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  • Music From The Elder Music From The Elder Quick View

    $24.99
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    Music From The Elder


    180g Audiophile Vinyl Reissue


    Remastered To High Definition 192kHz/24-bit Audio For Maximum Fidelity


    Celebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
    vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
    been faithfully reproduced for the KISS Army.


    Music from The Elder is the ninth studio album released by Kiss.

    1. Fanfare
    2. Just A Boy
    3. Odyssey
    4. Only You
    5. Under The Rose
    6. Dark Light
    7. A World Without Heroes
    8. The Oath
    9. Mr. Blackwell
    10. Escape From The Island
    11. I
    Kiss
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gone From Danger Gone From Danger Quick View

    $38.99
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    Gone From Danger

    Although it might appear that Joan Baez has had an uphill struggle in her career as an interpretive singer in a popular music field dominated by singer/songwriters, in fact she has kept her music fresh over the years by seeking out successive generations of upcoming writers and championing their work. In the 1960s, that might have meant Bob Dylan and Richard Farina, for instance, but 30 years later she is still finding new work by young artists and popularizing it, even if they also perform the songs themselves. On her 1997 album, Gone From Danger, those songwriters are Dar Williams, Sinead Lohan and Richard shindell, each of whom contributes multiple songs, as well as Betty Elders and Mark Addison. They provide her with a host of new social issues to tackle as well, among them pedophilia (Elder's heartbreaking Crack In The Mirror) and immigration (Shindell's caustic Fishing). As usual, she proves herself a superior interpreter, intelligently presenting the complex, mature concerns of the songwriters, whether the subjects have political or emotional resonance (or both).
    1. No Mermaid
    2. Reunion Hill
    3. Crack in the Mirror
    4. February
    5. Fishing
    6. If I Wrote You
    7. Lily
    8. Who Do You Think I Am
    9. Mercy Bound
    10. Money for Floods
    Joan Baez
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vamala Vamala Quick View

    $22.99
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    Vamala

    With only a Radio 2 session to precede it, the debut album from brothers Michael and David Champion appeared like a bolt out of the blue. And for believers in the environmental influence on music, it makes sense the Champions hail from the hamlet of Niton outside the Victorian seaside enclave of Ventnor on the Isle Of Wight, as Down Like Gold sounded beautifully out of time and place, even with artists they could call peers. Combining elder brother Michael's exquisitely melodic, intensely dreamy and persuasively heartbreaking songs with their folk-pop leanings, his affecting vocal timbre, David's empathic lead guitar and reinforcing harmonies that only siblings seem able to make, the album was a unique statement - much like the word Vamala, which fell out of Michael's mouth as he was singing along to a new tune. It had a nice ring, like a Croatian girl's name, he thought.


    The follow-up album VAMALA (blame Michael's OCD for the capitals: I like letters the same height!) follows only a year on after their debut. The record-buying attention span is shorter these days, he reasons. There's so much new music out there, so we wanted to get an album out quickly. But only as we had the songs.

    1. Desire
    2. Sophia
    3. Running
    4. Forever Be Upstanding At The Door
    5. Send Me Down
    6. 3,000 Miles
    7. Vamala
    8. The Balfron Tower
    9. Blood
    10. Down (Alone On The Avenue)
    11. Roll Me Out
    12. Carnival Of Light
    Champs
    $22.99
    Vinyl LP - Sealed Buy Now
  • Woman In Gold (Soundtrack) Woman In Gold (Soundtrack) Quick View

    $38.99
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    Woman In Gold (Soundtrack)

    The soundtrack album for the drama Woman In Gold features the film's original music composed by Martin Phipps (Brighton Rock, Harry Brown) and Hans Zimmer (The Dark Knight, The Lion King, Inception, Gladiator, Interstellar).


    The film is directed by Simon Curtis and stars Helen Mirren, Ryan Reynolds, Daniel Bruhl, Katie Holmes, Charles Dance, Elizabeth McGovern and Frances Fisher. The movie follows an elderly Jewish woman who fled Vienna during World War II and, sixty years later, starts her journey to retrieve family possessions seized by the Nazis. The film was screened in the Berlinale Special Galas section of the 65th Berlin International Film Festival.


    Coming from a musical background, Martin Phipps has gone on to write music for many of the most interesting series of recent years, winning 2 BAFTAs & 3 Ivor Novello Awards. Hans Zimmer has received 9 Academy Award nominations, and has composed music for over 100 films up to date.

    1. ''O Mary Don't You Weep''
    2. Hotel Jazz
    3. ''Deh, Vieni Alla Finestra''
    4. Restless
    5. Maria Altman
    6. The Belvedere
    7. Vienna
    8. Randy Schoenberg
    9. Open The Door
    10. Apotheke
    11. Fleeing Vienna
    12. Flight 12 To Cologne
    13. First Hurdle Down
    14. Art Theft
    15. Statues
    16. Final Testimony
    17. The Language Of Our Future
    18. I Lived Here
    Hans Zimmer & Martin Phipps
    $38.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Collision Blonde Collision Blonde Quick View

    $18.99
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    Collision Blonde

    The band's sophomore full length is backed by guitarist Will Allard, bassist Joseph Goode and drummer Ben Sears (who also plays alongside Allard in Whips/Chains). With a new line-up and some years removed from their young, violent hardcore days, Collision Blonde's instrumental prowess sounds less like their elder contemporaries and more a cleaner tone reminiscent of Jesus and Mary Chain and The Cure, yet sharp and uneasy in the vein of Bauhaus' early gothic post-punk edge. Tracks like "Knife" and the closing "Nosedive" are aggressively built up into a cathartic release, alluding to Ceremony, Iceage and mewithoutYou at times.


    The band took a couple of weeks, held up in Allard's basement studio in late March, to record with fellow musician and friend Evan Weiss (You Blew It!, The Jazz June) who helped produce the album. While the music may allude to a heavier dream pop sound, it's still very much a hardcore record reminiscent of Dischord's blends of punk and harmony. Collision Blonde is a lyrical wreck that's driven by love, drugs, depression and waking up in a cold sweat wondering What's next for me? on a consistent basis. It's thoughtfully countered with a harmonic jangle of reverb, delay and hooks, as Xerxes has created their most polarizing work to date.

    1. I Was Wrong
    2. Criminal, Animal
    3. A Toast
    4. Knife
    5. Use As Directed
    6. Chestnut Street
    7. Collision Blonde
    8. Exit 123
    9. (but here we are)
    10. Nosedive

    Xerxes
    $18.99
    Vinyl LP - Sealed Buy Now
  • Unhallowed (Awaiting Repress) Unhallowed (Awaiting Repress) Quick View

    $22.99
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    Unhallowed (Awaiting Repress)

    Coke Bottle Clear Vinyl


    Very few bands, if any at all, get it right on the mark with their first album. When I say that, I mean how capable they are of attaining and projecting their goal as a band - the sound and message - into one complete album. While there's no such thing as the perfect album, debut, or otherwise, The Black Dahlia Murder's Unhallowed is a spectacular start for a metal band nowadays and already demonstrates a great portrayal of their aim as a band.


    Combining the atmospheric brutality of blackened death with the technical harmonies of melodic death, the band demonstrates a powerful sound right from the start. Songs such as Funeral Thirst, Elder Misanthropy, and Apex all showcase the band being able to combine solid songwriting with genuinely good musical ideas executed in a genuinely good manner.


    While the album's material isn't overall stick-in-your-head as tracks off later releases such as Nocturnal, this album proves that The Black Dahlia Murder has charged out the front gate with all guns blazing and a reminder of why they're at the forefront of the American metal scene nowadays. A great debut album and a great album in general. Highly recommended! Cheers!!!


    - BillNightspawnDorfer (The Metal Archives)

    1. Unhallowed
    2. Funeral Thirst
    3. Elder Misanthropy
    4. Contagion
    5. When the Last Grave Has Emptied
    6. Thy Horror Cosmic
    7. The Blackest Incarnation
    8. Hymn for the Wretched
    9. Closed Casket Requiem
    10. Apex
    The Black Dahlia Murder
    $22.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Woman In Gold Soundtrack Woman In Gold Soundtrack Quick View

    $38.99
    Buy Now
    x

    Woman In Gold Soundtrack

    The soundtrack album for the drama Woman In Gold features the film's original music composed by Martin Phipps (Brighton Rock, Harry Brown) and Hans Zimmer (The Dark Knight, The Lion King, Inception, Gladiator, Interstellar).


    The film is directed by Simon Curtis and stars Helen Mirren, Ryan Reynolds, Daniel Bruhl, Katie Holmes, Charles Dance, Elizabeth McGovern and Frances Fisher. The movie follows an elderly Jewish woman who fled Vienna during World War II and, sixty years later, starts her journey to retrieve family possessions seized by the Nazis. The film was screened in the Berlinale Special Galas section of the 65th Berlin International Film Festival.


    Coming from a musical background, Martin Phipps has gone on to write music for many of the most interesting series of recent years, winning 2 BAFTAs & 3 Ivor Novello Awards. Hans Zimmer has received 9 Academy Award nominations, and has composed music for over 100 films up to date.

    1. ''O Mary Don't You Weep''
    2. Hotel Jazz
    3. ''Deh, Vieni Alla Finestra''
    4. Restless
    5. Maria Altman
    6. The Belvedere
    7. Vienna
    8. Randy Schoenberg
    9. Open The Door
    10. Apotheke
    11. Fleeing Vienna
    12. Flight 12 To Cologne
    13. First Hurdle Down
    14. Art Theft
    15. Statues
    16. Final Testimony
    17. The Language Of Our Future
    18. I Lived Here
    Hans Zimmer & Martin Phipps
    $38.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Prestige Series Red Cartridge Prestige Series Red Cartridge Quick View

    $170.00
    Buy Now
    x

    Prestige Series Red Cartridge

    The Prestige (and upscale Reference) cartridges from Grado are the first released since the elder Grado's retirement, but they mark an evolution, not dramatic change, of the classic Grado style. There are three basic levels in the Prestige lineup: Black/Green, Blue/Red, and Silver/Gold. In each of these pairings, the latter model is the same as the former, but is able to meet more astringent test specifications. The Green, for instance, is taken from the top 15% of the Black models production.


    The newly redesigned Blue1 and Red1 have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. The Blue1 and Red1 models use a four piece OTL cantilever technology, standard oxygen free wire in the coils and Grado's specially designed elliptical diamond mounted on a brass bushing. The Red1 model is selected from the Blue1 production run and meets higher test specifications. Approximately 10% of the production run will meet these standards and become Red1 models.


    There may be some recordable response differences between this cartridge and it's more expensive brethren, but it's difficult to imagine more pleasing and musical performance. The Grado Prestige Red is proof that one does not have to spend large amounts of money for good sound from a phono cartridge. More expensive cartridges may well provide incremental improvements in one or more areas, but the Grado performs at a level where such improvements will be small. I recommend that you consider this $ensible cartridge, as it is good value for the price.


    Frequency Response: 10-55

    Principal: MI

    Channel Separation at 1KHz: 30

    Input Load: 47K

    Output at 1KHz 5CM/Sec.: 5mV

    Recommended Tracking Force: 1.5

    Stylus Type: E

    Inductance: 45mH

    Resistance: 475

    Compliance CUs: 20

    Stylus Replacement F: U

    Mounting: S/P

    Weight: 5.5




    This product is not eligible for discount.

    Grado Cartridges
    $170.00
    Cartridge Buy Now
  • Prestige Series Green Cartridge Prestige Series Green Cartridge Quick View

    $95.00
    Buy Now
    x

    Prestige Series Green Cartridge

    The Prestige (and upscale Reference) cartridges from Grado are the first released since the elder Grado's retirement, but they mark an evolution, not dramatic change, of the classic Grado style. There are three basic levels in the Prestige lineup: Black/Green, Blue/Red, and Silver/Gold. In each of these pairings, the latter model is the same as the former, but is able to meet more astringent test specifications. The Green, for instance, is taken from the top 15% of the Black models production.


    The newly redesigned Black1 and Green1 have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. The Black1 and Green1 models use a three piece OTL cantilever technology, standard oxygen free wire in the coils and Grado's specially designed elliptical diamond mounted in a brass bushing. The Green1 model is selected from the Black1 production run and meets higher test specifications. Approximately 15% of the production run will meet these standards and become Green1 models.


    The Prestige Green is furnished with suitable mounting hardware and the unique tool required to separate stylus assembly from cartridge body. Separating the stylus assembly from the cartridge body with the tool can be tricky, so proceed with caution, lest you end up with the cartridge body in your hand and the stylus embedded in a nearby wall.


    One review states: an there be anything much better? Well, there can: the Signature handily tops the Green in terms of the detail, depth and overload point. However, with a $60.00 list price, the Grado Prestige Green is a cartridge most people will find thoroughly enjoyable for nearly all kinds of music, especially if their system is very slightly laid back. At it's price, it simply can't be beaten! If you have a moderately-priced turntable lurking in your closet, pull it out, get a Grado prestige Green, install it and LISTEN TO THE MUSIC. You'll enjoy!


    Frequency Response: 10-55

    Principal: MI

    Channel Separation at 1KHz: 30

    Input Load: 47K

    Output at 1KHz 5CM/Sec.: 5mV

    Recommended Tracking Force: 1.5

    Stylus Type: E

    Inductance: 45mH

    Resistance: 475

    Compliance CUs: 20

    Stylus Replacement F: U

    Mounting: S/P

    Weight: 5.5




    This product is not eligible for discount.

    Grado Cartridges
    $95.00
    Cartridge Buy Now
  • New Groove (Pure Pleasure) New Groove (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    New Groove (Pure Pleasure)

    Clarinetist Pee Wee Russell's career on record stretched all the way from the 1920s, when he played with musicians such as Jack Teagarden and Bix Beiderbecke, to the 1960s, when he appeared with Thelonious Monk at Newport and made albums that included compositions by modernists such as Ornette Coleman and John Coltrane.



    Although he was pegged as being Dixieland by some and trumpeted as an elder hero of the 60s avant-garde by others, Russell remained a school unto himself. Jazz writer Whitney Balliett said that Russell played with an incomparable daring and nakedness and intuition. He had discovered some of the secrets of life and his improvisations were generally successful attempts to tell those secrets in a new, funny, gentle way.



    After Russell died, his friend and musical cohort Ruby Braff, told Nat Hentoff, »Like Louis Armstrong, Pee Wee will always be contemporary.«




    Musicians:



    • Pee Wee Russell (cl)

    • Marshall Brown (tb)

    • Russell George (b)

    • Ron Lundberg (dr)




    Recording: December 1962

    Production: Frank Driggs




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. My Mother's Eyes
    2. Chelsea Bridge
    3. Red Planet
    4. Pee Wee's Blues
    5. Moten Swing
    6. 'Round Midnight
    7. Good Bait
    8. Old Folks
    9. Taps Miller
    The Pee Wee Russell Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jake Xerxes Fussell Jake Xerxes Fussell Quick View

    $21.99
    Buy Now
    x

    Jake Xerxes Fussell

    The Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."


    A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)


    As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.


    Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.


    So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.


    For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.

    1. All in Down and Out
    2. Let Me Lose
    3. Star Girl
    4. Raggy Levy"
    5. Rabbit on a Log
    6. Boat's up the River
    7. Man at the Mill
    8. Push Boat
    9. Georgia Buck
    10. Pork and Beans
    Jake Xerxes Fussell
    $21.99
    Vinyl LP - Sealed Buy Now
  • Friends (Pure Pleasure) Friends (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Friends (Pure Pleasure)

    Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. The cuts here feature rootsy folk and blues collaborations with different 'friends' in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget 99 ½ Won't Do. The contrast between Davis' sweet and smoky delivery and Bibb's husky wail - akin to Blind Willie Johnson's in places - offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on Six O' Clock Blues. Taj Mahal makes two appearances; one in a duet on Goin' Down Slow, and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional Kulanjan and Bibb's own Sebastian's Tune. Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic Lovin' in My Baby's Eyes, with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's The Cape, with guitarist Martin Simpson, Bibb's moving For You with Ruthie Foster, and Tain't No Such Thing, a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of Needed Time, and with Kristina Olsen on her If I Stayed. The set closes with the tender Dance Me to the End of Love, (an original, not the Leonard Cohen tune) with the Lovin' Spoonful Jerry Yester playing piano. Given that most records of this type are mixed bags at best, with 'star-studded' collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo.



    Musicians:



    • Eric Bibb (arranger, guitar, vocal)

    • Odetta (vocal)

    • Ruthie Foster (vocal)

    • Guy Davis (arranger, harpsichord, vocal, guitar)

    • Taj Mahal (guitar, vocal, banjo)

    • Charlie Musselwhite (harpsichord)

    • Mamadou Diabate (kora)

    • Martin Simpson (guitar)

    • Michael Jerome Browne (fiddle, vocal, guitar, mandolin)





    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. 99 1/2 Won't Do
    2. Six O'Clock Blues
    3. Goin' Down Slow
    4. Lovin' In My Baby's Eyes
    5. For You
    6. The Cape
    7. 'Tain't Such A Much
    8. Needed Time
    9. If I Stayed
    10. Connected
    11. Ribbons And Bows
    12. Just Look Up
    13. Cowgirl Queen
    14. Kulanjan/Sebastian's Tune
    15. Dance Me To The End Of Love
    Eric Bibb
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brotherhood Of The Snake Brotherhood Of The Snake Quick View

    $28.99
    Buy Now
    x

    Brotherhood Of The Snake

    The forbearers of thrash resemble a Lovecraftian brotherhood. They're the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high. Testament stand proudly among the same vanguard that boasted "The Big 4" and beyond.


    For over three decades, the Bay Area quintet-Chuck Billy [vocals], Eric Peterson [guitar], Alex Skolnick [guitar], Steve DiGiorgio [bass], and Gene Hoglan [drums]-has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without compromise or any signs of slowing down. Over the course of seminal releases ranging from The Legacy and Practice What You Preach to The Gathering and The Formation of Damnation, which won "Best Album" at Metal Hammer's 2008 Golden Gods Awards, the group's sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012's critically praised Dark Roots of Earth assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band's highest U.S. chart bow ever. However, in 2016, Testament returns with more teeth than ever on Brotherhood of the Snake [Nuclear Blast]. "The first record is always classic because you form the band, you're totally into it, you go through the club scene, find yourself, and write your initial album over multiple years," explains Eric. "Then, you get signed and end up in a cycle. We took some time to do Brotherhood of the Snake, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven't had this many thrash tracks since The Legacy. It's a new era."


    "I view Testament like I did when we started," adds Chuck. "I've been fortunate to be doing this for over 30 years. It means a lot. We're just going to continue doing what we do." Following a whirlwind of touring in support of Dark Roots of Earth, the guys began individually writing in late 2013. In between a rigorous tour schedule, new music organically assembled. During the spring of 2016, they hit the studio with Juan Urteaga [Machine Head, Exodus] and quickly cut the album's 10 tracks.


    "Having separate periods to write set it apart," Eric continues. "Everybody played hard. Chuck really surprised me and belted out stuff that's more melodic over the heavy speed metal riffs. It blended really well together." "It does flow," Chuck agrees. "There's a lot of musicianship going on there, and I was finding hooks in the moment. I was able to feel it and just go."


    The record commences on a deadly note with the title track. A whiplash-inducing riff catapults Chuck's unmistakable growl forward before snapping into mind-numbing leads. It's a brutal breakneck basher on par with the band's best. "It was actually one of the first songs we put together," says the singer. "Once we heard it mixed, we were all like, 'Wow, we have the direction we're going in. It's really heavy.'"


    Elsewhere on the record, "The Pale King" gallops ahead on an apocalyptic barrage of drums and guitars before culminating on an unshakable chant. "It was really natural," smiles Eric. "It has that old school vibe, but this new energy to it. It never lets up. I love that!" Brotherhood of the Snake concludes on the crushing yet cinematic "The Number Game," which evinces Chuck's knack for a vivid lyrical story.


    "I actually wrote it with Steve 'Zetro' Souza," he recalls. "I had that chorus, and it was one of those things where it had to be repeated. It's 14 days and 14 nights where this guy's on a killing spree. He does a countdown, and your life is based on the number you are. It was trip."


    A fascinating concept rears its head during many of Brotherhood of the Snake's key moments, nodding to the mythical race from which the record it shares a name. "There's a connection between the alien world and religion, and the whole storyline came from it," explains Chuck. "There's a story of a Sumerian race 6,000 years ago that went on crusades to basically dethrone religions. The earth was basically the place where their leader, The Pale King, set people to be imprisoned and mine for gold. It got the ball rolling."


    Ultimately, this Brotherhood remains as powerful as ever. "If a Testament fan knows our history or has followed our last couple of records, they'll hear the progression," the front man leaves off. "Everything is right there and in-your-face. That's the way it should be with us."

    1. Brotherhood Of The Snake
    2. The Pale King
    3. Stronghold
    4. Seven Seals
    5. Born In A Rut
    6. Centuries Of Suffering
    7. Neptune's Spear
    8. Black Jack
    9. Canna-Business
    10. The Number Game
    Testament
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Savages (Discontinued) Savages (Discontinued) Quick View

    $24.99
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    Savages (Discontinued)

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
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    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor





    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.



    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) Hurry Up, We're Dreaming (Colored Vinyl) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Hail Death Hail Death Quick View

    $24.99
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    Hail Death

    Blowing minds and eardrums since forming in 2007, BLACK ANVIL's third full-length album, aptly titled Hail Death, is their most epic and fully realized album to date. It's one of those rare releases that not only stays true to the band's roots but manages to transcend them in a way that works all of their seemingly disparate influences into an amalgam of heavy music that's as original as it is earth-shaking. The sonic fury was captured at Magpie Cage by J. Robbins of Jawbox, who, although best known for recording punk and post-hardcore acts, perfectly understood the band's creative vision. He's got a really good style of making records and I knew he would understand that we wanted to make this sound live and organic as opposed to tight and compressed, relays bassist/vocalist Paul Delaney, citing Kiss' Destroyer and Metallica's Master Of Puppets as inspiration. I wanted it to be a little more rock 'n' roll sounding because I felt the songs were a little bigger and structured. It tells a story from beginning to end and the recording reflects that. As such, the behemoth offering includes a bonus track: A BLACK ANVILed cover of Under The Rose from Kiss' iconic ninth studio recording, The Elder.


    Hail Death wasn't an easy album to make and the band members' personal turmoil is reflected in every frenzied moment of the album. I went through a lot of stuff over the past year and it caused me to move and spend a year of my life in solitude, Delaney says, explaining that for twelve months he would sit in his room and pour all of his energy and inner chaos into these songs. This is our journey. I can honestly say that this is probably the most important thing I've ever done in my life, even if it never sees the light of day for some reason I'm insanely proud of it.

    1. Still Reborn
    2. Redemption Through Blood
    3. Eventide
    4. Seven Stars Unseen
    5. G.N.O.N.
    6. Until The End
    7. My Hate Is Pure
    8. N
    9. Next Level Black
    Black Anvil
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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