- Lowest Price
- Highest Price
Familiars"The Antlers magnify private sorrows to overwhelming scale, creating grand anthems."
-The New York Times
"The band occupies a space in the lower atmosphere: floating and free,
but recalling what the ground feels like, too."-The New Yorker
"Silberman shows that his voice is as versatile as any instrument in the band."
-The Washington Post
Familiars, the highly anticipated new album from The Antlers, will be released on Anti- Records in 2014. Their fourth studio album follows 2011's critically lauded Burst Apart, which Pitchfork named Best New Music and NPR called "a delicate mixture of grace and intensity.
Familiars was recorded, engineered and produced by the band in their Brooklyn studio and mixed by Chris Coady (Yeah Yeah Yeahs, TV on the Radio, Beach House) at DNA Downtown Studios.
The Antlers is Peter Silberman, Darby Cicci and Michael Lerner. Silberman founded The Antlers in 2006 as a solo project and released two bedroom-recorded LPs before enlisting Cicci and Lerner to round out the group. As a trio they recorded and released 2009's breakout Hospice and Burst Apart, as well as the 2012 EP Undersea.1. Palace
9. Refuge$21.99Vinyl LP - 2 LPs Sealed Buy Now
E.S.P.Numbered, Limited Edition
Pressed At RTI
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
This title is not eligible for discount.1. E.S.P.
3. Little One
7. Mood$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
The Bedroom Tour PlaylistNiykee Heaton makes sultry and sizzling pop, but personally produces the beats and writes the music. She
unapologetically owns her sexuality, but she's just as quick to quote Shakespeare as she is to post a provocative,
internet-breaking photo for her five million social followers, showing sex appeal and depth can go hand-in-hand. Her
debut album, The Bedroom TourPlaylist, artfully magnifies her musical evolution and the result is her most powerful,
passionate, and potent statement yet.1. I'm Ready
2. Bad Intentions
4. Say Yeah
12. Dream Team$19.99Vinyl LP - Sealed Buy Now
Good HumorThis reissue of 'Good Humor' is the first time the LP will be available physically in the US since it was released in 1998. A major turning point for the band, 'Good Humor' found the group recording in Malmö, Sweden and replacing their samplers and synths with guitars and horns. Produced by Tore Johansson (The Cardigans), their acoustic turn only magnified the slickness and pop-instincts of Saint Etienne.1. Wood Cabin
3. Split Screen
4. Mr. Donut
5. Goodnight Jack
6. Lose That Girl
7. The Bad Photographer
8. Been So Long
10. Erica America
11. Dutch TV$28.99Vinyl LP - Sealed Buy Now
WARB-WAR-2206xThe Flaming Lips
Transmissions From The Satellite Heart1993's Transmissions From The Satellite Heart is the Flaming Lips' second release for Warner Bros. and first with guitarist Ronald Jones and drummer Steven Drozd. The band's transition from indie noisemakers to pop provocateurs was magnified tenfold here by the out of nowhere smash She Don't Use Jelly, which was not only their first charting radio hit but heavily rotated on MTV. No one trick pony, the ambitious 11-song set balances further pop fare like Turn It On and extended numbers like Moth In The Incubator and Slow Nerve Action, with an acoustic folk cut in Plastic Jesus, all with a post-modern style and grace.1. Turn It On
2. Pilot Can At The Queer Of God
3. Oh My Pregnant Head
4. She Don't Use Jelly
5. Chewin The Apple Of Your Eye
7. Be My Head
8. Moth In The Incubator
9. Plastic Jesus
10. When Yer Twenty Two
11. Slow Nerve Action$19.99Vinyl LP - Sealed Buy Now
Zerodust Stylus Tip Cleaner
The Zerodust is Our Best-Selling, Non-Fluid Based Stylus Cleaner! No More Hard Bristled Brushes!
After a few seconds, you lift the stylus, and it's as clean and residue-free as the proverbial whistle...
- Michael Fremer, Stereophile, Vol25 No.3
This fresh approach to stylus cleaning has saved all of us from the fear of hard bristled brushes and over applying dangerous fluids. Clean your stylus simply and effectively with the Zerodust from Japan. This space-age polymer bubble allows you to simply lower your stylus onto its surface, then quickly lift the arm lever and youre done! Watch as the stylus tip slowly sinks into the baby soft surface, leaving behind an impression with the stylus debris left behind! This unique device will last a lifetime, can be cleaned with tap water, and can extend the life of your cartridge! Comes complete with a magnifier to inspect your stylus! Our highest recommendation!$69.99Record Cleaning Accessory Buy Now
Dancer EquiredContrary to popular belief, the members of Times New Viking are not art school dropouts; theyre art school graduates. And rather than follow the path of stuffy galleries and regular unemployment, they chose to start a band. Times New Viking, consisting of Beth Murphy on keyboards/vocals, Adam Elliott on drums/vocals, and Jared Phillips on guitar, began inconspicuously in 2003 when it was particularly out of vogue to do it yourself.
From their first noise-crusted basement tapes that coaxed Siltbreeze Records founder Tom Lax from retirement to indie-elite Matador Records, Times New Vikings star rose while they still sounded like the best Messthetics one-off you always wanted to keep to yourself.
Dancer Equired, the bands first album for Merge, is a return to the hive, even if the records creation was out of their usual boundaries. It should be known that for the first time, the trio escaped to a studio, namely Columbus Discount Recording and the famed Musicol, during the summer of violence. With the help of Adam Smith and Dustin White, Times New Viking recorded and produced an album that sounds like a mellow night out.
Though it abandons the pissy histrionics of the past, the record retains the loud, brash, mammoth guitars but also magnifies the bright, beautiful traits the band has nurtured since the beginning. Dancer Equired is a new chapter, sure to attract an entirely new audience of intrigued listeners while keeping old Times New Viking fans perfectly satiated by not abandoning those early ideals. Rip it up and start again.1. Its a Culture
2. Ever Falling in Love
3. No Room to Live
4. Try Harder
5. California Roll
6. Ways to Go
7. New Vertical Dwellings
8. Downtown Eastern Bloc
9. More Rumours
10. Dont Go to Liverpool
11. Fuck Her Tears
12. Want to Exist
13. Somebodys Slave
14. No Good$18.99Vinyl LP - Sealed Buy Now
Songs Of PatienceThe title of Alberta Cross' new studio album, Songs of Patience is, in many ways, literal. It's been three long years since the band last released a full-length album. The highs and lows of their journey raised a grander set of ideas, infusing the 10-song set's title with additional universal meaning.
After touring extensively on their debut, Broken Side of Time, with bands like Them Crooked Vultures, Oasis, and Black Rebel Motorcycle Club, and stopping at festivals like Bonnaroo and Sasquatch, Alberta Cross headed to an old, abandoned house in the middle of nowhere near Woodstock, NY. There, they braved the freezing winter and embraced a sense of the building's haunted past to envision ideas for a new records.
In the end, the record is the sum of three years' worth of parts, a struggle that concluded in victory. Three difference producers: Joe Chiccarelli (The White Stripes, My Morning Jacket), Mike Daly (Whiskeytown, Young the Giant) and Claudius Mittendorfer (Muse, Interpol). It opens new possibilities for the band's visceral live show, a notable facet of the group defined by their raucous, gritty onstage performances that swell the tracks into bigger, more expansive versions of themselves. Song of Patience has also, in many ways, become a decided source of inspiration for the band members, one they hope magnifies the personal battles and upsides of their fans.1. Magnolia
2. Create Of Gold
3. Lay Down
4. Come on Maker
5. Ophelia On My Mind
7. I Believe In Everything
8. Life Without Warning
9. Money For The Weekend
10. Bonfires$17.99Vinyl LP - Sealed Buy Now
Springtime CarnivoreEvoking a mellow high on a warm Sunday afternoon, where everything is magnified and glows in
Technicolor, the debut album from Springtime Carnivore is a dreamy work of ebullient pop and
looming psychedelia. Springtime Carnivore is the nom de tune of Greta Morgan. Produced by
Morgan and sonic wizard Richard Swift (The Black Keys, The Shins, Foxygen) the album crackles with warmth, employing faded strings, blown-out drums, fuzzy guitars, and pawnshop keyboards to adorn widescreen vocals. Due out November 4th from Aquarium Drunkard's Autumn
Tone Records, the album builds on a foundation of classic folk and pop songwriting, synthesizing
those roots with production that turns and careens unexpectedly, shooting her melodic songs in
varied light and from surprising angles: "Name on a Matchbook" merges off kilter grooves to
a strident glide; "Sun Went Black" charges marries fuzzy power pop to wistful longing; "Other
Side of the Boundary" is an aching psychedelic ballad, at once intimate but also cosmically faraway. Springtime Carnivore makes songs that sound familiar but skewed. Already a music veteran, Springtime Carnivore recently completed a tour supporting legendary soft psych band The
Zombies, with whom she shares a distinct melodic touch. The songs on the album utilize classic
approaches, but are distinctly modern. There's an index card tacked to the wall of Morgan's rehearsal space. It reads "no cheap tricks," and its command is heeded on Springtime Carnivore's
14 heavenly songs.1. Western Pink
3. Name on a Matchbook
4. Sun Went Black
5. Foxtrot Freak (Something In The Atmosphere)
6. Other Side of the Boundary
7. Karen Bird's Theme
8. Keep Confessing
9. Last One to Know
10. Two Scars
11. Talk to Me Slow
12. Creature Feature
13. Find a New Game
14. Low Clouds$19.99Vinyl LP + CD - Sealed Buy Now
In A Silent Way (Awaiting Repress)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Chart-Topping 1974 Record Reunites Dylan With the Band: Interplay Alone Worth Experiencing Set in Highest-Possible Fidelity
Mastered from the Original Master Tapes: Mobile Fidelity Version Brings Underrated Gem to Fullest Light With Warm, Revealing Sound
Edgy Personal Album Captures Legendary Artist Straddling Line Between Romance and Suspicion: Includes Beloved Favorites "Forever Young" and "You Angel You"
Bob Dylan's Planet Waves became an event even before the album was released and revealed itself as an understated masterwork. His first studio recording in nearly four years, the homespun 1974 effort finds him reuniting with the Band, by then firmly established as virtuosos. The chemistry is obvious on every song. And the modest and spare production only magnifies the honesty and purity of the collaboration. Mobile Fidelity's 180g LP deepens the music's emotional connection and rustic warmth to the fullest possible extent.
Mastered from the original master tapes, this collectable audiophile edition brings to the surface the communal interplay and warm, relaxed vibe established by Dylan and the Band. Listeners will finally sense the sensitive tones made possible by the ensemble's laidback nature and watertight playing. The deep body of Richard Manuel's piano, pinpoint decay of Garth Hudson's organ, and clarity of Dylan's vocals emerge with new perspective. As a result, Planet Waves leaps from the background of Dylan's catalog into the fore, the revelatory sonics helping earn the record serious consideration as one of the Bard's finest.
Recorded in just three days time, Planet Waves is at its core an exhibition of the inimitable folk-rock honed by Dylan and the Band. Recalling the Americana spirit of The Basement Tapes while adding a domesticated edginess and subtracting a degree of wildness, the set personifies simple charm and scraggly sweetness. Couched in the context of Dylan grappling with the chasm between family life and the road, Planet Waves fittingly encompasses myriad moods and contradictions, with tunes ranging from unquestionably devotional to overtly dark. In between, the singer attempts to navigate peace, catharsis, and resolve.
Per Dylan's hallmark, many tunes on Planet Waves involve twists and subterfuge. Not, however, the best-known offerings-the often-covered wish "Forever Young," celebratory roll-and-tumble "On a Night Like This," devotional "You Angel You," which spark with love, romance, and prayer-like tenderness. Yet the seeds that blossomed into 1975's traumatic break-up album Blood on the Tracks are also planted here. Complex feelings and deep-seated personal confusion surface on "Wedding Song," the hardscrabble "Tough Mama," piano-centered "Dirge," and knocking-on-heaven's-door darkness of "Going, Going, Gone."
Throughout, Dylan's voice supplies subtle hints about his mindset and intent as the Band shadows him step for step, adding to the thematic ambivalence and contributing to a debate over meaning that continues today. Indeed, such relevance confirms the significance of Planet Waves 40 years after its original release. Mobile Fidelity's analog version digs beneath the surface and helps expose the record's buried strains.
This title is not eligible for discount.1. On a Night Like This
2. Going, Going, Gone
3. Tough Mama
5. Something There Is About You
6. Forever Young
7. Forever Young (Continued)
9. You Angel You
10. Never Say Goodbye
11. Wedding Song$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
...an exemplary experiment in restraint, lush with
a slow-burning, wordless, and ambient Americana
that manages to captivate while avoiding the
histrionics of its post-rock forebears.
- THE NEW YORKER
...they create minimalist, cinematic music that
combines modern, experimental acoustic sounds
with classical qualities.
This - not steak finger baskets or soft-serve ice
cream - is what you should like about Texas.
- The ONION / A.V. CLUB
Balmorhea flashes brilliance only to highlight a
slow-burning constancy that's at the core of one
of the year's early slow wonders.
For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined
their creative partnership as the core members of the band Balmorhea. Though their first
album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their
self-titled debut, recorded in 2006 and released in 2007 best captures the duo's unique
magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent
the duo quietly self-released their first recordings and started playing live shows. Now,
seven years later Western Vinyl is honored to have the opportunity reissue the band's
self-titled album, and make it available on vinyl for the first time ever.
In preparation for this special reissue, the audio was lovingly remastered, drawing out
even more of the nuances magnifying the sounds of Muller and Lowe's fingers on the
instruments, and teasing out the textures that set these recordings apart from the rest of
their catalog. Simple and sincere, these songs and ambient sounds the duo captured in
these recordings are strangely inviting. Throughout the album the distant sounds of Texas
grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking
wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.
It's hard to imagine Western Vinyl without Balmorhea. After our fateful meeting in 2007,
we forged a deep and lasting relationship we're all grateful for. We met at an Austin performance on the eve of their first US tour in support of their recently self-released debut
album. Their show that night was one of the most powerful performances I'd ever seen,
and as I looked around the room, it was apparent that I wasn't alone. With the help of a
cellist the group briefly transformed the dingy lounge into a vibrant pulsing cell. I had
experienced deeply moving shows before, but the ecstatic emotions they conjured were
new to me. Calling it electrifying, might sound clichÉ, but as the hair on my arms and legs
stood at attention, my eyes squinted a bit with concentration, and my head cocked to the
right, the electricity that passed over me felt very real. Over the next few years I had the
pleasure of experiencing dozens of Balmorhea shows, each with a slightly different story
to tell. - Brian Sampson, Western Vinyl1. Attesa
2. Baleen Morning
3. Dream of Thaw
4. In The Rowans
5. A Circumnavigation
6. En Route
7. If You Only Knew The Rain
8. And I Hear The Soft Rustling...
9. We Will Rebuild With Smooth Stones$16.99Vinyl LP - Sealed Buy Now
Scriabin & Prokofiev: Piano Sonatas (Speakers Corner)
Glenn Gould's highly self-willed art of piano playing has not only contributed to the building of a myth around his artistic personality, but also placed several works from the vast piano repertoire under the magnifying glass (as it were) in musical life. One such work is Scriabin's Piano Sonata No. 3 whose psychological, cyclical programme is held together by the theme, which recurs throughout the four movements. Unlike many other recordings, in Gould's hands the piece takes on a pleasantly non-romantic pathos. Gould subdivides the various states of mind through many breathing spaces and softens the tone to pianissimo, thus forcing the listener to hold his breath and concentrate wholly upon the finely woven counterpoint.
In contrast, Prokofiev's Piano Sonata in B flat major is overwhelmingly raging with its hammering staccatos, yet not omitting to add a bold, and at times derisive character. The slow second movement is at times bell-like, and filled with a great radiance and a fine sparkle. It is followed by a final movement, which lasts several minutes and has a steely, aggressive nature. As incomparable as the works are in their structure, they both explore the mental extremes of human emotions.
Recording: July 1967 / January, February and June 1968 at Columbia 30th Street Studio by Fred Plaut
Production: Andrew Kazdin
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.Alexander Scriabin: Piano Sonata No. 3 in F sharp minor, Op. 23
Serge Prokofiev: Piano Sonata No. 7 in B flat major, Op. 83 - Glenn Gould$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Layla (Awaiting Stock)Ranked 115/500 On Rolling Stone Magazine's List Of The 500 Greatest Albums Of All Time.
Eric Clapton and Duane Allman in the Same Band for the Only Time: Derek and the Dominos' Layla a Timeless Batch of Fire-Pot Blues, Poignant Gospel, Searing Rock, and Lustful Emotion
Mastered from the Original Master Tapes and Pressed at RTI: Mobile Fidelity 180g 2LP of Layla Is the Definitive-Sounding Analog Edition, Presents Music With Immersive Detail and Realism
The reputation of Derek and the Dominos' Layla and Other Assorted Love Songs, their lone record, precedes it. Eric Clapton performing in the studio with Duane Allman, Bobby Whitlock, Carl Radle, and more for the only time. A batch of fire-pot blues, poignant gospel, and searing rock - all birthed from the leader's insatiable lust for his friend George Harrison's wife. Now, experience it all, and one of the most famous guitar solos and codas in history, in unsurpassed sound courtesy of this quintessential Mobile Fidelity reissue.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP set exposes the brilliance of Tom Dowd's original production and the scope of the virtuoso musicians' playing. You've never been closer to the aching vocals, stinging leads, tormented emotions, or wowing intensity that grace every track. Clapton's tones emerge with unprecedented soulfulness. Afforded their own space in the mix, Allman's slide-guitar passages crackle with urgency. All-important sonic components such as soundstaging, imaging, and dynamics transport you to the actual event. Mobile Fidelity's analog version testifies on behalf of why fans deemed Clapton god.
Then, of course, there's the title track - crowned the 27th greatest song of all time by Rolling Stone. What to say about the outro - arguably the most famous, passionately penetrating, visceral, double-edged guitar solo in history. Clapton's strings weeping with longing, hope, regret, unrequited love. It deserves the best-possible sonic platform, and receives it here, on a pressing that brings Slowhand's every finger moment into great relief. Get inside Clapton's head, burrow into the conflicted emotions fluttering in his heart as he pines for his another man's wife, and in the process, produces an album that forever lives in the souls of anyone who's ever loved and lost.
Clapton's pained yearning permeates everything here. Works such as the swampy Tell the Truth, the pleading Why Does Love Got to Be So Sad?, and blues-drenched Have You Ever Loved a Woman? attest to his raw-nerve discomfort, guilt, and desire. He leaves teardrops on the microphone stand and blood on the floor, singing and playing as if his life depends on it and if, by some miracle, the music will serve as both a confessional and apology to Harrison. It's all magnified by Clapton achieving a spiritual and sonic oneness with his band, which matches his high-stakes precision with a rolling, tumbling looseness.
Allman adds firepower and achieves a still-unrivaled simpatico bond with Clapton, but each participant soars. Consider: The call-and-response, Sam and Dave-derived vocal exchanges between Whitlock and Clapton. Rich, creamy, Southern-stoked blends of R&B, blues, and soul. Vibrant tapestries in which the pianos, bass, guitars, and voices explode with ravishing fervor, naturalism, and desperation. Indeed, maybe a combo this great was only intended one shot in the studio. Perhaps the paralyzing degree of potency on display here, and the musicianship that remains the standard by which any blues-rock is judged, is meant to be preserved as one standalone record. Whatever the case, this is the analog version to own.
This title is not eligible for discount.1. I Looked Away
2. Bell Bottom Blues
3. Keep on Growing
4. Nobody Knows You When You're Down and Out
5. I Am Yours
7. Key to the Highway
8. Tell the Truth
9. Why Does Love Got to Be So Sad?
10. Have You Ever Loved a Woman
11. Little Wing
12. It's Too Late
14. Thorn Tree in the Garden$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING STOCK Buy Now
Pearl (Awaiting Repress)
1971's Pearl Showcases Janis Joplin at Her Peak: Chart-Topping Record Includes Hits Me and Bobby McGee, Mercedes Benz, and Get It While You Can
Mastered From the Original Master Tapes: Mobile Fidelity 45RPM Pressing is Definitive-Sounding Analog Version of Masterpiece Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time
Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion: Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit
Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's 180g 45RPM 2LP presents the lasting artwork like never before.
Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than authentic, and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.
While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's Cry Baby, underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.
Playfully introduced as a song of great social and political import, the acapella Mercedes Benz reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's Me and Bobby McGee signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as A Woman Left Lonely offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band - the only group she ever considered to be her own - as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labors fill Pearl, be it the guardedly optimistic Get It While You Can or assertive, fleet-footed Move Over.
Experienced in the new light brought to fore by this definitive Mobile Fidelity analog edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.
This title is not eligible for discount.1. Move Over
2. Cry Baby
3. A Woman Left Lonely
4. Half Moon
5. Buried Alive In The Blues
6. My Baby
7. Me And Bobby McGee
8. Mercedes Benz
9. Trust Me
10. Get It While You Can$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
Creative EclipsesLooking through Cave In's expansive career, between their two most towering achievements sits the Creative Eclipses EP where you can see everything change. It's been 20 years since the Boston quartet sliced canyons through multiple scenes, starting as a corrosive hardcore band before releasing some of the most unorthodox and exhilarating songs in extreme music on Until Your Heart Stops. And before the aftershocks could die down, Cave In evolved more radically than anyone could have predicted. While members have forged divergent paths with Old Man Gloom, Mutoid Man, Clouds and Zozobra in the years since, Creative Eclipses was the first signal that a band already celebrated for their innovation could effortlessly push beyond anything they'd tried before. Before Jupiter could transform Cave In into rock saviors, there were these five tracks. Opener "Luminance" is an ascendent, shimmering hymn that bruises the troposphere. The cover of Failure's "Magnified," is taken over with such fervor it feels like something the band hatched themselves, and the acoustic "Burning Down the Billboards" is both a revolutionary and apocalyptic anthem. The two "Sonatas," both ambient tracks, can wholly stand on their own as fascinating immersions into noise. Creative Eclipses is much more than a bridge between the two worlds Cave In has inhabited; it's a captivating example of the sonic rewards that follow the band every time they''ve chosen to obliterate expectations.1. Luminance
2. Sonata McGrath
4. Burning Down the Billboards
5. Sonata Brodsky
6. Luminance (Live)
7. Breath of Water (Demo)
8. Widow's Peak$19.9912 Vinyl LP - Sealed Buy Now
Black Age Blues
Contains 2 Exclusive Tracks
Comes In Stoughton Gatefold Jacket
Black Age Blues is an instant classic, with each one of the nine songs an anthem, and each of the four members of GOATSNAKE in top form. Everything is magnified; Pete Stahl's vocals have never sounded so good, the rhythm section comprised of Greg Rogers on drums and Scott Renner on bass are the driving force on each track, and Greg Anderson's riffs are heavier than ever before.
Appearing on the album intro to "Another River To Cross" is acoustic guitar courtesy of David Pajo (Slint, Aerial M, Papa M), the track also containing previously released recordings from GOATSNAKE's "The River." Piano is played by Mathias Schneeberger and Petra Haden contributes violin and vocals. Another welcome addition to the album, across multiple tracks, are brilliant backing vocals by Dem Preacher's Daughters: Wendy Moten, Gale Mayes and Andrea Merrit.
Black Age Blues is familiar, but nothing here is a repetition of what we've heard before, as GOATSNAKE continues to refine the timeless, ultra-heavy rock that they are infamous for, surpassing even the highest of expectations.1. Another River To Cross
2. Elevated Man
3. Coffee & Whiskey
4. Black Age Blues
5. House Of The Moon
6. Jimi's Gone
8. Grandpa Jones
9. A Killing Blues
11. Breakfast With The King*
* Vinyl exclusive bonus track$25.99Vinyl LP - 2 LPs Sealed Buy Now
Apocalypse, girlThink big, girl, like a king, think kingsize. Jenny Hval's new record opens with a
quote from the Danish poet Mette Moestrup, and continues towards the abyss.
Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction
and reality, a post-op fever dream, a colorful timelapse of death and rebirth,
close-ups of impossible bodies - all told through the language of transgressive
When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his
fanzine in early 2014, they started talking about movies, and the conversation
was so interesting that she asked him to produce her next record. It turned out
that talking about film was a great jumping off point for album production.
Hval's songs slowly expanded from solo computer loops and vocal edits to contributions
from bandmates Håvard Volden and Kyrre Laastad, before finally
exploding into collaborations with Øystein Moen (Jaga Jazzist/Puma), Thor
Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of
these musicians have two things in common: they are fierce players with a great
ear for intimacy, and they hear music in the closing of a suitcase as much as in a
And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old
science fiction movie where gospel choir girls are punks and run the world with
auto-erotic impulses. It's a gentle hum from a doomsday cult, a soft desire for
collective devotion, an ode to the close-up and magnified, unruly desires.
Jenny Hval has developed her own take on intimate sound since the release of
her debut album in 2006. Her work, which includes 2013's critically celebrated
Innocence Is Kinky (Rune Grammofon), has gradually incorporated books, sound
installations and collaborations with poets and visual artists. For Hval, language
is central, always torn between the vulnerable, the explosive and total humiliation.1. Kingsize
2. Take Care of Yourself
3. That Battle Is Over
4. White Underground
6. Why This?
7. Some Days
9. Angels and Anaemia
10. Holy Land$19.99Vinyl LP - Sealed Buy Now
Weezer (Blue Album)Weezer, with its simple blue cover featuring a group band shot, was not like anything most kids in 1994 had heard before. The album took its nerdy cues from strange places like the 1950s, comic books, Dungeons & Dragons, the Bible and producer Ric Ocasek, pop auteur of The Cars.
Initially released without a single or much notice, the album's sales started slow but eventually reached triple platinum status, spending 78 weeks on the chart and peaking at No. 16 on the Billboard 200 albums chart. It has sold 3.7 million copies in the U.S alone. Local radio play for 'Undone The Sweater Song' prompted an official release and video directed by then rising star Spike Jonze. The video featured the band performing on a soundstage, joined by a wandering pack of dogs. Their next Jonze-directed innovative video for 'Buddy Holly' helped spike the band s popularity and won four MTV video awards. The song rose to No. 2 on Billboard s US Modern Rock chart, one of three top 10 hits for Weezer.
The album's esteem has only continued to rise in the decades since its release and its impact has been magnified. Rolling Stone placed the Blue album in both its lists of top 500 albums (No. 297) and top 100 debut albums, where it was No. 35: When it came out, Weezer's debut was merely a cool, quirky power-pop album with a couple of hit singles: 'Buddy Holly' and 'Undone (The Sweater Song).' But Rivers Cuomo's band became a major influence to the young sad-sack punkers who today claim Weezer as one of emo's pioneers. Mixing winking deadpan delivery with serious hooks, guarded sensitivity and a deep disinterest in alt-rock's then-roiling culture wars, they came up with a record that's aged much better than a lot of the serious indie-rock of the time.1. My Name Is Jonas
2. No One Else
3. The World Has Turned And Left Me Here
4. Buddy Holly
5. Undone - The Sweater Song
6. Surf Wax America
7. Say It Ain't So
8. In The Garage
10. Only In Dreams$19.99Vinyl LP - Sealed Buy Now
By embedding both new age and noise-oriented
electronic themes into his pastoral pieces, Turnquist
unites disparate traditions and ideals, essentially
employing sonic counterweights to construct 57 minutes
that are as surprisingly dynamic as they are perfectly
- PITCHFORK (8.2)
New York's Turnquist is masterful. His right hand
technique is as orchestral as Nick Drake's, sending rivulets
of steel sadness out across the water, but applied to a
minimalist logic with the weight of early Philip Glass or
Turnquist layers his six and twelve string guitar
instrumentals with electronic drones, piano and vibes.
This first widely available release is a filmic beauty, its
chilly pastoralism distinguished by the physicality of his
Another bravura outing from Turnquist that is, in its own
unassuming way, a triumph
As an accomplished 12-string guitarist/composer, Alexander Turnquist was naturally
alarmed when the ulnar nerve in his left hand seized up in 2013, but after a surgical procedure he gratefully started the process of learning to play guitar again. His recovery was
cut short when not long after the surgery he was hospitalized with meningitis. Though his
recovery is ongoing, and he continues to struggle with a weakened immune system and
memory loss, he was inspired to soldier on, rather than being deterred by his physical
Turnquist's latest full-length Flying Fantasy confirms the idea that out of great hardship
can come great art. As he wrote the material for the new album it became clear that his
sensitivity had sharpened, his empathy magnified, and his sense of purpose blossomed.
The unfortunate circumstances he endured ostensibly forced his metamorphosis from a
remarkable guitar player to a truly great composer. Much like the butterflies that adorn
the album cover, he seems to have changed form and taken flight.
The album opens with the sparse harmonics of House of Insomniacs, which are soon
joined by lush swells of vibes, cello, and even wordless vocals. On the tracks that follow,
Turnquist continues to make use of this dynamic sonic pallet, even adding organ, piano,
marimba, steel drums, violin, and french horn to the mix. From Red Carousel, which was
inspired by Ray Bradbury's Something Wicked This Way Comes, to the somber lilt of the love
song Wildflower, to the truly arresting title track Flying Fantasy which uses only 4 open
strummed guitars and loops of damaged tape and wire recorders, every note vibrates with
life as Turnquist ushers us though his intoxicatingly colorful worlds of sound.1. House of Insomniacs
2. Finding the Butterfly
4. Red Carousel
5. Flying Fantasy
6. Cloud Slicing$16.99Vinyl LP - Sealed Buy Now
Van Halen II (Out Of Stock)Van Halen set quite a precedent with its self-titled 1978 debut, one of the most landscape-shifting albums ever released. How does a band follow something like that? By making a record that's even better. And Van Halen II fits the bill.
Granted, by the time this sophomore set appeared in late 1979, the world had already been introduced to Eddie Van Halen's pyrotechnic guitar skills and trick bags of jaw-dropping solos. And everyone knew about David Lee Roth's flamboyant singing, oversexed machismo, and vaudeville antics. But the quartet ups the quotient level throughout Van Halen II, which swaggers to a flawless batch of songs and phenomenal playing. There's not a weak moment or note here.
Moreover, as Eddie consistently delivers searing fills, acrobatic leads, and gravity-defying phrasings, Roth steps it up a notch, inserting himself in the role of the come-hither vocalist whose self-aware humor balances his glammed-up, spandex-clad, riser-leaping persona. Again proving itself deft with its choice of a cover (the lead-off You're No Good), Van Halen turns up the heat throughout, celebrating cheap and carefree sleaze, booze-soaked good times, and yes, the band's perennial favorite subject, women. There's no topping the soaring Beautiful Girls. It, and many of the songs here were actually aired in demo form for Kiss' Gene Simmons before the group signed to Warner Bros.
So, okay, the blonde bombshell and six-pack of Pabst Blue Ribbon don't come with this gorgeous pressing, but all of the sonic fun does. Play this awesomely remastered and cleanly pressed LP on a hi-fi system, crank the volume to the level where your neighbor leaves their house, and be prepared to be flooded by late-70s indulgences and one killer riff after another.
Mastered by Kevin Gray from the original analog master tapes, Rhino's stunning 180g LP brings brings the dynamics, details, and punch of the music into supreme focus, and also magnifies the group's famous characteristics and personalities. Close your eyes and you'll both hear and see Roth's frenetic energy and bawdy yelps; Alex Van Halen's drum-til-you-drop bluster and oversized percussion kit; Michael Anthony's Jack Daniel's-inspired bass runs and karate-chop kicks; and Eddie Van Halen's fretboard wizardry, so ahead of its time no one has yet to catch up.
Bottoms up!1. You're No Good
2. Dance the Night Away
3. Somebody Get Me a Doctor
4. Bottoms Up!
5. Outta Love Again
6. Light Up the Sky
7. Spanish Fly
9. Women in Love
10. Beautiful Girls$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock