Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Never Say Die

'
  • 1
  • 2
Results per page:
  • Never Say Die! Never Say Die! Quick View

    $17.99
    Buy Now
    x

    Never Say Die!

    Never Say Die! is the eighth studio album by British heavy metal band Black Sabbath, released in September 1978. It was the final Black Sabbath studio album to feature vocalist Ozzy Osbourne prior to his departure from the band in 1979.


    At the time of the recording of Never Say Die! the members of Black Sabbath were all heavily involved in drug and alcohol abuse. Prior to the recording of the album, vocalist Osbourne quit the band and was briefly replaced by former Savoy Brown and Fleetwood Mac vocalist Dave Walker. Some songs were written with Walker, and the new group even performed an early version of Junior's Eyes with different lyrics on the BBC programme, Look Hear. Osbourne eventually rejoined the band, refusing to sing any of the songs written with Walker. These particular songs were rewritten, including Junior's Eyes, rewritten to be about the then-recent death of Osbourne's father.


    We had a few internal problems, Osbourne admitted to Sounds. My father was dying, so that put us out for over three months with the funeral and everything. I left the band for three months before we got back together to record it.
    The album was recorded at Sounds Interchange Studios in Toronto. We went to Toronto to record it, and that's when the problems started said Tony Iommi. Why Toronto? Because of the tax, really. The studio was booked through brochures because people thought it might be a good one. We got there and it had a dead sound - totally wrong. We couldn't get a real live sound. So what we had to do was rip the carpet up and try to make it as live as we could. They were okay about it, but it took time to get it exactly right. There were no other studios available. Closing track Swinging The Chain features lead vocals from drummer Bill Ward, necessitated by Osbourne's frequent absences from the studio and inability to perform due to substance abuse.


    It's a combination of what we've all been through in the last ten years, said Osbourne. It's a very varied album. Like, we started out playing in blues clubs, because British blues - like John Mayall and early Fleetwood Mac - was the thing at the time. We were into a twelve-bar trip and early Ten Years After-style stuff. So it's part of that sort of trip. Then there's the heavy thing and the rock thing. It's not just steamhammer headbanging stuff all the way through We got rid of all our inner frustrations: what each of us individually wanted to put down over the years but couldn't because of the pressures of work. So we put a lot of painstaking hours into developing this album.

    1. Never Say Die
    2. Johnny Blade
    3. Junior's Eyes
    4. A Hard Road
    5. Shock Wave
    6. Air Dance
    7. Over To You
    8. Breakout
    9. Swinging The Chain
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Light That Never Dies A Light That Never Dies Quick View

    $18.99
    Buy Now
    x

    A Light That Never Dies

    On his second album A Light That Never Dies which will be released in North America via Forty Below Records, KaiL Baxley has returned with a hard hitting, lush and beautifully haunting collection of songs. Co-produced with Producer/Engineer Eric Corne whose recording credits include Lucinda Williams, Glen Campbell, Kim Deal and John Mayall, the album was recorded over the last year in three different cities.


    "We used a lot of really old gear on this one to capture that warm analog sound and preserve its truth," says KaiL about the album. "I'm proud of what Eric and I got out of the studio and I'm eager to get out on the road and share it with people."


    Hailing from the small backwater town of Willison-Elko - a town so small that most people in South Carolina don't even know where it is, much less the rest of the world. It's only claim to fame is soul legend James Brown, with whom Baxley shared an unlikely friendship as a child. Perhaps this was one of the leading influences in Baxley's soul-drenched music or perhaps it was the similar circumstances in which they were raised that fuels such deep emotion in an individual.


    Abandoned by both his mother and father as a small child Baxley was raised by his grandfather Woody until age 12. When he passed away, KaiL bounced from one living situation to another, rarely living in one place for more than a year at a time. It was in this constant migration that he found escape in a pair of old RCA headphones.


    "It wasn't all bad really," he recalls. "I got to know quite a bit of music from all different genres during that time period. I'd stay with my uncle for a while and pick up some Van Morrison; my auntie gave me the Stones;friends parents turned me on to gospel. Then I discovered hiphop and it was all over. I was hooked."


    This is the very apparent source of inspiration in KaiL Baxley's genre-bending music that also blends blues, indie rock, soul, gospel, and syncopated hiphop-style beats into a most exquisite and easily drinkable cocktail of sound - a sound that he has dubbed "Soul Swagger".


    KaiL's debut effort, Heatstroke/The Wind and the War, was presented as a double EP which displayed the yin and yang of his musical range. A surprise nominee for NPR's Album Of The Year, it received critical acclaim, including a debut at SXSW, where Baxley was tapped as, "One of NPR's top new artists" by All Songs Considered.


    "His voice falls somewhere between Joe Cocker and Bill Withers with a husky authority. The guy is a whiz-bang folkie-turned-soul-rocker and has a voice which can make you dance or which melts butter, depending upon the tune."

    - Frank Gutch Jr. / Segarini

    1. Light That Never Dies
    2. Mr. Downtown
    3. Tell the Falling Sun
    4. The Ballad of Johnny Steel
    5. Morning Light
    6. Better FeelN' Better Days
    7. Owe
    8. Still Wonder (Interlude)
    9. Troubled Souls
    10. Chasing James Dean
    11. Mirrors of Paradise
    Kail Baxley
    $18.99
    Vinyl LP - Sealed Buy Now
  • Do Make Say Think Do Make Say Think Quick View

    $29.99
    Buy Now
    x

    Do Make Say Think


    • 1998 Debut Album Issued On Vinyl For The First Time


    • Includes Screenprinted Jacket With Die-cut Window And Art Poster Insert


    Do Make Say Think self-recorded its self-titled debut album in Toronto in 1996-1997 and self released the record on CD. It made its way to Constellation's stereo in spring 1998, just as the label was getting off the ground; we immediately fell in love with its blend of space rock, dub, jazz, psych and motorik influences, and with the fact that it was such a great-sounding and fully realized DIY recording. Constellation re-released the album in more extensive and elaborate bespoke CD packaging in early 1999 and Do Make Say Think became the label's fifth release (and the first from a non-MontrÉal band).


    This terrific debut remained one of the very few titles on Constellation that was never issued on vinyl, as the label's limited resources in the early years, along with DMST's continuing output (they already had most of a sophomore record in the can when the debut got its CST release) conspired against a 2xLP pressing at the time. This historical aberration is now being remedied by a lovely deluxe double 180-gram edition of the album, with the CD's unique window-cut artwork and packaging translated to glorious 12-inch dimensions.


    One of the first groups to define a newly genre blending aesthetics and collective/collaborative ethics of (post-) rock experimentation in the Toronto scene, Do Make Say Think also presaged the city's wider indie music reawakening in the early 2000s. The band has released a superb, dynamic and continually inventive series of instrumental rock albums since their auspicious debut (in one of numerous testaments to their quality and consistency, the group's subsequent four albums received ratings of 7.9, 8.1, 8.1 and 7.8 by Pitchfork). DMST's debut album brims with twilight atmosphere, a rich sonic tapestry that weaves a traditional rock configuration, dual drummers and analog synth through a mixing-desk sensibility informed by dub, electronic music, hip-hop and psychedelia. Song titles like "Highway 420", "Dr. Hooch" and "Disco & Haze" nod to the preferred states of altered consciousness that presumably prevailed in the studio, but the results are far from shambolic, hazy or indulgent. The album's long form instrumental excursions are marked by a focus on methodically deployed structures, transitions, flourishes and details that succeed in feeling natural, unlaboured, supplely rhythmic and enchantingly levitational.


    Do Make Say Think has remained defiantly independent, uncompromising and artistically focused within a Toronto scene that's often tended towards hyperbolic fanfare and dubious careerism as the years wear on, continuing to be self-managed and self-produced throughout their long history. The band regrouped in late 2012(following a 3-year hiatus) to play Constellation's 15th Anniversary shows in Europe, where they absolutely killed. They have kept on with select festival performances and mini-tours in 2013. In celebration of the band's return to action - and to commemorate the 15th anniversary of Constellation's 1998 release of the debut CD - we couldn't be prouder to present Do Make Say Think on vinyl for the first time.

    1. 1978
    2. Le'espalace
    3. If I Only...
    4. Highway 420
    5. Dr. Hooch
    6. Disco & Haze
    7. Onions
    8. The Fare To Get There
    Do Make Say Think
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Goonies Soundtrack Goonies Soundtrack Quick View

    $19.99
    Buy Now
    x

    Goonies Soundtrack

    Goonies never say die! The soundtrack to the 1985 adventure film, featuring Cyndi Lauper's fan favorite theme The Goonies 'R' Good Enough plus exclusive tracks by The Bangles, REO Speedwagon and Luther Vandross. It's the perfect treasure for vinyl fans!
    1. The Goonies 'R' Good Enough (Cyndi Lauper)
    2. Eight Arms To Hold You (Goon Squad)
    3. Love Is Alive(Philip Bailey)
    4. I Got Nothing (The Bangles)
    5. 14k (Teena Marie)
    6. Wherever You're Goin' (It's Alright) (REO Speedwagon)
    7. She's So Good to Me (Luther Vandross)
    8. What A Thrill (Cyndi Lauper)
    9. Save The Night (Joseph Williams)
    10. Theme from the Goonies (Dave Grusin)
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Technical Ecstasy Technical Ecstasy Quick View

    $17.99
    Buy Now
    x

    Technical Ecstasy

    Technical Ecstasy continued the band's separation from its signature doom and darkness that had been such a trademark of the band's early career. While the album's lyrics dealt with topics such as drug dealers, prostitution, and transvestites, the music itself was seldom dark, and tracks like Rock 'n' Roll Doctor and It's Alright (the latter sung by drummer Bill Ward-a decision supported by Ozzy Osbourne), were very different from Black Sabbath's earlier recordings. Also, the band continued experimenting with keyboards and synthesizers more so than previous albums. The track She's Gone features orchestrations.


    Osbourne left the band briefly following the release of the album. He would eventually rejoin for the follow-up album, Never Say Die!.


    Gypsy, Dirty Women, Rock 'n' Roll Doctor and (briefly) All Moving Parts (Stand Still) were played live on the supporting tour.


    It's Alright was often covered live by Guns N' Roses, and included in their Live Era: '87-'93 album.

    The song was also featured in the 2010 film It's Kind of a Funny Story.


    The album was certified Gold on 19 June 1997 and peaked at number 51 on the Billboard Pop Album chart.

    1. Back Street Kids
    2. You Won't Change Me
    3. It's Alright
    4. Gypsy
    5. All Moving Parts (Stand Still)
    6. Rock 'N' Roll Doctor
    7. She's Gone
    8. Dirty Women
    Black Sabbath
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 13 13 Quick View

    $24.99
    Buy Now
    x

    13

    Black Sabbath's new studio album, one of the most anticipated metal releases of the year, already has a title. It will be called 13, so it is only fitting that the heavy metal band announced it today, on January 13th. We know now that it will be released this June (the exact date will be revealed later). The band also revealed what everyone wanted to know: who was the drummer that joined the recording sessions for the new album.


    The original Black Sabbath line-up, Ozzy Osbourne (vocals), Tony Iommi (guitar) and Geezer Butler (bass), recorded the album primarily in Los Angeles and were joined at the sessions by drummer Brad Wilk of Rage Against The Machine fame.


    13 was produced by Rick Rubin and the album will be released on Vertigo (worldwide) and Vertigo/Republic in the US. The new studio album also marks the band's return to Vertigo, their original label, apart from being the group's first studio album together since 1978s Never Say Die.

    1. End Of The Beginning
    2. God Is Dead?
    3. Loner
    4. Zeitgeist
    5. Age Of Reason
    6. Live Forever
    7. Damaged Soul
    8. Dear Father
    Black Sabbath
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dog Beats EP Dog Beats EP Quick View

    $14.99
    Buy Now
    x

    Dog Beats EP

    One of the most legendary and sought-after albums to ever come out of Detroit in the last 30 years, Dog Beats returns to record bins everywhere this spring! Representing the very first official release from the group that would become INSANE CLOWN POSSE, Dog Beats was released when the group were still in their teens and calling themselves Inner City Posse. This EP was sold on the streets of Detroit and original cassette copies now fetch an average of $2,000 on eBay. Despite a mail-order-only CD reissue around 2000, Dog Beats has been out of circulation ever since and has NEVER BEFORE BEEN RELEASED NATIONALLY! This is truly a historic piece of Midwest hip-hop that shows the humor, rap skills, and never-say-die enthusiasm that would eventually catapult INSANE CLOWN POSSE (the band changed their name shortly after the release of Dog Beats) into the worldwide pop culture and underground icons they are today. This is where the story of ICP begins ... and is a MUST OWN for all hip-hop fans!
    1. Ghetto Zone
    2. Wizard of the Hood
    3. Life At Risk
    4. Dog Beats
    Insane Clown Posse
    $14.99
    180 Gram Audiophile Virgin Vinyl 12 EP - Sealed Buy Now
  • Sorceress (Black Vinyl) Sorceress (Black Vinyl) Quick View

    $29.99
    Buy Now
    x

    Sorceress (Black Vinyl)

    Pressed On Black Vinyl


    There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.


    Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.


    "This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."


    Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?


    "My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."


    Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.


    "I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."


    Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.


    "When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."


    For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.


    "There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."


    If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.


    "I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."


    Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.


    "It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."


    A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.


    "I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."

    1. Persephone
    2. Sorceress
    3. The Wilde Flowers
    4. Will O The Wisp
    5. Chrysalis
    6. Sorceress 2
    7. The Seventh Sojourn
    8. Strange Brew
    9. A Fleeting Glance
    10. Era
    11. Persephone (Slight Return)
    12. The Ward
    13. Spring MCMLXXIV
    Opeth
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Noctunes Noctunes Quick View

    $24.99
    Buy Now
    x

    Noctunes

    Willis Earl Beal was born on the South Side of Chicago. He would never consider it home. An odd kid, he spent a lot of his youth talking with his grandmother, who would entertain his endless questions about the universe and encourage his love of drawing. He developed an obsession with Batman that would last well into his teenage years, when he enlisted in the U.S. Army as a form of vigilante training. Willis Earl Beal died on an army base in Fort Leonard Wood, Missouri. While in boot camp he was plagued with physical and mental abuse, health complications (which would later require surgery and the removal of large portions of his intestine) forced his discharge. He moved back home. "When that all broke down," Beal says. "I lost a piece of myself." Willis Earl Beal was born in Albuquerque, New Mexico. After a stint of homelessness there, he worked odd jobs and rented a studio apartment. Though he'd never learned to play any instruments, he began to record raw, lo-fi albums with hand-drawn covers that he'd leave at coffee shops around town alongside flyers seeking a girlfriend with his phone number written on them. Those artifacts would eventually find their way to the cover of Found magazine, then to Jamie-James Medina at XL Recordings. Beal signed with XL's Hot Charity imprint in 2012. Willis Earl Beal died in New York City. Despite the release of two critically well-received albums on XL-Acousmatic Sorcery, a collection of his early home recordings, and a fully orchestrated studio album he recorded in Amsterdam called Nobody Knows-he was a mess. "I'd drink myself into stupors," he says. "I'd walk around in the daytime, crying, then I'd go downtown. The police would bring me home in the morning." Willis Earl Beal was born on a lake twenty miles outside Olympia, Washington. After ending his contract with XL, Beal went to live in the woods, and began an artistic transformation entirely of his own design, from rough-edged outsider-art provocateur to the kind of mysterious crooner one might expect to haunt the outskirts of Twin Peaks. "People had all these ideas about what I was supposed to be," he says. "I had only ever wanted to make lullabies." Beal's development played out over two self-released EPs and a full-length album, and then Beal built the patient, ambient-leaning Noctunes. The album's twelve songs are moving and meditative, thoroughly soaked with mournful synth strings and simple lyricism that Beal says is intentionally minimalistic. "I wanted to create this persona that could say everything perfectly with very little," Beal says. "The record, to me, is a perfect record. I listen to that thing a lot, and it helps me." Willis Earl Beal has yet to be born. Critics and publicists defined him before he'd had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn't feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. "I know it sounds falsely altruistic," he says. "But I think a simple voice like mine can serve as an example of some kind of freedom."
    1. Under You
    2. Flying So Low
    3. Like a Box
    4. Lust
    5. No Solution
    6. Stay
    7. Say the Words
    8. Love Is All Around
    9. Able to Wait
    10. Survive
    11. Start Over
    12. 12 Midnight
    Willis Earl Beal
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • House Arrest House Arrest Quick View

    $13.99
    Buy Now
    x

    House Arrest


    Sure The Doldrums and Worn Copy had some hits and humdingers on them, but Ariel Pink's 2002 album House Arrest never lets up. Its hit after hit after hit. Sorta like if you listened to your friends boom box mix tape from Top 40 radio around 1985.


    Think you've heard enough Ariel Pink? Well our favorite omnivorous media junkie from LA still has a few tricks left up his sleevelike the left-of-center House Arrest. Sure The Doldrums and Worn Copy had some hits and humdingers on them, but House Arrest never lets up. It's hit after hit after hit. Sorta like if you listened to your friend's boom box mix tape from Top 40 radio around 1985. Some people might think that sounds like a recipe for disaster. We say bring on the Doritos.


    Originally released in 2002 as part of a split double-CD set, then re-released with a couple of bonus tracks (including the multipart epic Netherlands) in 2006, House Arrest, much like every other Ariel Pink release so far, provides a small sampling of Ariel Rosenberg's self-recorded compositions, laid down on a trusty eight-track at home. Unlike so many warbling troubadours who seem to think the recorded-in-a-bedroom approach means a license to be maudlin, Rosenberg brings an exuberant joy to his work, finding something that a full band recording might actually kill the spirit of. The queasy tones and gently distanced verses of the opening Hardcore Pops Are Fun is instant put-a-smile-on-your-face stuff, helping to set the tone for the whole collection. The demented synth pop merriment of Flying Circles suggests an '80s nugget swathed in psychedelic haze, a gentle breeziness apparent on many other songs like the giddy Every Night I Die at Miyagis or the nervous funk of Alisa, easily one of the best songs on the album thanks to some exquisite vocals in particular. Though his connection to personal hero R. Stevie Moore is often mentioned, Rosenberg's role model here often seems to be Andy Partridge instead -- check out the distinctly XTC-like hiccupping on Gettin' High in the Morning, not to mention the quick herky-jerk arrangements. Rosenberg's preference to add layers of echo on his voice means sometimes his lyrics only emerge in fits and starts, but when they do they often are wryly witty or amusingly theatrical -- it fits with the amusing rock pose on the back cover, a knowing embrace of a trope. So when he sings about how West Coast calamities are worth more than the East Coast variety or how he's one of those egomaniacs who just want to siiiing, who's to deny how he plays around with the ideas?

    1. Hardcore Pops Are Fun

    2. Interesting Results

    3. West Coast Calamities

    4. Flying Circles

    5. Gettin' High In the Morning

    6. Helen

    7. Every Night I Die At Miyagis

    8. House Arrest

    9. Alisa

    10. Almost Waiting

    Ariel Pink's Haunted Graffiti
    $13.99
    Vinyl LP - Sealed Buy Now
  • The Beginning The Beginning Quick View

    $34.99
    Buy Now
    x

    The Beginning

    While the title of The E.N.D. was a play on words (standing for The Energy Never Dies), the Black Eyed Peas new album's title, The Beginning, refers to what is actually happening in the world right now, says will.i.am. The Beginning is symbolic of adopting new technologies, such as augmented reality, 3D, and 360 video. It's also about being experimental and taking songs we've liked from the past and playing around with sick, crazy beats. The first single from The Beginning, The Time (Dirty Bit), is as Fergie puts it, a celebration of this amazing time in our lives.
    1. The Time (Dirty Bit)
    2. Light Up the Night
    3. Love You Long Time
    4. XOXOXO
    5. Someday
    6. Whenever
    7. Fashion Beats
    8. Don't Stop the Party
    9. Do It Like This
    10. The Best One Yet (The Boy)
    11. Just Can't Get Enough
    12. Play It Loud
    Black Eyed Peas
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Nonagon Infinity Nonagon Infinity Quick View

    $19.99
    Buy Now
    x

    Nonagon Infinity

    Pressed On Splattered Vinyl (Dark Vinyl With Light Splatters)


    "Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It's exactly the kind of ambitious vision that prompted Rolling Stone to dub the band "one of the most compelling collectives of art-rock experimentalists in recent years." But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.


    The roots of 'Nonagon Infinity' stretch back to 2014, when King Gizzard recorded their critically acclaimed album "I'm In Your Mind Fuzz," which was hailed by Pitchfork as "dense, intricately crafted, and most importantly, powerful."


    "We actually wanted to do this with 'Mind Fuzz,' but it just didn't work," explains Mackenzie. "We ended up writing songs that needed to be on that record but didn't connect to the others, so we had to abandon the idea, but the seeds were sown."


    To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed 'Mind Fuzz' with two more records in 2015, 'Quarters'-described by The Guardian as "the neon intersection of DIY psych and 1960s beach pop"-and the stripped-down 'Paper Mache Dream Balloon,' which earned praise from NPR to Stereogum. The truth, though, was that King Gizzard was honing in on the 'Nonagon Infinity' material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic.


    "We really wanted to focus on things that felt good live," says Mackenzie. "We'd grab a little riff here or a little groove there, and we'd jam on them and form songs out of them, which was the opposite of 'Paper Mache,' where we were making songs in an acoustic, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn't just a song, it was part of a loop, part of this whole experience where it feels like it doesn't end and doesn't need to end."


    Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path.


    "I wanted it to feel like a horror or sci-fi movie," explains Mackenzie of the album's dark overtones. "The lyrics came as a stream of consciousness, all of these elements just falling out of my head as it was happening."


    "Big Fig Wasp" references a particularly macabre insect that must kill itself in order to perpetuate the species, while "Gamma Knife," with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and "People-Vultures" plays like a sinister film soundtrack. Album opener "Robot Stop" pulls more directly from the band's recent experiences, inspired in part by their relentless work ethic and tour schedule, which has included festival performances at Bonnaroo, Glastonbury, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA, UK, Europe and Australia.


    "That song's about feeling overworked, like a bit of a robot that's just going to crash and die or something," he says with a laugh. "But you get yourself up and do it again and you robot on and you're alright. It was one of the early ones we wrote for the record, and I think when that song came together, everybody started to feel like were going to actually be able to pull off this never-ending album idea."


    To say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album's final track.


    "In the Australian desert, in the outback, there are what's called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long," he explains. "They drive on the road really, really fast, and they're deadly, with these bars in the front to kill kangaroos and anything else in their path."


    'Nonagon Infinity' has opened the door for King Gizzard & The Lizard Wizard, and they're barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

    1. Robot Stop
    2. Big Fig Wasp
    3. Gamma Knife
    4. People-Vulture
    5. Mr. Beat
    6. Evil Death Roll
    7. Invisible Face
    8. Wah Wah
    9. Road Train
    King Gizzard & The Lizard Wizard
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Universal Breakdown Blues Universal Breakdown Blues Quick View

    $18.99
    Buy Now
    x

    Universal Breakdown Blues

    Universal Breakdown Blues is a modern urban blues/rock offering that reflects the soul of blues mastermind Popa Chubby. The album features 12 brand new tracks that capture the fire and energy of his live shows. It represents an entirely new level of his tempestuous, soulful playing. Popa puts it all into the simple language of music and invites us all to the party!


    'This is the blues now. It's the people's blues. The blues belongs to the people and I get to sing it. If there's one thing I want people to know about me, it's that I'm a survivor, says Popa Chubby. 'Here's my story: My dad died when I was seven. I was abandoned and raised myself. I moved to New York City when I was 18 and started playing music. I got a huge heroin habit and ended up strung out on the streets until I was in my early twenties. I started playing again and got away from drugs and never went back, and then I got into the New York blues scene of the early '90s, and here I am today.'


    Universal Breakdown Blues is a monumental blues album fueled by the veteran Popa Chubby.

    1. I Don't Want Nobody
    2. I Ain't Giving Up
    3. Universal Breakdown Blues
    4. The Peoples Blues
    5. Rock Me Baby
    6. 69 Dollars
    7. Over The Rainbow
    8. I Need A Lil' Mojo
    9. Danger Man
    10. Goin' Back To Amsterdam (Reefer Smokin' Man)
    11. The Finger Bangin' Boogie
    12. Mind Bender
    Popa Chubby
    $18.99
    Vinyl LP - Sealed Buy Now
  • I'm Not The Devil I'm Not The Devil Quick View

    $24.99
    Buy Now
    x

    I'm Not The Devil

    Cody Jinks was raised on country music but he cut his teeth on metal. "Metallica was king. They set the tone for me and I spent a good part of my youth wanting to be James Hetfield." After a dedicated stint as a frontman in a thrash metal band, Jinks willingly found himself back to where it all began. "My dad loved the outlaw country icons, Johnny Cash, Waylon Jennings and Merle Haggard. That never ending consistency of incredible music growing up laid some very deep seeds. I'm mean, come on nothing better than mentally diving into 'The Hag' and metal when it comes time for me to write songs."


    Always avoiding trends and ferociously choosing his direction was the only option from day one, even though that very path could have prevented success. "What is success if you can't wake up everyday being who you really are. In the end, that will catch up with you." Jinks has been tested countless times by his career choices. The better part of the last 15 years have included numerous empty bar rooms and a never ending financial loss. "Yeah, I've been pretty good at losing money. Not the greatest feeling in the world to be gone from home for long stretches of time, only to walk in the door broke. Luckily I've got a damn good woman in my life. She has stood by me with unmeasurable strength to say the least and it is an absolute fact that I seriously overplayed my hand when landing her."


    His long, dark beard and endless array of tattoos are no fad. They unquestionably define Cody Jinks. His prototypical metal/hard rock band frontman look is not a well orchestrated image, but again, define Cody Jinks. Diving into to his album, I'm Not the Devil is the perpetual truth of who he is and where he has found himself at this point in his career. "I'm just glad that I ended up where I am now," Jinks said. "It makes complete sense that I'm at this place in my life. Country music found me when I was young and chased me down as I grew older"


    Jinks' latest project is his deepest, darkest and most provocative album to date, with a metal common denominator, the apocalypse, running throughout the record. "It's a pretty scary time," Jinks said. "There are some evil people running things in the world. It hits me since I have a six and three-year old."
    There's not a weightier song than the aptly titled "Heavy Load." It's the most apocalyptic song on the album but the dense cut, with a pretty violin break, is a gorgeous tune. The vocal hook grabs ears when Jinks croons "Train Jumps Tracks Some Time Ago/You Can't Root That Heavy Load." "That was the last song I wrote on the record," Jinks said. "I couldn't be happier how that one turned out."


    "All You Can" features a pretty piano line and sobering wordplay. When Jinks belts out 'What Are You Living For," you can't help but think about the serious question posed in what is becoming an increasingly shallow existence. "I was really tired when I wrote that song," Jinks said. "We had been on the road for awhile. The bottom line is that if you're not helping people, you're not doing your job as a human being. It's time to quit feeling sorry for yourself and do something."
    One of Jinks' favorite songs on the album is "The Way I Am," a cover of a Merle Haggard classic. "I love that song," Jinks says. "I wrapped it up just before Merle died. The song always resonated with me. I relate to that one since there are times I would rather be out fishing."


    "No Words" is a stunner of a gritty, autobiographical love song, which is a throwback to how songs used to be written. It is a tuneful gem, inspired by reality. Jinks starts out dark as night. "My Whole View of the World has Changed/ I Guess that Comes with Age/I Don't Believe there is Good in Every Man Like I Did Back Then/I May Drink More Than I Should/You've Seen Me on the Floor/I Spent my Lifetime in this Cage I Built Around Me." But the song is actually a tip of the hat to his beloved wife of 19 years. "There Aint' No Words/ To Say How Much I Need You/With You Here/ You Make This Life I Lead Worth Living." "It's about my wife," Jinks says. "But the funny thing is that she doesn't like it. She thinks it sounds too sad."


    With the title track "I'm Not the Devil," Jinks wakes us all up to the realities of mistakes and the heartfelt desire to be forgiven. "We are all guilty of mistakes and very guilty of pointing out the mistakes of others. Forgiveness feels so much better or so I think."


    It's impressive how Jinks is getting his message across. Jinks utilizes space well in his songs. Notes aren't crammed in. Jinks lets his songs breathe. "After all I've experienced, I think I've matured," Jinks says. "I think you can hear it in the music. I've grown up."


    Even though he still looks the part of the headbanger he was back in the day, he has moved on. "It's all for the best, Jinks says. "I'm where I was meant to be."


    It's all about the music and the fans, who are the fuel that drives Jinks. "They come out night after night giving up hard earned money and precious time to see me play," Jinks says. " It's truly is amazing when you really think about it. The best way I can say thanks is by giving back with effort and gratitude."

    1. The Same
    2. I'm Not the Devil
    3. No Guarantees
    4. No Words
    5. Give All You Can
    6. She's All Mine
    7. The Way I Am
    8. Chase That Song
    9. Heavy Load
    10. Grey
    11. Church at Gaylor Creek
    12. Vampires
    13. Hand Me Down
    Cody Jinks
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $37.99
    Buy Now
    x

    The Last Spire

    Import


    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $29.99
    Buy Now
    x

    The Last Spire

    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pete Townshend's Classic Quadrophenia Pete Townshend's Classic Quadrophenia Quick View

    $25.99
    Buy Now
    x

    Pete Townshend's Classic Quadrophenia

    As a leading icon of the British music revolution of the 1960s, Pete Townshend made his name by creating the power chord, smashing guitars onstage, and penning anthems of teenage rebellion like My Generation.


    Now, at almost 70 years old and half a century after he penned the archetypal rock lyric Hope I die before I get old , Townshend has created a classical version of one of The Who s landmark albums Quadrophenia for a symphony orchestra, opera singer and choir.


    The new symphonised version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller, a professional composer, orchestrator and singer-songwriter in her own right and also the partner of Pete Townshend.


    It will be released by the Deutsche Grammophon label, internationally renowned for its repertoire of classical and opera music, and launched next summer with a world premiere concert at the Royal Albert Hall, performed by the Royal Philharmonic Orchestra and London Oriana Choir.


    The project is the latest chapter in Townshend s lifelong mission to break the three-minute mould of the traditional pop song and take rock music to a higher artistic level. In the 1960s he defined the concept of the rock opera with Tommy, taking it a stage further with Quadrophenia.
    Conceived and written by Townshend in 1973, Quadrophenia went on to become a feature film and a theatre production, and was performed in its entirety on The Who s most recent live tour. For the last three years Townshend has worked closely with Rachel Fuller on brand-new arrangements for orchestra, soloists and choir.


    Recorded with the Royal Philharmonic Orchestra in October 2014 at London s legendary Air Studios, the new incarnation of this classic rock opera is conducted by Robert Ziegler and features popular British tenor Alfie Boe on vocals, with Townshend himself on electric guitar and performing cameo vocal roles. Townshend will reprise his roles at the live world premiere at the Royal Albert Hall in London on 5 July 2015, alongside the RPO, Ziegler, Boe and other star guests.


    The rock superstar began work on the project as part of his plan to leave a legacy of all his work arranged for orchestra as sheet music, for future generations to enjoy. Townshend hopes the new work will go on to become a regular part of the orchestral repertoire and boost attendance at classical concerts.


    A lot of major symphony orchestras are in trouble because their audience is getting old and the younger audiences prefer softer stuff, such as film soundtrack music, he explains. I think that Quadrophenia would reinvigorate their audiences and bring in people who might not otherwise go to see a symphony orchestra perform without lights and fireworks and a movie screen.


    Rachel Fuller, who was born in the year Quadrophenia was first released, admits she had never heard The Who s album until several years after she first met Townshend in a London recording studio, while he was rehearsing for The Who s 1996 tour of that album and she was working with Ute Lemper.


    I loved it as soon as I heard it about ten years ago, she says. For me it's been an act of love to orchestrate it for Pete. It's also been a joy to work on because it is very orchestral by nature, even as a rock album, so it was very easy to arrange for an orchestra. And I've remained really faithful to the original tracks because he's the composer and I want to honour his work.

    1. I Am The Sea
    2. The Real Me
    3. Quadrophenia
    4. Cut My Hair
    5. The Punk And The Godfather
    6. I'm One
    7. The Dirty Jobs
    8. Helpless Dancer
    9. Is It In My Head?
    10. I've Had Enough
    11. 5:15
    12. Sea And Sand
    13. Drowned
    14. Bell Boy
    15. Doctor Jimmy
    16. The Rock
    17. Love Reign O'er Me
    Pete Townshend
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Abandoned Abandoned Quick View

    $19.99
    Buy Now
    x

    Abandoned

    Boston's most devoted and steadfast hardcore band, Defeater knows what it takes to remain credible in a scene where fans demand both unapologetic, in-your-face power and intense emotional honesty. For Defeater and their die-hard fans, this honesty is key, and with their Epitaph debut Abandoned, Derek Archambault (vocals) and fellow band members have created their masterpiece. Carrying on the narrative thread they have built across four previous albums, Abandoned is the band's most powerful and uncompromising album to date, powered by a renewed sense of artistic ambition and a plot twist no one could have expected. Defeater has never sounded more bleak and intense. The seething black-hole hardcore songs that served as finales "Cowardice" and "Bled Out" on Travels and Letters Home just barely touch the full-throated primal desperation on display in the first track here, and the momentary respite halfway through on "Borrowed And Blue" only makes the utter collapse that follows more punishing. This is the first album where the entire band was involved from the ground up, says Archambault, and that let Defeater push itself to a new level of discipline and depth.
    1. Contrition
    2. Unanswered
    3. December 1943
    4. Spared In Hell
    5. Divination
    6. Borrowed & Blue
    7. Penance
    8. Remorse
    9. Pillar Of Salt
    10. Atonement
    11. Vice & Regret
    Defeater
    $19.99
    Vinyl LP - Sealed Buy Now
  • Cold Fact Cold Fact Quick View

    $25.99
    Buy Now
    x

    Cold Fact

    First Official Reissue!


    Mastered from the Original Tapes


    Co-produced by Motown Guitar God Dennis Coffey & Mike Theodore


    Featuring Members of the Legendary Motown Players The Funk Bros.


    Limited Edition Vinyl LP on 180 Gram Wax


    Its one of the lost classics of the 60s, a psychedelic masterpiece drenched in colour and inspired by life, love, poverty, rebellion. The album is Cold Fact, and whats more intriguing is that its maker a shadowy figure known as Rodriguez was, for many years, lost too. A decade ago, he was rediscovered working as a menial day laborer in Detroit, Michigan. He was unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution.


    Rodriguez recorded Cold Fact his debut album in 1969, and released it in March 1970. Its crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late 60s inner-city America. Gun sales are soaring/Housewives find life boring/Divorce the only answer/Smoking causes cancer, says the Dylan-esque
    Establishment Blues.


    But the album sank without trace, thanks, in part, to some of Rodriguezs more idiosyncratic behavior, like performing at an industry showcase with his back to the audience throughout. When the follow-up, 1972s Coming From Reality, also sold poorly, Rodriguez called an end to his recording career. Hed never even played a proper gig. And he got on with life. Over the years, he turned his hand to local politics, gaining a degree in philosophy, factory work and eventually, hard labour.


    As his music career became a memory, Rodriguezs legend was growing on the other side of the world. In South Africa, Australia and New Zealand, Cold Fact had become a major word of mouth success, particularly among young people in the South African armed forces, who identified with its counter-cultural bent. But Rodriguez was an enigma not even the label knew where to find him and his demise became the subject of debate and conjecture. Some rumours said hed died of a drug overdose or burned to death on stage. Others said he was in a mental institution, or in prison for murdering his girlfriend. Barring a couple of sold out Australian tours in 1979 and 1981, nothing had been heard of him for almost 30 years.


    But the tide began to turn in 1996, when journalist Craig Bartholemew set out to get to the bottom of the mystery. After many dead ends, he found Rodriguez alive, well, free and perfectly sane in Detroit, ending years of speculation. Rodriguez himself had no idea about his fame in South Africa (the album had gone multi-platinum, Rodriguez has received not so much as a Rand in royalties), and embarked on a triumphant South African tour followed, filling 5,000 capacity venues across the country. A documentary named Dead Men Dont Tour: Rodriguez in South Africa 1998 was screened on national TV.


    Rodriguez is spoken of in the same reverent tones as The Doors, Love and Jimi Hendrix.



    1. Sugar Man

    2. Only Good For Conversation

    3. Crucify Your Mind

    4. This Is Not A Song, It's An Outburst: Or, The Establishment Blues

    5. Hate Street Dialogue

    6. Forget It

    7. Inner City Blues

    8. I Wonder

    9. Jane S. Piddy

    10. Gommorah (A Nursery Rhyme)

    11. Rich Folks Hoax

    12. Like Janis

    13. I'll Slip Away

    14. You'd Like To Admit It
    Rodriguez
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Terry Riley: In C (Pure Pleasure) Terry Riley: In C (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Terry Riley: In C (Pure Pleasure)

    If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.


    This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.



    Musicians:



    • Terry Riley (conductor, saxophone, organ)

    • Margaret Hassell, Lawrence Singer (oboe)

    • Darlene Reynard (bass)

    • Jon Hassell (trumpet)

    • Jerry Kirkbride (clarinet)

    • David Shostac (flute)

    • Stuart Dempster (trombone)

    • Edward Burnham (vibraphone)

    • Jan Williams (marimba)



    Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne

    Production: David Behrman

    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.


    This title is not eligible for discount.

    1. In C
    Terry Riley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
    Buy Now
    x

    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
  • Visuals Visuals Quick View

    $23.99
    Buy Now
    x

    Visuals

    Mew frontman Jonas Bjerre has worked on the projections for the band's live shows since their early days. Usually, the Danish trio finish an album and Bjerre gets to work on the visuals. For their seventh record, though, the singer decided to turn things upside down, working on the visuals first and seeing if they informed the music. The resultant record feels like a culmination for one of rock's most ambitious and inventive groups: Visuals is where Bjerre and his bandmates, bassist Johan Wohlert and drummer Silas Utke Graae Jørgensen, join the dots of a career that has spanned over two decades. "We do everything on this album ourselves," says Bjerre. "We produced it ourselves, I did the artwork, I'm doing the visuals. Visuals felt like a fitting title. I like the idea that each song has a visual aspect to it somehow."


    Mew have a tradition of, as Bjerre puts it, hiding away in a cave for three or four years between albums. The tour that accompanied 2015's +- album found the band reaching a creative peak that they felt was too exhilarating to be dampened by a period of extended cave-dwelling. They arrived home with demos that had been written on the road and the spark was lit. They wanted to break the cycle and make an album quickly. "We just felt like, "if we do it the normal way, it's gonna be another three or four years before we get to do it again'," says Bjerre. "If you keep doing it like that, ultimately you make a handful of albums and then you're ready for retirement." The trio wanted to make an album spontaneously, keeping the energy they'd generated on the road going.


    They set to work in Copenhagen and started knocking the demos they'd written on tourbuses and in hotel rooms into shape. At the same time, new songs were emerging in reaction to what was going on around them. Mew aren't a political band but couldn't help but be affected by rolling news and the death of an icon. "It was pretty dark last year, so some of the darkness in the lyrics comes from that. You definitely get the feeling that things don't last forever when someone like David Bowie dies." Visuals was completed in just under a year - what Bjerre describes as an "incredible" feat for a band used to periods of prolonged tinkering. "Spending less time on it, you can still maintain the feeling you had when you first wrote it," says Bjerre.


    Bjerre doesn't know where Mew songs come from. He finds it hard to pin down his lyrics, his melodies, himself. It's what makes his band so special, that thrill that songs could go anywhere, that understated verses could suddenly rocket skyward, anthemic choruses could implode into beautiful soundscapes or sophisticated grooves could be crushed like a tincan. "I don't consciously know why the songs come out the way they do," says Bjerre. "It's a lot of trial and error for us. Even though a song is on an album, it keeps growing because we get to go out and perform it for an audience. I like the thought it can keep growing. It's never really finished."


    Visuals is Mew at their most compact, their chemistry at its most potent. With only one song over five minutes, it's their most concise album. Bjerre says there was no need for a grand, overarching concept. Each song on Visuals represents its own little chapter and story: nothing needed to be overly long. "Each album is like a collection of thoughts and ideas that fit the time we're in," he says. "They're like little diary entries, except they're a little bit more veiled perhaps. To me, albums are memories of times in my life."


    The song that led the way was the slow-building euphoria of Nothingness And No Regrets. Bjerre says that Mew lyrics often have two or three different meanings, and the opener is a reflection on life and death at the same time as "imagining this team of people trying to accomplish something and ultimately failing." The expansive 80s-style pop of The Wake Of Your Life is about legacy and what's left after you've gone. "These are things you think about more and more the older you get." It started out as a synth-pop track with lots of programming before taking on a different shape when the band added guitars over the top. "We try to change the method of how we reach the destination all the time cos if you do things the same way all the time, the results will often be very similar," says Bjerre.


    The discordant stomp of Candy Pieces All Smeared Out came about after Bjerre went back over some demos he'd made as a youngster on an Omega 500. "Some of them were interesting sonically so I kept some of the programming. We built the song on top of this really weird 8-bit computer track." The song sums up the emotional to and fro and ca

    ptivating contrariness at the heart of Visuals: it's an album that's both nostalgic and contemporary, that looks back whilst marching forward.

    The blissful glide of In A Better Place is a prime example of the impulsive environment that the songs were written in, a drumbeat by Jorgensen inspiring Bjerre to write a song immediately, whilst the atmospheric rock of Ay Ay Ay was based around a choir part that Bjerre had come up with a few years ago. All of the vocal parts were recorded in the booth that Bjerre had constructed in his apartment in Copenhagen. "I like waking up in the middle of the night and feeling inspired by something and being able to go in my booth and just sing it," he says.


    Bjerre says that the celebratory groove of Learn Our Crystals "is one of our weirdest songs." Poppy and fantastical, it had a familiar feeling to the singer as soon as he wrote it. The soulful sway of Shoulders has an R'n'B feel to it, whilst Bjerre had earmarked the mesmerising intricacy Carry Me To Safety as the album's closer as soon as it'd been written. "I just like how it twists and turns," he says. "It's a reflection on life and being in a band, what it means to be in a band, dedicating so many years of your life to this thing."


    Twenty years into their career, Mew have the irrepressible ebullience of a band on their debut album. Visuals feels like the beginning of a new chapter. "Mew is what I always come back to, it's a companion to my life. It's always been there, as long as I can remember. It's a big part of the footprint that we'll leave behind," says Bjerre. Mew march on: this is the sound of a band seizing the moment.

    1. Nothingness and No Regrets
    2. The Wake of Your Life
    3. Candy Pieces All Smeared Out
    4. In a Better Place
    5. Ay Ay Ay
    6. Learn Our Crystals
    7. Twist Quest
    8. Shoulders
    9. Videos
    10. Zanzibar
    11. Carry Me to Safety
    Mew
    $23.99
    Vinyl LP - Sealed Buy Now
  • Savages Savages Quick View

    $24.99
    Buy Now
    x

    Savages

    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
  • Dad Country Dad Country Quick View

    $17.99
    Buy Now
    x

    Dad Country

    Nashville songwriter Jonny Fritz's work ethic and boldness have paid off in spades. It's been a big year for Jonny with opening stints for Alabama Shakes, Deer Tick, Dawes, Shooter Jennings and kudos from CMT and Rolling Stone, among many others. He signed his deal this week (he actually signed the deal with gravy at Nashville landmark Arnold's Country Kitchen), and his third full-length album, Dad Country, is set for release on April 16, 2013.


    Produced by Jonny and Dawes' Taylor Goldsmith, recorded at Jackson Browne's Los Angeles studio and finished up in Music City, USA; this breakthrough album balances Jonny's trademark earthy humor and unfiltered worldview with some of his darkest material to date. Co-producer Goldsmith says, "Funny as they can be at moments, his songs access realities and experiences that we're all familiar with but sometimes fail to consider the depths of."
    While immersing himself in the music world, Jonny began running marathons from Philadelphia to Barcelona and pounding out his signature leather works - the dog collars and guitar straps - seen all over Nashville and half the musical universe. He found himself in NYC for year trying to save a relationship, and its slow, painful unraveling (and demise) inspired Dad Country's bleakest, heartrending tracks, including "All We Do Is Complain" and "Have You Ever Wanted to Die."


    These days, life has never been better for Jonny Fritz. He's back in Nashville again and putting down roots- and has even gone and bought himself a house. "It just keeps getting better. Now, the band is getting paid, I'm getting paid, everybody's happy, and we're packing 'em in when we play."
    "This is the dream life. I couldn't really ask for anything else."

    1. Goodbye Summer
    2. All We Do Is Complain
    3. Holy Water
    4. Social Climbers
    5. Ain't It Your Birthday
    6. Shut Up
    7. Wrong Crowd
    8. Have You Ever Wanted to Die
    9. Fever Dreams
    10. Trash Day
    11. Suck In Your Gut
    12. Instrumental
    Jonny Fritz
    $17.99
    Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top