the band's live-in-the-studio vocals and darker, raw feel to the surface like never before. Leader Rivers Cuomo's decision to record group choruses around three microphones rather than capture them separately finally can be experienced as originally intended, with the immediate vibe paying off in the form of more engaging, edgier results that parallel the songs' personal emotions and frustrated themes. Guitars, which scrape and push, augmenting the trials and tribulations documented in the narratives, are finally rendered in proper perspective.


    Comprised of nonfiction tunes largely based on Cuomo's dissatisfaction with rock-star life, and written by the singer/guitarist as he attended school at Harvard University, Pinkerton confronts disappointment, loneliness, isolation, awkwardness, and cruel romantic irony with a universal perspective to which anybody can relate. Cuomo selected the character Lieutenant Pinkerton from Puccini's Madame Butterfly as a touchstone, believing the persona symbolic of the tormented protagonists in his songs-and recognizing similar struggles to come to terms with identity.


    Weezer's aims on Pinkerton have connected with many that identify with its narratives and adore its surfeit of melodies. Surpassing cult-classic status and conquering fickle tastes, the record ranks in Guitar World's "Top 100 Guitar Albums of All-Time"; Spin's "100 Best Albums From 1985 to 2005"; Pitchfork's "Top 100 Albums of the 1990s"; and Rolling Stone's Hall of Fame.


    For all the malaise, Pinkerton also contains beloved wit and humor. Shyness and hands-in-pocket diffidence inform "El Scorcho"; incongruity and surprise surround the simultaneously funny and sad "Pink Triangle"; tedium and desire collide on the cynical "Tired of Sex." Psychosexual confusion, unrequited passion, and good intentions elicit unintended sympathies, a trait that remains one of the record's brilliant turns.


    This title is not eligible for discount.

    1. Tired of Sex
    2. Getchoo
    3. No Other One
    4. Why Bother?
    5. Across the Sea
    6. The Good Life
    7. El Scorcho
    8. Pink Triangle
    9. Falling for You
    10. Butterfly
    Weezer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Death Shaker Little Death Shaker Quick View

    $19.99
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    Little Death Shaker

    Stripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.



    This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)



    The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.



    Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.



    More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.



    With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.



    One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!



    The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!

    1. Allegiance

    2. Little Death Shaker

    3. Some of My Friends

    4. Turnpike/Bedsheet

    5. You'll Never Surf Again

    6. Don't That Lake Just Shine

    7. Whippoorwill

    8. A Little More Credit

    9. Some Kind of Fool

    10. You're Not Standing Like You Used To

    11. Stateline

    12. Meridian, MS

    13. Allegiance 2
    Raymond Byron And The White Freighter
    $19.99
    Vinyl LP - Sealed Buy Now
  • Run River North Run River North Quick View

    $25.99
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    Run River North


    2-LP Gatefold Package With Bonus Track


    "Run River North stays the course - and finds success." - NPR


    "Snappy rock and chamber folk frames their tales of their parents' dreams and struggles to find purchase in America."
    - Wall Street Journal


    "the band's ambitious folk pop instrumentals, and embellished with frontman Alex Hwang's dulcet, Ben Gibbard-like tones,
    is a sense of possibility" - MTV World


    In the course of several months, Run River North went from playing a handful of hometown shows in Los Angeles to
    performing to an audience of millions on late-night show Jimmy Kimmel Live! It was an explosive trajectory for the sextet,
    whose uplifting anthems march to the beat of drums, jangling guitars and a rapturous string section. The rapid ascent from
    obscurity launched a new chapter for the band (then called Monsters Calling Home), whose upcoming full-length self-titled
    debut ventures further into effervescent rock anchored with a down-home aesthetic.


    The band recorded their self-titled debut with producer Phil Ek (Fleet Foxes, Built to Spill, Band of Horses). The songs ebb
    and flow with optimism, traversing emotional and musical landscapes woven into the strings duo of Daniel Chae and
    Jennifer Rim, alongside the galloping rhythm section of bassist Joe Chun, keyboardist Sally Kang and drummer John
    Chong. Together, their voices coalesce as one, a chorus calling out with a gentle urgency. The music of Run River North
    explores the ever-shifting search for self, from the energetic indie-rock interludes to the lonesome guitar strums, always
    asking the question: Is home a place or is it the people in your life? "We're not a posh, polished pop sound," says Alex
    Hwang, Run River North's singer/songwriter. "We have stories we want to tell and they take a little more time. After all, the
    journey to find your place is a long one, it's an ongoing, evolving adventure."

    1. Monsters Calling Home
    2. Beetle
    3. Lying Beast
    4. Run River North
    5. Growing Up
    6. Fight To Keep
    7. In The Water
    8. Somewhere
    9. Foxbeard
    10. Excuses
    11. Banner
    Run River North
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Mountains Of Sorrow, Rivers Of Song Mountains Of Sorrow, Rivers Of Song Quick View

    $24.99
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    Mountains Of Sorrow, Rivers Of Song

    For his fifth album, Amos Lee took a different path for the recording, working in a new city with a new producer. Recording with Amos' road tested touring
    band, the album was the first project to be recorded in a brand-new studio, built in a converted church in Nashville by producer JAY JOYCE (Emmylou
    Harris, Little Big Town, Eric Church). The follow-up to 2011's chart-topping Mission Bell brings the artist into new sonic territory, while retaining the
    trenchant impact of the scenes, characters, and stories in his writing. Joyce introduced a broader palette to Amos' work, creating a richness and a variety
    that's never distracting or self-conscious. Being in Nashville also allowed several remarkable guests to come by the sessions including ALISON KRAUSS
    and PATTY GRIFFIN lend heavenly vocals.


    Amos' last album was a surprise entry at #1 on the Billboard Top 200 and in an amazingly consistent career he's now sold a million albums over his first
    four albums. With each album, Amos has deepened his connection to the Nashville community earning fans and performing with an A to Z of the country
    world, from Lady Antebellum from Zac Brown. Making the album with a proven country hitmaker and doing a much-buzzed about showcase in Nashville in
    June has furthered that cause. Major daytime and latenight TV looks, NPR looks, AAA domination, a series of high-profile synch placements and an
    amazing sold out tour this fall and early next year will insure that there are drivers for this album well into 2014.

    1. Johnson Blvd.
    2. Stranger
    3. Tricksters, Hucksters, and Scamps
    4. Chill In The Air
    5. Dresser Drawer
    6. Indonesia
    7. High Water
    8. The Man Who Wants You
    9. Loretta
    10. Plain View
    11. Mountains of Sorrow
    12. Burden
    Amos Lee
    $24.99
    Vinyl LP - Sealed Buy Now
  • Some Cold Rainy Day Some Cold Rainy Day Quick View

    $18.99
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    Some Cold Rainy Day

    Eden & John's East River String Band are a contemporary acoustic duo that play country/blues classics from the 1920s and 1930s. The band consists of Eden Brower on ukulele and vocals with John Heneghan on guitar and vocals, including special guest Terry Waldo (legendary ragtime piano player who has recorded and toured with Leon Redbone and Woody Allen).


    The duo try to keep alive the rural music tradition that existed before the Great Depression of the '30s, playing primarily country blues covers including classics by such greats as Skip James, Mississippi John Hurt, Lottie Kimbrough and Blind Lemon Jefferson.


    Some Cold Rainy Day is by far one of the most enjoyable contemporary recordings of early pre-war blues music I have ever heard. Eden and John stay true to the original arrangements and vocals that these songs had when they were first released. I would call this a MUST-own for fans young and old of blues music and even those who want a modern introduction to the great old music of the 1920s and 1930s. PLEASE NOTE: Crumb not only did the cover for this album; he loves the music on it, too. Crumb collectors know that he does very little commercial work now with his busy schedule and will only illustrate items he himself loves. What better endorsement is there than that? - Ralph Deluca

    1. Ain't No Tellin'
    2. Nobody's Business If I Do
    3. One Dime Blues
    4. Slidin' Delta
    5. Every Day In The Week
    6. Some Cold Rainy Day
    7. Bye Bye Baby Blues
    8. Future Blues
    9. I Had To Give Up Gin
    10. Rolling Log Blues
    11. Crow Jane
    12. Do Dirty Jane
    13. On Our Turpentine Farm
    Eden & John's East River String Band
    $18.99
    Vinyl LP - Sealed Buy Now
  • Absolute Zero Absolute Zero Quick View

    $19.99
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    Absolute Zero

    Absolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.


    "This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."


    "These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "


    The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.


    The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?


    "That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.


    "The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.


    The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."


    In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.

    1. Harper Lee
    2. Angel Owl
    3. My Love Took Me Down to The River to Silence Me
    4. The Consequences of Not Sleeping
    5. Big Red Dragon
    6. Red and Blue
    7. The Kitchen Floor
    8. The John Wayne
    9. Please
    10. Them
    11. Goodbye Blue Monday
    Little Green Cars
    $19.99
    Vinyl LP - Sealed Buy Now
  • I Am Very Far I Am Very Far Quick View

    $19.99
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    I Am Very Far

    The goal was to push my brain to places it didnt want to go. The idea was to not have any idea, to keep myself confused about what I was doing, frontman Will Sheff says about Okkervil Rivers newest album. The resulting record, I Am Very Far, is a startling break from anything this band has done before. By turns terrifying and joyous, violent and serene, grotesque and romantic, its a celebration of forces beyond our control.


    On I AmVery Far, Sheff emerges not only as a songwriter of the highest caliber, but a producer and arranger of singular vision. Abandoning the tidy conceptual arcs of Okkervil Rivers previous albums, I Am Very Far is a monolithic, darkly ambiguous work, one that doesnt readily offer up its secrets.


    Work on I Am Very Far started in early 2009, after a year spent on the music of others. Sheff contributed vocals to The New Pornographers album Together, wrote a song for Norah Jones The Fall, and helmed the Roky Erickson record True Love Cast Out All Evil, for which his album notes received a Grammy nomination. Immediately upon wrapping up work and leaving Ericksons company, Sheff drove to his home state of New Hampshire for lengthy isolated writing sessions. I wanted to go back home and re-start writing again, like Id never written a song previously, he says, and I wanted the music and lyrics to be both completely wedded together and a little bit beyond my control.


    Sheff emerged from the writing process with 30 or so songs, which he narrowed down to 18. In contrast to Okkervil Rivers usual practice of holing up in one studio for months on end, he opted for a series of short, high-intensity sessions, each in a different location, each employing completely different methods than the one before it. For songs like Rider and Wake and Be Fine, Sheff gathered together a massive version of Okkervil River; two drummers, two pianists, two bassists, and seven guitarists, all playing live in one room, and led them on a week of live-in-the-studio marathon sessions, performing a single song obsessively over and over for as many as 12 hours to capture just the right take. Finishing the record from home, Sheff constantly edited and reworked the album, reinventing the song structures, re-recording vocals, re-writing until the very last minute, reshaping even the tiniest of details, ultimately creating an album that plays not only as a lush, seamless epic, but also as the most deeply personal effort of his career.


    What can listeners expect? Richer and weirder than The Stage Names and deeper and moodier than even Black Sheep Boy, I Am Very Far is dense, fragmented, opaque. A reverie of uncertainty, it feels at once disorienting and oddly familiar, threatening and friendly. Okkervil River have thrown away all maps and compasses but they continue to chart their way, unblinking, toward destinations unknown.

    1. The Valley

    2. Piratess
    3. Rider
    4. Lay of the Last Survivor
    5. White Shadow Waltz
    6. We Need a Myth
    7. Hanging from a Hit
    8. Show Yourself
    9. Your Past Life as a Blast
    10. Wake and Be Fine
    11. The Rise

    Okkervil River
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Soul Searching Sun Soul Searching Sun Quick View

    $34.99
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    Soul Searching Sun

    Available On Vinyl For The First Time!


    First Pressing Of 1500 Numbered Copies On Orange/Yellow Mixed Vinyl


    6-Panel Insert Included


    In the early '90s, Life of Agony was a straight-up Hardcore Metal band. They built up a loyal following with their debut River Runs Red, by incessant touring and word of mouth, with little MTV or radio airplay. On their second album, 1995's Ugly, the band chose a different musical path - they melded their Hardcore with the melodic Alternative Rock of Stone Temple Pilots and Alice In Chains.


    Longtime fans or the record-buying public were mildly aroused, and the group was now faced with a new dilemma; should they stay true to their newly decided musical direction, or conform to their fans' expectations of what Life of Agony's music should sound like? The group chose to stick to their guns and do what their hearts told them to on Soul Searching Sun.


    New drummer Dan Richardson (ex-Pro-Pain) fits the band perfectly, able to handle their musical schizophrenia with no problem.

    1. Hope
    2. Weeds
    3. Gently Sentimental
    4. Tangerine
    5. My Mind Is Dangerous
    6. Neg
    7. Lead You Astray
    8. Heroin Dreams
    9. None
    10. Angry Tree
    11. Hemophiliac In Me
    12. Desire
    13. Whispers
    Life Of Agony
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sadnecessary Sadnecessary Quick View

    $25.99
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    Sadnecessary

    You never know who you're going to meet on the first day of school. Sometimes, you can end up being introduced to one of the best friends you'll ever
    know. That was the case for Clemens and Philipp-otherwise known as Milky Chance. The Kassel, Germany duo met in an Advanced Music Course at
    the start of eleventh grade, and they creatively gelled right off the bat.


    They got along so great that they played in a local band until graduation. Even though the group disbanded when their drummer left Kassel, Clemens and
    Philipp kept on making music. Weaving together elegant electronic production with acoustic guitars and lilting, lush vocals, they harnessed a style
    unequivocally their own.


    Clemens put it best, Think of it as the singer-songwriter spirit mixed with electronic beats. Somehow, it's always a little bit melancholy, but there's a
    positive spin. You can dance to most of it too! Melancholy is something that I carry within me. I write the best songs when this mood catches me."
    In order to capture that, the boys built a tiny studio in the quiet house Clemens grew up in. Over the course of two weeks in 2013, they cut their full-length
    debut, Sadnecessary, on a minimalist setup, spending hours getting the settings just right. They didn't need anything more than a rudimentary interface,
    microphone, and computer. That's why Sadnecessary sizzles so much.


    After cutting the tracks, Clemens and Philipp uploaded the first single Stolen Dance to YouTube. With its bright handclaps, plaintive acoustic guitars, and
    his own gravelly smooth delivery, the song became a viral sensation, eventually racking up over 30 million-plus YouTube views and made them the most
    blogged about act on HypeM for that month.


    About the song, he says, It's less of a story than a feeling. The feeling in the song refers to a certain moment I wanted to hold on to. It's the sentiment you
    experience when you miss somebody you really like and just can't spend time with that person. You're sad the other person isn't there, but you're also
    happy for the beautiful moments you've spent together.


    Sadnecessary, released on the musicians' own Lichtdicht Records in Europe, became a phenomenon followed by packed shows around the continent. In
    early 2014, Republic Records inked a deal with Milky Chance to release the record stateside, opening them up to their largest audience yet.


    Now, songs like Down By The River flow between poetic musing and delightfully danceable grooves. Clemens remains honest at every turn though.
    There is actually a personal story behind 'Down By The River', he adds. In general it's about being in love, but there's a lot of room for interpretation.
    That's important to us.


    Ultimately, because of that emotional expanse, these songs will resonate loudly with listeners everywhere. Clemens leaves off, At the end of the day,
    we're most happy when people discover our music for themselves and have fun at one of our concerts. It's just great when they listen to a song and
    connect it to a personal experience. That's the most amazing thing, and we'd love to encourage that.


    Led by the irresistibly catchy, danceable track "Stolen Dance" - which has already hit #1 in 15 countries and amassed over 50 million views on YouTube -
    German duo Milky Chance are now poised for greatness in the states as well.


    The duo weaves elegant electronic production with acoustic guitars, along with lilting, lush vocals. It's a unique sound that is unequivocally their own.

    1. Stunner
    2. Flashed Junk Mind
    3. Becoming
    4. Running
    5. Indigo
    6. Sadnecessary
    7. Down By The River
    8. Sweet Sun
    9. Fairytale
    10. Stolen Dance
    11. Loveland
    12. Feathery
    Milky Chance
    $25.99
    Vinyl LP - Sealed Buy Now
  • Manipulator Manipulator Quick View

    $24.99
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    Manipulator

    THE SEGALL HAS LANDED. And it's fully loaded, with
    everything that TY SEGALL (and you and me) are gonna
    need in the world to come. Heads up! It's coming down fast.


    Sticking his hand deeper into the machines all around
    him, TY is reaching ever further to the outer limits of inner
    space orbited throughout TWINS and SLEEPER. And
    now more than ever, the chunks of the world that came
    before are like asteroids formed in his image . . . picking up
    speed . . . .


    Still fighting the power with all the energy that a determined
    mind-patriot can conjure, Ty's a fighter who loves, a
    surfer, a spaceman, and yeah, a casualty - like you, he'll
    never be free. But unlike you, he knows it - and when
    he goes down and his head cracks in two, out pour the
    multi-colored manias that make up MANIPULATOR. Soursweet
    declarations featuring freaks and creeps alike: "The
    Singer," "The Faker," "Mister Main," "Susie Thumb," the
    "Connection Man," and "The Crawler," to name but a mutant
    fistful.


    To see these peeps, to realize their dreams and visions,
    TY kept working, kept writing, laying down more
    tracks than ever. New musical expressions pop and surprise
    relentlessly throughout all the knockout tunes of
    MANIPULATOR with many sounds in the mix - but most
    of all, SO many guitars! So
    many. And different kinds of
    strings - the strangled-neck
    solo of "The Singer," recalling
    the good old days down by
    the river with Neil. Numbedand-
    unplugged discursions spiraling away from the funk
    on "Mister Main." Three-quarter quartets raising their din
    in a few key places. Waves of sparkling acoustics with
    ominous, Love-ly undertones - and then, torrents of filthy
    git-grunge, exploding into the chorus, washing everything
    away, fusing the blackness of SABBATH with the grime and
    grab-ass of the STOOGES and the sweet swinging tones of
    the STONES. All in the name of getting higher on the music.
    Why have one guitar solo when you can have a few in the
    same space? There's so little time, and a LOT to say.


    In order to ensure that he got it all out, TY called a few
    friends to fill in special parts on certain MANIPULATOR
    songs. He got great touches from CHRIS WOODHOUSE (piano,
    synth & percussion), SEAN PAUL PRESLEY (vocals), BRIT
    LAUREN MANOR (vocals), STEVE NUTTING (drums), IRENE
    SALZER (violin), JESSICA IVRY (cello), MATTHIAS MCENTIRE
    (viola) and the TY SEGALL band (MIKAL CRONIN, CHARLES
    MOOTHEART, EMILY ROSE EPSTEIN). Plus, MIKAL arranged
    the strings - and everyone played awesomely.


    The clarion call / siren song of his guitar . . . . clouds of
    guitar billowing, blood rushing to the head, the temperature
    going from blue to red . . . . TY's on a mission, working
    to change chemistry through music with the steam-lined
    pop and helium-cooled vocals of MANIPULATOR. These
    seventeen songs take many forms, as if TY is finally releasing
    all the thoughts that have been holding him down,
    that made him pick up the ax to begin with. By the end of
    MANIPULATOR, you'll feel that he must have chased all the
    demons - but it's a big world, and MANIPULATOR has only
    begun to fight.

    1. Manipulator
    2. Tall Man, Skinny Lady
    3. The Singer
    4. It's Over
    5. Feel
    6. The Faker
    7. The Clock
    8. Green Belly
    9. Connection Man
    10. Mister Main
    11. The Hand
    12. Susie Thumb
    13. Don't You Want To Know? (Sue)
    14. The Crawler
    15. Who's Producing You?
    16. The Feels
    17. Stick Around
    Ty Segall
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Other Side Of Desire The Other Side Of Desire Quick View

    $19.99
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    The Other Side Of Desire

    In the hands of the eccentric jazz-pop poet Rickie Lee Jones, the phrase the other side of Desire could mean a lot of things. As it happens, it's where the gets her mail; the singer-songwriter has been living quietly in New Orleans for a little over a year. This past fall, she celebrated her 60th birthday with the Lost Bayou Ramblers, at d.b.a.


    The Other Side of Desire is also the title of Jones' first album of original material in more than ten years. Written, recorded and rooted in the city of New Orleans, according to press materials, it was crafted with producers Mark Howard and John Porter, whose resumes are heavy with names like Roxy Music, Bob Dylan, Neil Young and the Smiths. (Porter, who also lived in New Orleans for a time, can count locals like the Honey Island Swamp Band, Jon Cleary and Tommy Malone on his personal roster as well.)


    The album is pure Jones: warm and whimsical, with a keen storyteller's touch. This time around, it's infused with the sounds of New Orleans. Strains of swamp-pop, honky tonk and Cajun waltzes wind through The Other Side of Desire which, the release said, could not have been written without the backdrop of New Orleans; its river, trains, barroom ghosts and sudden bands all playing the same song.


    Alison Fensterstock (The Times-Picayune)

    1. Jimmy Choos
    2. Valtz De Mon Pere (Lovers' Waltz)
    3. J'ai Connais Pas
    4. Blinded By The Hunt
    5. Infinity
    6. I Wasn't Here
    7. Christmas In New Orleans
    8. Haunted
    9. Feet On The Ground
    10. Juliette
    11. Finale (A Spider In The Circus Of The Falling Star)

    Rickie Lee Jones
    $19.99
    Vinyl LP - Sealed Buy Now
  • Fern Girl And Ice Man Fern Girl And Ice Man Quick View

    $15.99
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    Fern Girl And Ice Man

    The Lowest Pair had been planning to release a new record in the Spring
    of 2016. So, in early 2015, Palmer convinced Kendl to spend a winter in
    Minnesota, with the temptation of working with local greats Dave
    Simonett and Erik Koskinen on the new material. The duo then set off on
    what would be a successful season of touring their second, critically acclaimed
    album, The Sacred Heart Sessions (Spin: "solemn and
    humble;" The Bluegrass Situation: "deeply felt"), and a new-old-time
    record, I Reckon I'm Fixin' On Kickin' Round To Pick A Little. In the fall,
    returning to the midwest to finish up the recordings they had begun a
    few months prior, Kendl and Palmer found themselves with a whole new
    batch of songs ready to lay down. After much deliberation, they
    ambitiously decided the two collections should be released together in
    2016.


    The new records, Fern Girl and Ice Man, as well as Uncertain As It Is
    Uneven, could be viewed as two windows into the growing and changing
    world of The Lowest Pair. Uncertain stays the course of their previous
    releases, being focused on stripped down, intimate arrangements to
    support their timeless songwriting and haunting vocals. Fern Girl is a
    more moody and adventurous exploration of new sounds, new studio
    production directions, and what it might sound like for The Lowest Pair
    to be supported by a full band, while keeping one foot planted in the
    rootsy aesthetics which drew them together from the beginning.
    Kendl Winter, born in Arkansas, moved to Olympia, Washington after
    high school, drawn to the evergreen forests and the lively and thriving
    music scene. She put three solo records out on Olympia's indie label, K
    Records, and performed in nationally-touring northwest string bands
    before beginning The Lowest Pair in 2013 with Palmer T. Lee. Palmer
    built his first banjo when he was 19 from pieces he serendipitously
    inherited. Shortly after deciding songwriting would be the most effective
    and enjoyable medium for his musings, he began cutting his teeth
    fronting Minneapolis string bands and touring the midwest festival
    circuit, which is where he and Kendl first met, on the banks of the
    Mississippi.


    So, back to that Spring of 2016 plan: with little attention to tedious
    practicalities and with an eye focused securely on delivering to their
    growing fan base a truly special treat; a rootsy, bluegrassy, old-timish
    version of meiosis has happened, as one new album became two new
    albums.


    Fans already know that the chemistry between Palmer's Midwestern
    charm, those long winters spent listening to a steady diet of Townes Van
    Zandt and John Hartford, and Kendl's poetic and playful way with
    words, her unique approach to the banjo (just listen to "Dreaming Of
    Babylon"), and her barefoot-in-the-cool-river-water mystique combine to
    make a powerful sound, but what's new in 2016 is both the inclusion of
    those non-banjo sounds (harmonica, drum, bass, violin) and an
    incredible expansion of their songbook. In a way, two records, the playful
    and the hush, the dark and the rooted, the pillow and the nightmare, the
    pin drop and the starry night; the juxtaposition of the ups and downs
    that are experiences in a day, in a year, in a minute, all this has
    demanded from the band more than just "a new record." Fern Girl and
    Ice Man and Uncertain As It Is Uneven mark the arrival of America's
    next great musical duo, and it's over the course of these two albums that
    that boast becomes clearly rooted in truth.

    1. The River Will
    2. Tagged Ear
    3. Stranger
    4. When They Dance the Mountains Shake
    5. Spring Cleaning
    6. Totes
    7. Trick Candlelight
    8. Shuck It
    9. Sweet Breath
    10. Waiting for the Taker
    11. How Can I Roll
    The Lowest Pair
    $15.99
    Vinyl LP - Sealed Buy Now
  • Uncertain As It Is Uneven Uncertain As It Is Uneven Quick View

    $15.99
    Buy Now
    x

    Uncertain As It Is Uneven

    The Lowest Pair had been planning to release a new record in the Spring
    of 2016. So, in early 2015, Palmer convinced Kendl to spend a winter in
    Minnesota, with the temptation of working with local greats Dave
    Simonett and Erik Koskinen on the new material. The duo then set off on
    what would be a successful season of touring their second, critically acclaimed
    album, The Sacred Heart Sessions (Spin: "solemn and
    humble;" The Bluegrass Situation: "deeply felt"), and a new-old-time
    record, I Reckon I'm Fixin' On Kickin' Round To Pick A Little. In the fall,
    returning to the midwest to finish up the recordings they had begun a
    few months prior, Kendl and Palmer found themselves with a whole new
    batch of songs ready to lay down. After much deliberation, they
    ambitiously decided the two collections should be released together in
    2016.


    The new records, Fern Girl and Ice Man, as well as Uncertain As It Is
    Uneven, could be viewed as two windows into the growing and changing
    world of The Lowest Pair. Uncertain stays the course of their previous
    releases, being focused on stripped down, intimate arrangements to
    support their timeless songwriting and haunting vocals. Fern Girl is a
    more moody and adventurous exploration of new sounds, new studio
    production directions, and what it might sound like for The Lowest Pair
    to be supported by a full band, while keeping one foot planted in the
    rootsy aesthetics which drew them together from the beginning.
    Kendl Winter, born in Arkansas, moved to Olympia, Washington after
    high school, drawn to the evergreen forests and the lively and thriving
    music scene. She put three solo records out on Olympia's indie label, K
    Records, and performed in nationally-touring northwest string bands
    before beginning The Lowest Pair in 2013 with Palmer T. Lee. Palmer
    built his first banjo when he was 19 from pieces he serendipitously
    inherited. Shortly after deciding songwriting would be the most effective
    and enjoyable medium for his musings, he began cutting his teeth
    fronting Minneapolis string bands and touring the midwest festival
    circuit, which is where he and Kendl first met, on the banks of the
    Mississippi.


    So, back to that Spring of 2016 plan: with little attention to tedious
    practicalities and with an eye focused securely on delivering to their
    growing fan base a truly special treat; a rootsy, bluegrassy, old-timish
    version of meiosis has happened, as one new album became two new
    albums.


    Fans already know that the chemistry between Palmer's Midwestern
    charm, those long winters spent listening to a steady diet of Townes Van
    Zandt and John Hartford, and Kendl's poetic and playful way with
    words, her unique approach to the banjo (just listen to "Dreaming Of
    Babylon"), and her barefoot-in-the-cool-river-water mystique combine to
    make a powerful sound, but what's new in 2016 is both the inclusion of
    those non-banjo sounds (harmonica, drum, bass, violin) and an
    incredible expansion of their songbook. In a way, two records, the playful
    and the hush, the dark and the rooted, the pillow and the nightmare, the
    pin drop and the starry night; the juxtaposition of the ups and downs
    that are experiences in a day, in a year, in a minute, all this has
    demanded from the band more than just "a new record." Fern Girl and
    Ice Man and Uncertain As It Is Uneven mark the arrival of America's
    next great musical duo, and it's over the course of these two albums that
    that boast becomes clearly rooted in truth.

    1. The Company I Keep
    2. Keweenaw Flower
    3. Lonesome Sunrise
    4. Like I Did Before
    5. 37 Tears
    6. The Sky is Green
    7. Mason's Trowel
    8. Holy Buckets
    9. Dreaming of Babylon
    10. Pretend It's True
    11. By Then Where Will That Be
    The Lowest Pair
    $15.99
    Vinyl LP - Sealed Buy Now
  • Love Must Be Tough Love Must Be Tough Quick View

    $34.99
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    Love Must Be Tough

    Import


    In a direction first hinted at on Early Hours, Eleanor McEvoy's 7th album, Love Must Be Tough adds in an entirely new twist. With a supporting cast of Irelands finest musicians in the form of the South King Street Band, Eleanor takes a retro ride back to the late '50s/early '60s birth of rock & roll replete with ragtime jazz trumpets, trombones and saxophones. Originally conceived as a covers album based on the theme of hitting 40 and mid life crisis, Love Must Tough has emerged as a hybrid; mainly covers/interpretations, but mixed with an original and a handful of co-written numbers.


    The album opens with a quirky almost bossa nova version of the 1965 Jagger/Richards penned Mothers Little Helper, the line what a drag it is getting old setting the scene for the whole set. Its followed by the title track co-written with Johnny Rivers, a track as good as anything Eleanors ever done. Not far behind is Old New Borrowed And Blue, one of two tracks co-written with The Beautiful Souths Dave Rotheray.


    Love Must Be Tough is a bold break from the approach of Out There, but while exploring old ground with a fresh slant it nevertheless remains an album that has all the hallmarks weve come to expect from Eleanor; great songs, fantastic production and, of course, Eleanors wonderful vocals.

    1. Mother's Little Helper (Jagger/Richards)
    2. Love Must Be Tough (E. McEvoy/Johnny Rivers)
    3. Old New Borrowed And Blue (E. McEvoy/D. Rotheray)
    4. Lubbock Woman (Terry Allen)
    5. If You Want Me To Stay (S. Stewart)
    6. Roll Out Better Days (E. McEvoy)
    7. The Night May Still Be Young But I Am Not (E. McEvoy/D. Rotheray)
    8. Hands Off Him (Bowman/McShann)
    9. Shame On The Moon (Rodney Crowell)
    10. Easy In Love (E. McEvoy/B. Parker)
    11. He Never Spoke Spanish To Me (Butch Hancock)
    12. I Knew The Bride (When She Use To Rock N Roll) (Nick Lowe)
    Eleanor McEvoy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
    Buy Now
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    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Calico Review Calico Review Quick View

    $21.99
    Buy Now
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    Calico Review

    If you drive past the 200 block of South La Brea, there is a lamp shop, a pet shop, and a little glass door that says "Casting Agency" above it. Inside you'll find one of LA's most stereotypical rituals, where men & women from all walks of life vie for the attention and popularity of the Hollywood producer. It's a dream factory for some of them. It's also a place where Los Angeles outsiders learn what the city is really like, beyond the sun and surf and celebrities, where every brightly-lit surface eventually faces a cloud.


    Indeed, the lessons learned by the Allah-Las - guitarists Miles Michaud and Pedrum Siadatian, bassist Spencer Dunham, drummer Matthew Correia - since their auspicious formation in 2008 have been tempered with experience. Now, with their third album Calico Review (their first for Mexican Summer), their experience transforms once more, this time into wisdom. The band's trajectory, formed around mutual appreciation for the same kinds of music and a host of shared experiences, focuses on both the outer trappings of their home and surroundings, and the through line of darkness that suffuses life in LA county.


    Where the Allah-Las display their insight, and what really shines across the 12 songs that comprise Calico Review, is the way that the group has pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling - the peerless capture of music long in the tradition and mood of California pop, the sound that's captured the essence of the LA experience - aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements.


    The process began with their self-titled debut, which captured the Allah-Las' live set circa 2012 and continued onward with 2014's Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that's grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit.


    Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It's immediate, the first thing you recognize about the band in the opening moves of "Strange Heat," in the amount of control and character burning off of the band's knack for restraint. Songs like "Famous Phone Figure" cradle character sketches over delicate strains of violin, organ, and Mellotron, Correia's drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs. "


    Could Be You" works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. "Roadside Memorial" applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, "High & Dry," featuring drummer Matthew Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number "200 South La Brea," its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.


    In between releases, the Allah-Las have toured around the world, and will continue that journey in support of Calico Review. The experience of traveling and idle time on tour inspired the group in different ways, and provided the pathways by which the band transports its listeners to a different place, be that wherever they are, and where the band has been.


    What the Allah-Las present is not necessarily crossing the L.A. River, coin in mouth, on the Riverboat Styx. It's not Raymond Chandler and it's not Raymond Carver. But the band's four members are aware of the pitfalls that stack against the idyllic notion of southern California life that forms from outside of the city. It's a siren call to the hopeful, and it's a successful town for tempering dreams into wakeful reality. Even with over 8,000 people per square mile, there is room for everyone, and then some, to be completely alone, by choice or otherwise.


    Calico Review bears the mark of four students becoming the teachers, sharing the sentiments of the town they call home. Join them. There's a lot to learn.

    1. Strange Heat
    2. Satisfied

    3. Could Be You

    4. High & Dry

    5. Mausoleum

    6. Roadside Memorial

    7. Autumn Dawn

    8. Famous Phone Figure PLAY

    9. 200 South La Brea

    10. Warmed Kippers

    11. Terra Ignota

    12. Place In The Sun
    Allah-Las
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Trials Of Van Occupanther (10th Anniversary Edition) (Out Of Stock) The Trials Of Van Occupanther (10th Anniversary Edition) (Out Of Stock) Quick View

    $27.99
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    The Trials Of Van Occupanther (10th Anniversary Edition) (Out Of Stock)

    10th Anniversary Edition On 180-Gram Gold Vinyl


    Includes A B2 Pull-Out Poster, Handwritten Lyrics & Previously Unseen Photos


    Comes With A Special Bonus 7 With 2 Unreleased Songs


    Limited To Only 1000 Copies For North America


    This Autumn Midlake will celebrate the 10th anniversary of The Trials of Van Occupanther with a deluxe reissue via Bella Union on 180g gold vinyl, complete with a B2 pull-out poster, handwritten lyrics and previously unseen photos. The cover artwork has been reimagined in a fittingly flushed, hallucinatory painting by neo-impressionist (and pavement-scorching skateboarder) Brian Lotti. The original album will be accompanied by a special bonus 7" featuring two previously unreleased tracks, the plaintive rolling lament of "The Fairest Way" and the revelatory psychedelic swirl of "Festival," two tracks recorded before original vocalist Tim Smith departed the band.


    In 2006, Van Occupanther was hailed as an instant classic and over the course of the next year proved to be the band's commercial breakthrough. While their debut, 2004's Bamnan and Slivercork, had drawn acclaim alongside comparisons to Grandaddy and Radiohead, Midlake looked further afield and deeper within for the follow-up. Suffused with a romantic yearning for the simpler life, this was a record pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young's After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious. Rich reserves of wistful melody, dreamy horns, rolling guitars and plaintive pianos reflect its elusive, idiosyncratic narratives: a couple long to be robbed by bandits so they can start anew, an outcast scientist ponders his pariah status, a woman chases a frisky deer, a river leads who knows where yet leaves you little choice but to follow


    Famous admirers included Thom Yorke, Beck, The Flaming Lips, Paul Weller, James Dean Bradfield, St Vincent, actor/skateboarder Jason Lee and The Chemical Brothers, and the album went on to secure high placings in the end-of-year polls. Since then, their influence has perhaps been felt in the breakthrough of many a band or singer at one with the stuff of beards, bucolic yearning and blissful West Coast harmonies, from Fleet Foxes to Band of Horses, The Low Anthem, Jonathan Wilson, Matthew E White and beyond.


    Not that Midlake stood still to lap up the praise: a band acutely attuned to nature's shifts, they embraced change. In 2010 they ventured into darker psych-folk thickets for The Courage of Others and backed John Grant on his celebrated breakthrough album, Queen of Denmark. When Tim Smith subsequently departed, guitarist/singer Eric Pulido stepped up to the lead vocal role for 2013's freshly exploratory Antiphon. Since then, Pulido and various Midlake members have embarked on a new musical project with a cast of all-stars including members of Grandaddy, Franz Ferdinand, Band of Horses and Travis, for an album due for release next year. All of this serves to remind us what fertile seeds were sown with The Trials of Van Occupanther: a modern classic, made of vintage craft and timeless magic.

    1. Roscoe
    2. Bandits
    3. Head Home
    4. Van Occupanther
    5. Young Bride
    6. Branches
    7. In This Camp
    8. We Gathered In Spring
    9. It Covers The Hillsides
    10. Chasing After Deer
    11. You Never Arrived


    Bonus 7" Single
    1. Festival
    2. The Fairest Way

    Midlake
    $27.99
    180 Gram Audiophile Virgin Vinyl LP + 7 Single - 2 LPs Sealed Temporarily out of stock
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