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  • Only The Lonely (Awaiting Repress) Only The Lonely (Awaiting Repress) Quick View

    $18.99
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    Only The Lonely (Awaiting Repress)

    Pressed On Gold-Brown Colored Vinyl


    ONLY THE LONELY is the follow up to Colony House's debut album When I Was Younger which featured their single "Silhouettes," which was the #1 most played track on Sirius XM's Alt Nation for four months straight. The band has previously performed on CONAN, Late Night with Seth Meyers and VH1 "Big Morning Buzz, " and has been featured by NPR Music, Wall Street Journal, People Magazine, and Noisey, among many others.


    Colony House is brothers Caleb Chapman and Will Chapman, Scott Mills, and Parke Avery.

    1. Cannot Do This Alone
    2. 1234
    3. Lonely
    4. You & I
    5. Where Your Father's Been
    6. You Know It
    7. 3:20
    8. Was It Me
    9. This Road
    10. I Want It All
    11. Follow Me Down
    12. Remembered For
    13. This Beautiful Life
    Colony House
    $18.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Birds Birds Quick View

    $19.99
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    Birds

    Seth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.

    Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.

    Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.

    The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.

    Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.

    The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.

    Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.

    Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.

    For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.

    I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.

    1. Sunshine
    2. Water On Fire
    3. Birds
    4. Just Because I Can
    5. People Like Us
    6. Like I Do
    7. For What It's Worth
    8. Too Much Water
    9. Justice For All
    10. Hasn't Hit Me Yet
    11. I'm Still Looking
    Seth Glier
    $19.99
    Vinyl LP - Sealed Buy Now
  • Adrian Younge Presents: The Delfonics (Discontinued) Adrian Younge Presents: The Delfonics (Discontinued) Quick View

    $19.99
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    Adrian Younge Presents: The Delfonics (Discontinued)

    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.

    1. Stop And Look (And You Have Found Love)
    2. Lost Without You
    3. True Love
    4. Silently
    5. Enemies
    6. To Be Your One
    7. Stand Up
    8. Just Love
    9. So In Love With You
    10. I Can't Cry No More
    11. Lover's Melody
    12. Party's Over
    13. Life Never Ends
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • Adrian Younge Presents: The Delfonics: Instrumentals Adrian Younge Presents: The Delfonics: Instrumentals Quick View

    $19.99
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    Adrian Younge Presents: The Delfonics: Instrumentals

    Linear Labs Now Brings You Adrian Younge Presents: The Delfonics In A Never Before Issued Instrumental Edition


    The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
    vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
    producer/arranger Thom Bell-and with William's signature falsetto-the Delfonics set the tone for all other sweet-soul groups that would follow.


    Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit Didn't I (Blow Your Mind This Time). Out of
    their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like La-La Means I Love You, He Don't Really
    Love You, and Ready or Not Here I Come (Can't Hide From Love).After five albums, the Delfonics would break up for good in 1975. Brothers William and
    Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer
    and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation.


    Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
    Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
    and Saudia Mills-as well as Om'Mas Keith on the single Stop and Look (And You Have Found Love)-to work alongside William. Adrian Younge is a
    self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international
    recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of
    Mischief's "There Is Only Now" and Ghostface Killah's "Twelve Reasons to Die" concept albums.


    Younge brings a unique perspective on modern rhythm and blues. I was studying Delfonics stuff for years, Younge reveals. I studied Delfonics to do the
    Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind.
    From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
    distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. I
    want people to expect something classic but not expect to hear the same thing rehashed, Younge says. I want to push it forward. William and I strived to
    push this forward.


    Younge now makes this breath-taking musical outing available once again on his own Linear Labs imprint.


    This title is not eligible for discount.

    1. Stop And Look (And You Have Found Love) [Instrumental]
    2. Lost Without You (Instrumental)
    3. True Love (Instrumental)
    4. Silently (Instrumental)
    5. Enemies (Instrumental)
    6. To Be Your One (Instrumental)
    7. Stand Up (Instrumental)
    8. Just Love (Instrumental)
    9. So In Love With You (Instrumental)
    10. I Can't Cry No More (Instrumental)
    11. Lover's Melody (Instrumental)
    12. Party's Over (Instrumental)
    13. Life Never Ends (Instrumental)
    The Delfonics
    $19.99
    Vinyl LP - Sealed Buy Now
  • Salutations Salutations Quick View

    $26.99
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    Salutations

    Conor Oberst will release a new album, Salutations, on Nonesuch Records.


    The album is a companion piece to 2016's lauded Ruminations. When Oberst wrote and recorded the songs on Ruminations, entirely solo-with just voice, piano, guitar and harmonica-he intended to ultimately record them with a full band. In the midst of putting together that band-upstate New York's The Felice Brothers plus the legendary drummer Jim Keltner (Neil Young, Jackson Browne, George Harrison, Bob Dylan, John Lennon, and many more)-the passionate responses Oberst was getting to those first solo recordings, from friends and colleagues, encouraged him to release the songs as-is, in their original sparse form, as his seventh solo album: Ruminations, which was released in October 2016. The Sunday Times of London called it the rawest album yet from the forever troubled one-time voice of a generation and political and very, very personal, saying Oberst is one of the best songwriters around.


    Meanwhile, Oberst simultaneously moved ahead with his plans to record with the band, heading to the famed Shangri-la Studios in Malibu to record Salutations-co-produced with Keltner and engineered by long-time musical compadre Andy LeMaster. Guest contributions come courtesy of Jim James, Blake Mills, Maria Taylor, M Ward, Gillian Welch, Gus Seyffert, Pearl Charles, Nathaniel Walcott, and Jonathan Wilson.


    Salutations includes full-band versions of the ten songs from Ruminations, plus seven additional songs, some from an additional session at Five Star Studios in Echo Park in fall 2016.


    Oberst says of the Salutations sessions: Jim was really the captain of the ship and the spiritual leader of the project. We leaned heavy on his fifty-plus years of musical insight to get us to where we needed to be. He brought such depth and dignity to the proceedings that made everyone else involved rise to the occasion. It was a true stroke of luck that he got involved when he did.

    LP 1
    1. Too Late to Fixate
    2. Gossamer Thin
    3. Overdue
    4. Afterthought
    5. Next Of Kin
    6. Napalm
    7. Mamah Borthwick (A Sketch)
    8. Till St. Dymphna Kicks Us Out


    LP 2
    1. Barbary Coast (Later)
    2. Tachycardia
    3. Empty Hotel by the Sea
    4. Anytime Soon
    5. Counting Sheep
    6. Rain Follows the Plow
    7. You All Loved Him Once
    8. A Little Uncanny
    9. Salutations

    Conor Oberst
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Just Because Just Because Quick View

    $17.99
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    Just Because

    ATO Records has signed The Belle Brigade and will release the band's
    new album, Just Because, in 2014. Barbara and Ethan Gruska -
    the Los Angeles-based siblings who founded the band - recorded the album with engineer/co-producer Shawn Everett. Bram Inscore and Blake Mills,
    who also performed on The Belle Brigade's debut album, joined them in the studio and they once again enlisted the mastering talents of the legendary
    Bob Ludwig.


    The Belle Brigade's self-titled debut (co-produced with Matthew Wilder) was hailed as one of the best albums of 2011 by PASTE. Ann Powers, writing for
    the Los Angeles Times, took note of the memorable voices and considerable charisma within songs that gleam with hooks and pour over with earnest
    emotion" while Newsday praised the album's "sun-kissed '70s SoCal sound" and SPIN observed, "The brother and sister team from LA, bring beautiful
    harmonies to their quirky folk rock."


    The two gifted songwriters - who find inspiration in the works of Peter Gabriel, John Lennon, The Beach Boys, Sly Stone, Harry Nilsson, to name a few -
    penned 10 songs for Just Because, writing some together and others independently. The music is artfully arranged, with enticing melodies and pop
    harmonies, fueled by the interplay of driving rhythms between Barbara's drums and Ethan's guitars. Ethan has recorded as a vocalist and multi-instrumentalist
    for many Los Angeles-based artists and Barbara is a sought-after drummer who has played with Fiona Apple, Jenny Lewis, Benji Hughes
    and many others.

    1. Ashes
    2. When Everything Was What It Was
    3. Likely To Use Something
    4. Be Like Him
    5. Miss You In My Life
    6. How I See It
    7. Not The One
    8. Metropolis
    9. Everything For A Stone
    10. Back Where You Began
    The Belle Brigade
    $17.99
    Vinyl LP - Sealed Buy Now
  • Seventh Swamphony Seventh Swamphony Quick View

    $19.99
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    Seventh Swamphony

    Seventh Swamphony is the seventh studio album by the Finnish melodic death metal band Kalmah and is their first album with new keyboardist Veli-Matti Kananen. The album was recorded at Tico-Tico Studios in Kemi, Finland, and was mixed and mastered by Jens Bogren.


    Few would deny that in the late 1990s and very early 2000s, Finnish death metal began shifting it's direction across the board. Although Amorphis themselves never lost any stride, the whole 'depression metal' thing just kinda faded away, to be replaced by something far more aggressive and energetic. Bands such as Children of Bodom, Norther, and Insomnium broke through with a sound that although was still firmly rooted in the brutality of death metal, were not too shy to throw in the occasional thrash and black metal influence to in turn create something new and exciting. With the exception of perhaps the aforementioned Insomnium, Kalmah had always been perhaps the most flat-out extreme and agro, and has steadily upped the ante with every succeeding release.


    Right from the get-go, this disc opens up with a synth-hit-infused blasting skank-beat that flows easily into the pit-worthy yet SUPER-catchy chorus. This kind of sets the tone for this whole disc, and you get eight incredibly intense-yet-focus fistpumping/headbanging perfect examples of memorably melodic death metal that oozes every ounce of brutality that it can out of the riffage contained herein. A theme that is echoed in practically every song they've ever done is their effortless use of solemn, slightly-folksy lead guitar melodies on top of the high-energy thrashy rhythms underneath. Songs such as Deadfall and Wolves On The Throne are amazing and true-to-form for this band; heavy on melody and light on respite. The former song also features a glimpse of the ivory-tickling prowess of new keyboardist Veli-Matti Kananen, who in both his melody lines and also in his soloing has an almost youthful whimsy as he jams up and down the board. Once you notice it for the first time, you tend to notice that this may be one of the most keyboard-heavy albums the band has ever done, but that is because this may be the first time since 2002 that the band's keyboardist has had anything meaningful to add to the table in terms of songwriting. Maybe that's a bit drastic, but that's sure what it sounds like here, and that isn't to say that the omnipresent keys drown out the massive wall of guitar and bass. Antti Kokko is still one of underground metal's unknown guitar heroes with how deftly he weaves his melody lines through these tracks, and never mind how ridiculous his solos are. Need a point of reference? He's a straight-faced, serious, no-B.S. version of Alexi Laiho. And his brother Pekka Kokko's voice has never sounded better either, easily crossing from the higher-pitched, black metal-version of Mille Petrozza he always used to do on the older records with the flat-out demonic growl he's wielded since the masterful The Black Waltz album. He even manages to weave in a bit of clean singing for the first time that I can remember hearing on a Kalmah record, and speaking of which...


    ...remember how in the first paragraph we kind of stated that the melancholic Finnish death metal of yesteryear has been kind of hard to find as of late? Well, Kalmah decided to dish out their own version in fourth track Hollo. After listening to it maybe 10 times now, I've realized that I just need to stop the internal dialogue on whether or not it's a good direction for the band and instead just focus on how amazing the song itself is. For most of the track it really is one of the best pieces of old school Amorphis-worship that I've ever heard, before doing a Viking metal shift about halfway through, complete with calling horns and battle-ready gang vocals. Apart from this tune, the most that Kalmah otherwise deviates from what they know works is the almost-punky opening of Windlake Tale.


    A lot of people unfairly write this band off as Bodom clones, and it's really unfortunate when they put out such amazingly dark and heavy records like this that really set them apart. If anything, I feel that this record will continue to appease Kalmah's core fanbase who've stuck it out since the beginning, but with it's perfect mixjob (except for some questionable leveling of the opening melody of Wolves on the Throne) where everything comes through crisp and clear (or as crisp and clear as a band as loud and agro as this likes to get), it can be an easy-to-get-into album for those still uninitiated.


    Raise a horn of mead to the swamplords...they did it again!


    - ArnoldHablewitz (The Metal Archives)

    1. Seventh Swamphony
    2. Deadfall
    3. Pikemaster
    4. Hollo
    5. Windlake Tale
    6. Wolves On a Throne
    7. Black Marten's Trace
    8. The Trapper
    Kalmah
    $19.99
    Vinyl LP - Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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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
  • When I Was Younger (Out Of Stock) When I Was Younger (Out Of Stock) Quick View

    $16.99
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    When I Was Younger (Out Of Stock)

    Colony House, a trio from Nashville, TN will release their first full-length album When I Was Younger via Descendant Records (The Lone Bellow) in 2014.


    Silhouettes is quite an interesting song and serves a very specific purpose on this record, says lead singer and songwriter Caleb Chapman. For an album that has a fair amount of emotional twists and turns, this track is meant to be a constant. Silhouettes is a steady reminder for the soul not to allow the dark moments in life to overshadow all the beautiful ones we live every day.


    Colony House delivers the material with a balance of craft and immediacy that deliver a rich, gritty rock edge with heavy guitars and textual layers.


    Lead singer, guitarist and principal songwriter Caleb Chapman writes effortlessly infectious tunes that resonate with personal experience and emotional depth. The songs' messages of hope and perseverance are matched by the organic musical rapport of Caleb and his bandmates, brother Will Chapman on drums and Scott Mills on lead guitar and harmony vocals.


    Creating this record had such a strong set of contrasting emotions: joy, hope, frustration, sorrow, uncertainty, confidence, says Caleb.


    That openhearted attitude is reflected throughout When I Was Younger, both in Caleb's expressive vocals and in the band's vivid performances of such personally-charged tunes as Silhouettes, Second Guessing Games, Keep On Keeping On, Waiting for My Time to Come and Won't Give Up.

    1. Silhouettes
    2. Second Guessing Games
    3. When I Was Younger
    4. Caught Me By Surprise
    5. Roll With The Punches
    6. Keep On Keeping On
    7. Waiting For My Time To Come
    8. 2:20
    9. Learning How To Love
    10. Won't Give Up
    11. Moving Forward
    12. Glorious
    13. I Had To Grow Up
    14. Lose Control
    Colony House
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
  • Sun Midnight Sun (Out Of Stock) Sun Midnight Sun (Out Of Stock) Quick View

    $24.99
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    Sun Midnight Sun (Out Of Stock)

    Sun Midnight Sun is the second solo album from acclaimed singer, songwriter, and fiddle player Sara Watkins. Produced by guitarist, singer, and songwriter Blake Mills, co-founder of the band Simon Dawes, the album features special guest appearances by Fiona Apple, Jackson Browne, Taylor Goldsmith (Dawes), Benmont Tench, and Sean Watkins.



    In the three years since her last release, Watkins has been busy touring the world as guest fiddle player and vocalist with the Decemberists and joining Garrison Keillor on his nationwide Summer Love performance tours, as well as acting as his first and only guest host for A Prairie Home Companion broadcasts.



    Sun Midnight Sun was recorded, mixed, and mastered by Shawn Everett at Zeitgeist Studio, Los Angeles, and includes songs written by Watkins ("You and Me," "Take Up Your Spade") as well as several collaborations with Mills ("The Foothills," "Be There," "The Accord," "Impossible," and "Lock and Key"). It also features songs by Dan Wilson ("When It Pleases You") and Willie Nelson ("I'm a Memory"), and a rendition of The Everly Brothers classic "You're the One I Love," on which Fiona Apple duets with Watkins.



    Watkins first gained recognition as a founding member of the Grammy Award-winning, platinum-selling trio Nickel Creek. When not on the road or in the studio, Watkins has guest-starred as fiddler and/or harmony vocalist on albums by B√Čla Fleck, the Chieftains, Ray LaMontagne, Ben Lee, Dan Wilson, Richard Thompson, and Alex Woodward, among others. Additionally, Watkins and her brother Sean continue an informal residency called the Watkins Family Hour at the L.A. club Largo, which often includes surprise cameos from friends and colleagues.

    1. The Foothills
    2. You and Me
    3. You're the One I Love (ft. Fiona Apple)
    4. When It Pleases You
    5. Be There
    6. I'm a Memory
    7. Impossible
    8. The Ward Accord
    9. Lock & Key
    10. Take Up Your Spade
    Sara Watkins
    $24.99
    Vinyl LP - Sealed Temporarily out of stock
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