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  • Out of the Forrest Out of the Forrest Quick View

    $34.99
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    Out of the Forrest

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label LP pressings, tip-on jackets on thick cardboard stock


    From the time Coleman Hawkins firmly established the tenor saxophone on the jazz map, it has been one of the most potent forces in the music, its best practitioners able to raise the roof with a jumping blues, soothe the savage beast with a tender love ballad, and do just about anything in between. At the time of this recording (1961), Jimmy Forrest, the St. Louis-born reedman, was a veteran of the Fate Marable, Jay McShann, Andy Kirk, and Duke Ellington bands. Later in his career he starred with Count Basie. Here he leads a quartet of teammates from the combo of Sweets Edison, including the young Austrian pianist Joe Zawinul, through a gamut of the aforementioned moods from Crash Program to the caressing That's All, with a few tips of the cap to Ben Webster along the way. With Joe Zawinul, Tommy Potter and Clarence Johnston.


    This title is not eligible for discount.

    1. Bolo Blues
    2. I Cried for You (Now It's Your Turn to Cry Over Me)
    3. I've Got a Right to Cry
    4. This Can't Be Love
    5. By the River Sainte Marie
    6. Yesterdays
    7. Crash Program
    8. That's All
    Jimmy Forrest
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • X-Rated Fairy Tales (Discontinued) X-Rated Fairy Tales (Discontinued) Quick View

    $37.99
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    X-Rated Fairy Tales (Discontinued)

    Import


    Recorded with a fairly straightforward backing band (bassist Mark Duran, synth-player John Carlan, and drummer/keyboardist Bill Roth), Creed's first solo album still turned out to be something touched with the unmistakable mark of Chrome. The production was often murky and strange, effects processing was everywhere, Creed's vocals sounded on the edge of sanity, and, of course, the guitars. Still creating one massive rock surge after another, with feedback piled on top of feedback and, likely enough, more pedals than anyone had ever seen at any one time, Creed showed once again why his guitar-god reputation exists in the first place. That his first solo album continued the true vibe of Chrome where Damon Edge's own use and abuse of the name made him a laughing stock probably wasn't that surprising in the end. Creed himself thought of this album as a more stripped-down, less stony affair, but it's mostly a matter of splitting hairs from an outside perspective. Considering that the title track itself is an acoustic guitar-led acid folk number with appropriate crumbling guitar noises in the background and post-hippie vibes everywhere, one has to wonder what Creed considers to be really stoned music. The most crisp the album gets is with the rhythm section, which often has a good full-bodied punch to it (and if anything sounds a bit like the work of Can, one of Chrome's inspirations). There's a little less stuff about alien takeovers and lurking gods outside the solar system and the like -- there's even a semi-cover of the old Chuck Berry classic Johnny B. Goode -- but then again one almost-dancefloor number is called Sex Voodoo Venus, so go figure. Showdown is also a pretty focused, rhythmic number notable for chunky riffs rather than extended soloing, while the You don't like me/I don't like you lyrics are pretty funny (and maybe about Edge -- and who could blame him?).

    -All Music Guide

    1. The Descent
    2. Un-Human Condition
    3. Invitation
    4. X-Rated Fairy Tales
    5. Blood Red
    6. Mystery Room
    7. Showdown
    8. Sex Voodoo Venus
    9. Money Man
    10. Johnny
    Helios Creed
    $37.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Get Yer Ya-Ya's Out (With Unframed Litho) Get Yer Ya-Ya's Out (With Unframed Litho) Quick View

    $269.99
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    Get Yer Ya-Ya's Out (With Unframed Litho)

    Never Before Released!


    Limited Edition Clear Vinyl


    Hand Numbered Limited Edition Lithographic Print (Not Framed)


    Returning to the American concert scene after a three-year layoff, The Rolling Stones recorded GET YER YA-YA'S OUT! during a triumphant two-date stand at Madison Square Garden in late November 1969. It's often called one of the top live rock albums of all time.


    This highly collectible lithograph and LP set, including a Certificate of Authenticity, is offered on a first-come, first-served basis-no additional copies will be produced after the initial press run is exhausted. Signatures on the printing plates reflect the band's personnel at the time each album was recorded.


    Get Your Ya-Ya's Out LIMITED EDITION LITHOGRAPHIC PRINT:
    This hand-numbered, museum-quality print is derived from artwork used on THE ROLLING STONES record album Get Your Ya-Ya's Out and is signed in the plate by the recording artists beneath the image.


    Exclusively authorized and licensed from ABKCO Records

    Print Size (includes mat board): 20" x 24"

    Image Size: 16" x 16"

    Stock: Acid-free, 100# Opus dull cover

    Signed in the plate by band members

    Hand-numbered and embossed logo

    Edition Size: 2,500

    Includes Certificate of Authenticity

    1. Jumpin' Jack Flash
    2. Carol
    3. Stray Cat Blues
    4. Love in Vain
    5. Midnight Rambler
    6. Sympathy for the Devil
    7. Live With Me
    8. Little Queenie
    9. Honky Tonk Women
    10. Street Fighting Man
    The Rolling Stones
    $269.99
    Colored Vinyl LP + Lithograph - Sealed Buy Now
  • Get Yer Ya-Ya's Out (With Framed Litho) Get Yer Ya-Ya's Out (With Framed Litho) Quick View

    $499.99
    Buy Now
    x

    Get Yer Ya-Ya's Out (With Framed Litho)

    Never Before Released!


    Limited Edition Clear Vinyl


    Hand Numbered Limited Edition Framed Lithographic Print


    Returning to the American concert scene after a three-year layoff, The Rolling Stones recorded GET YER YA-YA'S OUT! during a triumphant two-date stand at Madison Square Garden in late November 1969. It's often called one of the top live rock albums of all time.


    This highly collectible lithograph and LP set, including a Certificate of Authenticity, is offered on a first-come, first-served basis-no additional copies will be produced after the initial press run is exhausted. Signatures on the printing plates reflect the band's personnel at the time each album was recorded.


    Get Your Ya-Ya's Out LIMITED EDITION LITHOGRAPHIC PRINT:
    This hand-numbered, museum-quality print is derived from artwork used on THE ROLLING STONES record album Get Yer Ya-Ya's Out and is signed in the plate by the recording artists beneath the image.


    Exclusively authorized and licensed from ABKCO Records

    Print Size (includes mat board): 20" x 24"

    Image Size: 16" x 16"

    Stock: Acid-free, 100# Opus dull cover

    Signed in the plate by band members

    Hand-numbered and embossed logo

    Edition Size: 2,500

    Includes Certificate of Authenticity


    1. Jumpin' Jack Flash
    2. Carol
    3. Stray Cat Blues
    4. Love in Vain
    5. Midnight Rambler
    6. Sympathy for the Devil
    7. Live With Me
    8. Little Queenie
    9. Honky Tonk Women
    10. Street Fighting Man
    The Rolling Stones
    $499.99
    Colored Vinyl LP + Lithograph - Sealed Buy Now
  • Undersea Undersea Quick View

    $13.99
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    Undersea

    The Antlers' debut on ANTI continues the Brooklyn trio's evolution begun with the acclaimed albums Hospice and Burst Apart. Their new 4-song EP, Undersea was recorded in early 2012.



    In the band's own words: "In January, after returning home from a year of touring, we started something new. We knew not what it would become and had no purpose but to see what could happen in two and a half months of recording in our studio. We started from nowhere, and inadvertently tapped into a new beginning, the despair of Hospice and the subsequent recovery in Burst Apart felt like a closed chapter, and we suddenly felt the immense freedom to change the subject entirely. We let our creative instincts lead us forward, and they brought us here, to Undersea, an EP in length, but beyond that in scope. It's an attempt to begin to express and communicate something bigger, something outside of ourselves and harder to explain.



    The record begins with the dream of a peaceful flood, followed by an existential re-evaluation in the face of massive, all-encompassing change. We take a deep breath in, a slow breath out, and take stock of where we're at. Undersea is the feeling of suspension. Memories suspended in time and space, energy suspended in the air around us. It's the serenity of drifting off to sleep or of sinking to the bottom of the ocean. Time slows and stretches.



    We've searched for sounds that are patient and meditative, mellow and colorful and intended to calm. There's a subtle but insistent pulse that leaves room for the music to breathe and expand. These songs are not in a hurry, and they take their time to unfold. In one sense it is familiar and terrestrial. But there's also a strange, fantastic, and largely as-yet-unknown world below the surface. The result is a kind of oceanic lucid dream of the future."

    1. Drift Dive

    2. Endless Ladder

    3. Crest

    4. Zelda
    Antlers
    $13.99
    Vinyl LP - Sealed Buy Now
  • All That You Can't Leave Behind (Awaiting Repress) All That You Can't Leave Behind (Awaiting Repress) Quick View

    $24.99
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    All That You Can't Leave Behind (Awaiting Repress)


    Stock Expected Mid-May 2018


    Remastered And Pressed On 180-Gram Vinyl


    The Artwork Comprises A 16-Page Booklet Featuring Lyrics And Photography By Anton Corbijn


    All That You Can't Leave Behind, the tenth studio album from U2, garnered multiple Grammy awards following its release in October 2000 and shot to #1 in 32 countries. Produced by Daniel Lanois and Brian Eno, and recorded in Dublin (HQ, Windmill Lane, Westland and Totally Wired) and the South of France, it includes the singles Beautiful Day, Stuck In A Moment You Can't Get Out Of, Elevation and Walk On.

    1. Beautiful Day (2017 Remaster)
    2. Stuck In A Moment You Can't Get Out Of (2017 Remaster)
    3. Elevation (2017 Remaster)
    4. Walk On (2017 Remaster)
    5. Kite (2017 Remaster)
    6. In A Little While (2017 Remaster)
    7. Wild Honey (2017 Remaster)
    8. Peace On Earth (2017 Remaster)
    9. When I Look At The World (2017 Remaster)
    10. New York (2017 Remaster)
    11. Grace (2017 Remaster)
    U2
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Mixed Emotions Mixed Emotions Quick View

    $17.99
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    Mixed Emotions

    Mixed Emotions is the debut album from Brooklyns Tanlines, the duo of Eric Emm (vocals, guitar, keyboards) and Jesse Cohen (drums, keyboards, bass). Initially a production project, Tanlines have evolved through two acclaimed EPs into a deeply personal, electronic pop group.


    The album was recorded in a series of locations after the band were evicted from their own studio, which in turn pushed Emm to focus on his lyrics and songwriting. In the process, he discovered a beautiful baritone vocal style. The lyrics poured out of him, and their maturity and honesty form the core of Mixed Emotions.


    Legendary engineer Jimmy Douglass (Timbaland, Aaliyah, Television, Missy Elliot) mixed the album in Miami. The result fuses the music of the bands childhood (New Order, the KLF, Stock Aitken Waterman, Stevie Winwood) with pristine synthetic sounds and their own homespun organic ones.

    1. Brothers
    2. All of Me
    3. Green Grass
    4. Abby
    5. Yes Way
    6. Not the Same
    7. Lost Somewhere
    8. Real Life
    9. Rain Delay
    10. Cactus
    11. Nonesuch
    Tanlines
    $17.99
    Vinyl LP - Sealed Buy Now
  • Nice An' Cool Nice An' Cool Quick View

    $34.99
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    Nice An' Cool

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    A 1961 set of standards heavy on the ballads, Nice An' Cool is prime Gene Ammons. In front of a sympathetic piano-bass-drums trio (Richard Wyands, Doug Watkins, and the great J.C. Heard, respectively), Ammons' brilliantly soulful tenor saxophone really stretches out on the familiar melodies, but the relatively concise arrangements (all of the eight tracks are between three and eight minutes, with most hovering around the five-minute mark) don't allow him to wander too far afield as he occasionally does on less structured sessions. Nice An' Cool is first and foremost a mood album, with the unity of sound more important than the individual performances, but Ammons particularly shines on the extended opener, a tender, restrained version of The Music Man's Til There Was You that sidesteps the mawkishness of many interpretations in favor of a dignified grace. The backing trio is excellent throughout.


    This title is not eligible for discount.

    1. Till There Was You
    2. Answer Me, My Love
    3. Willow Weep For Me
    4. Little Girl Blue
    5. Something I Dreamed Last Night
    6. Something Wonderful
    7. I Remember You
    8. Someone To Watch Over Me
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ski Mask Ski Mask Quick View

    $18.99
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    Ski Mask

    Islands' latest, Ski Mask, percolates with the kind of polymorphous pop and hooky, left-of-center rock songs that have long been the bands stock in trade.


    "This record is really about being angry. For better or worse, this record kind of sums up my experience thus far with being in a band. I feel like we're kind of at a crossroads and this record is kind of me just declaring forfeiture in some ways. Like the third act of a movie-just after it seems like all hope is lost, that's when the big breakthrough moment happens. For Islands, this is us waiting for the breakthrough moment."


    "This record is kind of a culmination of all the different things we've done over the years. It's basically a melting pot of all those sounds. So much of this record is about identity-specifically, the quest for finding out your own identity. ... All of these feelings and ideas that have been bubbling up over the course of four previous albums finally came to the surface on this one. This record is like a summation of Islands, everything we've ever done distilled into one record. It's basically an essential introduction to Islands-it's everything we've ever been about."


    - Nick Thorburn

    1. Wave Forms
    2. Death Drive
    3. Becoming the Gunship
    4. Nil
    5. Sad Middle
    6. Hushed Tones
    7. Here Here
    8. Shotgun Vision
    9. Of Corpse
    10. We'll Do It So You Don't Have To
    11. Winged Beat Drums
    Islands
    $18.99
    Vinyl LP - Sealed Buy Now
  • MFSL Record Brush MFSL Record Brush Quick View

    $19.99
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    MFSL Record Brush

    The Mobile Fidelity Record Brush is Our All-Time Best-Selling LP Brush! Heres an inexpensive tool for keeping all of your irreplaceable records clean and cared for! We are very proud to offer the latest in essential record care products: The MoFi LP Record Brush! Easy to use, easy to clean; this record brush is guaranteed to keep all of your LPs clean and quiet! It gets really deep into the grooves and helps scrub all that nasty, noisy dirt out. The key to its great vinyl cleaning is found in Mobile Fidelitys proprietary cleaning pad and ergonomic brush handle. Its been designed for multi-purpose use: it can be used as a wet-cleaning brush (we recommend using it as part of your intensive record cleaning machine workout) or as simply the best dry record brush ever designed. One cleaning pad will clean hundreds of your favorite LP's. For best results, we recommend the use of a simple, single step record cleaning fluid like our best selling Mobile Fidelity fluids. Not only is the best record brush ever designed, its also the cheapest! Stock up on a few of these brushes and keep you records in pristine condition!


    For cleaning: We recommend keeping an unused toothbrush around for cleaning the pads on the MD LP Brush. Remember...a clean brush is a happy brush...and one that will not transfer debris onto other records!

    Accessories
    $19.99
    MFSL Record Brush Buy Now
  • The Soulful Moods Of Gene Ammons The Soulful Moods Of Gene Ammons Quick View

    $34.99
    Buy Now
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    The Soulful Moods Of Gene Ammons

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    "One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone - you know, the one you immediately identify as Jug - is on display in all its glory on this great Moodsville release. Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms. - Stereophile, February 1995


    This title is not eligible for discount.

    1. Two Different Worlds
    2. But Beautiful
    3. Skylark
    4. Three Little Words
    5. The Street Of Dreams
    6. You'd Be So Nice To Come Home To
    7. Under A Blanket Of Blue
    8. Three Little Words
    9. I'm Glad There Is You
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Enter The Slasher House Enter The Slasher House Quick View

    $21.99
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    Enter The Slasher House


    Double LP Includes Two 180g Heavyweight Vinyl With Two Printed Inner Card Stock Sleeves


    Domino is proud to announce the debut album Enter The Slasher House from Avey Tare's Slasher Flicks.


    Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even
    remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from
    LA, say leather masked guitar-wielding Avey Tare (of Animal Collective), knife-wielding keyboard player
    Angel Deradoorian (of Dirty Projectors, Deradoorian), and the cannibal chief drummer and decaying
    grandfather Jeremy Hyman (of Ponytail, Dan Deacon).


    Having composed the bones of these eight songs on acoustic guitar, Avey Tare invited Deradoorian, to
    create melodic lines to flesh them out. Inspired by Ken Burns' Jazz history documentary, they needed
    a drummer who could play "free but structured"; enter Hyman. The group produced and recorded the
    songs live at the Lair studio using only minimal overdubs; the live sound being key to Slasher Flicks'
    spooky dynamism.

    1. A Sender
    2. Duplex Trip
    3. Blind Babe
    4. Little Fang
    5. Catchy (Was Contagious)
    6. That It Won't Grow
    7. The Outlaw
    8. Roses On The Window
    9. Modern Days E
    10. Strange Colores
    11. Your Card
    Avey Tare's Slasher Flicks
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Human Human Quick View

    $19.99
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    Human

    On HUMAN, Three Days Grace re-teamed with producer Gavin Brown who produced the band's platinum-selling 2003 self-titled debut album. "We went back to our roots a bit and recaptured that collaborative feeling of being in a band and bringing out the best ideas in each other," says band member Neil Sanderson. "Gavin was a huge part of that in the beginning and we feel like we're back in those days where we're high-fiving each other with guitars in our hands." In addition, Nick Raskulinecz and Chris Lorde Alge mixed HUMAN. The band has spent much of the year vigorously touring, writing and recording their new album.


    Three Days Grace is Matt Walst (lead vocals), Neil Sanderson (drums, piano, backing vocals), Brad Walst (bass guitar), and Barry Stock (lead guitar).The band holds the record with now 13 #1 singles at Active Rock Radio, more than any other band in history and has sold over 6 million albums in the United States. The band's first single on HUMAN with new singer Matt Walst "Painkiller" celebrates their 12th #1 single and "I Am Machine" is their #13th number one and second single with Matt as their lead singer.


    Their previous album TRANSIT OF VENUS was released in October 2012, debuted #1 on the Hard Rock Chart and Top 5 on the Billboard Top 200 chart, and was nominated for Best Rock Album of the Year by the Juno Awards. TRANSIT OF VENUS spawned three #1 singles "Chalk Outline," "The High Road" and "Misery Loves My Company," Their other #1s include 'World So Cold,""Good Life," "Break," "Never Too Late," "Animal I Have Become," "Pain," "Just Like You" and "Home" from previous albums.

    1. Human Race
    2. Painkiller
    3. Fallen Angel
    4. Landmine
    5. Tell Me Why
    6. I Am Machine
    7. So What
    8. Car Crash
    9. Nothing's Fair In Love And War
    10. One Too Many
    11. The End Is Not The Answer
    12. The Real You
    Three Days Grace
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Over There ... And Over Here Over There ... And Over Here Quick View

    $21.99
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    Over There ... And Over Here

    Paradise of Bachelors presents the first-ever reissue of the previously obscure 1983 LP by the Red Rippers. Written and recorded by Navy pilot Ed Bankston, the album's nine battle-scarred country-boogie/psych dispatches chronicle the experiences of Bankston and his fellow vets during the Vietnam War and back home. Produced in collaboration with the artist, the package includes extensive liner notes, archival photos, and (with the vinyl) a digital download coupon.


    Scarce and seemingly inscrutable, the sole recording credited to the Red Rippers has long captivated and mystified record collectors. When we first encountered Over There and Over Here, we were fascinated by the prescient, genre-dredging synthesis of Waylonesque honky-stomp with early '80s new wave production values and eerie, out-of-time psychedelic guitar leads weirdly reminiscent of the Blue Öyster Cult, Dire Straits, and the Meat Puppets at their most desert-drunk. We were intrigued by the record's ambiguous provenance (Oracle Records?) and moved by its complex, apparently deeply personal articulation of an enlisted man's efforts to break on through his fear, anger, and disillusionment during and after the Vietnam War.


    Once we finally tracked down songwriter, singer, and guitarist Edwin Dale Bankston in Phoenix, Arizona, he told us that he wrote these nine potent blues during the decade following his return in 1972 from serving on the Navy aircraft carrier USS Kittyhawk in Vietnam. He recorded them while stationed in Pensacola, Florida and sold the resulting 1983 album through an advertisement in Soldier of Fortune magazine, largely to other veterans. The songs chronicle his own and other vets' harrowing experiences both in country and back home, and are utterly unlike most popular music commentaries on the Vietnam War. You've heard the strident protest songs blasted forth from that myth-shrouded era; many retain a visceral power and poetic outrage, but few, beyond a professed empathy for flimsy, victimized stock characters, accurately represent the actual lived experience and agency of soldiers.

    1. I Roll
    2. Soldier of Fortune
    3. Firefight
    4. Who Remembers
    5. Vietnam Blues
    6. The Dark and Bloody Road
    7. She's Been Down
    8. Body Bag
    9. Over The Edge
    The Red Rippers
    $21.99
    Vinyl LP - Sealed Buy Now
  • AudioQuest Wildcat Tonearm Cable (1.5m) AudioQuest Wildcat Tonearm Cable (1.5m) Quick View

    $89.95
    Buy Now
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    AudioQuest Wildcat Tonearm Cable (1.5m)


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.



    RCA to RCA


    JIS Plug to RCA Available Upon Request


    Wildcat is sure to help you scratch deeper into your favorite records. Select metals, exact geometry, and low-distortion insulation offer significant improvements over almost any stock phono cable.


    SOLID PERFECT-SURFACE COPPER CONDUCTORS (PSC): Perfect-Surface Copper has an astonishingly smooth and pure surface. Proprietary metal-processing technology protects the wire's surface at every stage of drawing and fabrication. When high-purity low-oxide copper is kept as soft, pure and smooth as possible, it becomes a wonderfully low-distortion conductor. For over 30 years AudioQuest has pioneered the use of superior metals; yet even we were surprised by this huge leap in performance. PSC clearly outperforms previous AQ metals that cost over ten times as much. Electrical and magnetic interaction between strands in a conventional cable is the greatest source of distortion, often causing a somewhat dirty, harsh sound. Solid conductors are fundamental toward achieving Wildcat's very clean sound.


    FOAMED-POLYETHYLENE INSULATION: Any solid material adjacent to a conductor is actually part of an imperfect circuit. Wire insulation and circuit board materials all absorb energy (loss). Some of this energy is stored and then released as distortion. Wildcat uses air-filled Foamed-Polyethylene Insulation because air absorbs next to no energy and Polyethylene is low-loss and has a benign distortion profile. Thanks to all the air in Foamed-PE, it causes much less of the out-of-focus effect common to other materials.


    TERMINATIONS: Wildcat's gold-plated RCA plugs use a proprietary design that eliminates the distortion caused by the extra contact inside most plugs. Because the ground shells are stamped instead of machined, the metal can be chosen for low distortion instead of machinability. A combination of these major ingredients, and many more subtle details add up to explain how Wildcat can sound so clean, clear and dynamic.


    AudioQuest
    $89.95
    Tonearm Cable Buy Now
  • Weatherhouse Weatherhouse Quick View

    $22.99
    Buy Now
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    Weatherhouse

    Four years after the unexpected and exquisite treat that was Philip Selway's debut album Familial, the man formerly known only as the drummer of Radiohead returns with his sophomore record, Weatherhouse. At ten tracks and 38 minutes, the album is as concise in shape as it is expansive in mood and assured in execution, mining a generally darker, fuller sound than its gentler, more acoustic-based predecessor and reflecting the band-centred nature of its construction and its creator's growth in confidence.


    Weatherhouse was made in collaboration with Adem Ilhan and Quinta; artists in their own right who had previously performed in Philip's backing band. "From the outset," Selway recalls, "we wanted the album to be the three of us, and we covered a lot of instruments between us. With a studio full of inspiring gear and a great-sounding desk, we felt like a band. Different musicians stretch you, and I felt stretched on Weatherhouse, but very enjoyably so." Working mostly out of Radiohead's studio in Oxfordshire, Adem also produced and engineered Weatherhouse, while Quinta played an equally integral role in the arrangements. The album was mixed by David Wrench.


    Album opener 'Coming Up For Air' sets the scene with its brooding, spectral mood, mantra-like pattern and Selway's simmering, reverb-drenched vocal exploring the album's dominant theme. "It's very much about taking stock of my life. I wanted to convey a sense of release and affirmation," he says. "This was the first song that we recorded. Immediately it felt in a very different space from Familial."


    The album's talismanic qualities explore a world of hope and plans, connection and disconnection - between family, friends and self - and dreams and fears: "I love records that you can almost live in, where the songs become talismans that you take to heart. That's what I was trying to create in Weatherhouse." With its emotional frankness, haunting melodies and gripping tension, Selway has made a great artistic leap and created something that even the most experienced singer-songwriters would be proud of.

    1. Coming up for Air
    2. Around Again
    3. Let It Go
    4. Miles Away
    5. Ghosts
    6. It Will End in Tears
    7. Don't Go Now
    8. Drawn to the Light
    9. Waiting for a Sign
    10. Turning It Inside Out
    Philip Selway
    $22.99
    Vinyl LP - Sealed Buy Now
  • Echobox Nomad N1 Earphones 2 VERSIONS AVAILABLE Echobox Nomad N1 Earphones Quick View

    $399.00
    Buy Now
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    Echobox Nomad N1 Earphones

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The New Flagship


    The Nomad represents the evolution of sonic achievement. It delivers honest, dynamic, uncompromising sound, masterfully engineered using German-made PEEK drivers. It is paired with our unique Acoustic-Filter-Tuning (AFT) system which enables you to discover the sound you love. Ergonomically designed Titanium housings featuring an over-ear cable wear style ensure the most comfortable and secure fit available, and replaceable MMCX compatible cables allow for the freedom of selection from a variety of wired and wireless cable options.


    • German-made PEEK dynamic drivers
    • Replaceable cables with MMCX connectors
    • AFT Sound customization system
    • Ergonomic design for enhanced comfort
    • Solid Titanium Housings

    Dynamic Hi-Fi


    When we debuted the Finder X1, we introduced the world to the capabilities of our new PEEK dynamic driver. After a year of experimenting and perfecting the technology, we have taken its potential to a whole new level. Powerful and accurate bass response, layered and engaging mids, and radiant, detailed highs come together in a breathtaking new dynamic masterpiece.


    Universal Comfort


    Featuring an ergonomic design and replaceable MMCX (micro-miniature coaxial) cables, the Nomad has been meticulously designed for comfort and practicality. Shipping stock with your cable of choice, the MMCX connecter allows you to swap between a wide array of differing cable styles including iPhone and Android microphone versions, Lightning, USB-C and Bluetooth. In essence, the Nomad is a truly universal HiFi earphone: simply swap cables instead of purchasing separate earphones to match your different device output jacks and lifestyle demands.


    Custom Sound


    Originally debuted with the Finder X1, our signature Acoustic Filter Tuning (AFT) System allows users to customize the sound of their earphone to match their own unique preference. Three sets of AFT filter rings are included with the Nomad: Bass (Black), Reference (Silver) and Treble (Red).


    Serious Noise Isolation


    We get it, it's a loud world out there. It is for this very reason that we have partnered with the Minnesota based company Comply to offer a pair of medium T-400 Isolation Series memory foam tips standard with every Nomad. As you probably guessed, the Isolation Series are all about noise isolation. Using some serious technology, Comply tips use thermal reactive memory foam that works with your body's natural heat to seal the ear canal perfectly. Hear more of what you want to hear, not what you don't, and listen longer with a comfort normally reserved only for custom molded earphones.


    Echobox Audio
    $399.00
    Earphones (2 Versions Available)
    Buy Now
  • Event II: Instrumentals Event II: Instrumentals Quick View

    $18.99
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    Event II: Instrumentals


    INSTRUMENTAL VERSION


    Deltron 3030 is composed of a trinity of alt-rap all-stars: Master lyricist Del Tha Funkee Homosapien, superproducer Dan "The Automator" Nakamura and
    virtuoso turntablist DJ Kid Koala. Individually, they stand at the top of their respective musical disciplines; together, on the eponymous Deltron 3030, they
    warped space, bent time, transcended genre and blew minds, creating an album that still stands today as one of the most important records in the annals
    of underground hiphop.


    Both timely and avant garde, Deltron 3030 accurately - if surrealistically - captured the spirit of the cusp of the millennium, an era when a technolog ydriven
    stock market bubble was on the verge of bursting, when the political world was entering an era of unprecedented partisanship, when global
    inequality was beginning to skyrocket. Critics dubbed it a masterpiece: The most purely enjoyable hip-hop album of 2000, NME declared. Vice praised
    Deltron 3030 as a dope hip-hop concept album...visionary sci-fi rap for comic book heads, cyberpunks and conspiracy theorists that closed the gaps
    between indie-rap, boom bap and future-music. It's not only one of the best albums in either of their catalogs, but one of the best to come out of the new
    underground, period, said AllMusic.com. Pitchfork called Nakamura the poet laureate of creepy, oppressive beats, describing the album as an exciting
    reimagining of the future from the bottom up that reveals Del as a surprisingly acute social critic.


    Now, over a decade later, they're finally releasing the long-awaited follow-up to their debut - an album titled Deltron 3030: Event II. This time, the album
    has a specific story, says Del. The Deltron world has gone too far with technology. Everything's destroyed, and you just see the remnants of our
    technology. The streets are run by criminals, the police are outnumbered and outgunned, and we're like pirates, running rogue, doing what we do to
    survive. That's the scene of it. We're trying to be as literary as possible while dealing with a musical format. I don't know if you could even categorize this
    as a hip hop album - it's more like a rock opera, but using rap.


    He notes that the words, music and narrative have been deliberately chosen to put listeners into a specific emotional state. This record took 13 years,
    and the whole time fans are telling us we better come out with Deltron right now - quit teasing me, laughs Del. Well, this is beyond a regular album.
    Because I would say, me, Dan and Koala, we aren't limited by what other rap groups do - we're musicians first. I studied music theory for ten years. Dan
    and Koala been learning music since they were kids. We're bringing it all together here, everything, and the fans, the critics, they all going to be surprised
    by what we got. You'll see.

    1. Stardate
    2. The Return
    3. Pay The Price
    4. Nobody Can
    5. Lawnchair Quarterback Pt. 1
    6. Melding Of The Minds
    7. The Agony
    8. Back In The Day
    9. Talent Supersedes
    10. Look Across The Sky
    11. The Future of Food
    12. My Only Love
    13. What Is This Loneliness
    14. Lawnchair Quarterback Pt. 2
    15. City Rising From The Ashes
    16. Do You Remember
    Deltron 3030
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bones Bones Quick View

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    Bones

    On The Delta Saints' new album, Bones, their first for Loud & Proud Records, the Nashville-based band have stripped their roots/blues sound down to its essence, having rearranged the elements into something uniquely their own. Steeped in rock 'n' roll's building blocks - country, R&B, soul and gospel - The Delta Saints' second full-length effort explores influences like Jack White, The Black Keys, My Morning Jacket, Band of Horses and Led Zeppelin. Producer/engineer/mixer and Third Man Records alum, Eddie Spear [Jack White, Arctic Monkeys, Neil Young] provided a ghostly, psychedelic atmosphere at Nashville's Sputnik Sound studios, yielding a sound unlike anything they have created before.


    "We got to the point where what we were recording and playing had veered from what we were listening to and loving on our turntables, which can lead to discontent," said Louisiana-born singer/lyricist Ben Ringel, who co-founded the band almost eight years ago with fellow Belmont University student, Kansas native bassist David Supica. Soon after, they were joined by Tennessee-bred guitarist Dylan Fitch and later, after a health scare with the band's former harmonica player, enlisted Louisville resident and keyboardist, Nate Kremer, who was added to the lineup only two weeks before a two month long European tour.


    Taking a novel approach of writing songs spontaneously in the studio, The Delta Saints were challenged to create in the moment and as a result, Bones is their most adventurous effort yet. The album is a collection of eclectic songs, beginning with The White Stripes-meets-Led Zeppelin fuzz-toned garage-rock blast of "Sometimes I Worry." The spare, spooky strains of "Butte la Rose" tell the band's tale of a Louisiana town purposely flooded and displaced five years ago to save New Orleans. The Grapes of Wrath drama of "Dust," based on Ringel's grandfather, an East Kansas farmer, builds to a primal wail at nature with a stunning coda in which Dylan Fitch's guitar drops out and Kremer's B3 organ provides the climax. The title track, "Bones" features hoodoo organ riffs and African-influenced trance music, which came from listening to the Sahara desert African groove of Niger's Tuareg guitarist Omara "Bombino" Moctar and Mali's Tinariwen. The grindhouse honky-tonk chain gang chants of "Heavy Hammer" celebrates the work ethic in no uncertain terms, a call for unity in the wake of Ringel's frustration about getting stuck in the rat race and feeling trapped by some of life's mundane tasks. "Berlin," the first song they recorded after adding Nate on keys, started out as an instrumental penned in the title city while on tour. It eventually metamorphosed into a country twang intro and a prog-rock jam. Bones is a complete work veering between despair and apocalyptic dread.


    "We're trying to push ourselves forward to do something more modern, but at the same time incorporating where we come from," explained Ringel.


    "It was incredible to be able to write a song on the spot and immediately hear what it sounded like," added Supica. "It was a great way to capture the magic right when you come up with an idea, preserving that raw element. We were used to playing a song for months on the road before we recorded it. Still, on the flip side, it was absolutely terrifying to sit in the studio watching the clock tick and waiting for a song to come out. That's where (producer) Ed Spear came into play; he was so good at keeping us pointed in the right direction."


    "This record was made out of both necessity and desire. We needed to be fulfilled and surprised by music again, and we also needed to fulfill that love of writing and recording again."


    The Delta Saints have independently released two EPs (2010's Pray On and A Bird Called Angola), a full-length album (2012's Death Letter Jubilee) and a live disc (2014's Live at Exit/In). They have spent the last eight years touring the US averaging almost 200 shows per year, organically growing their audience, fan by fan, city by city. Major appearances include several festivals including Wakarusa, Summer Camp, Harvest, The Ride, Summerfest and The Simple Man Cruise. A testament to their mixed appeal, they have opened for such diverse acts as Blackberry Smoke, Robert Randolph & The Family Band, Taj Mahal, Dickey Betts and Michael Franti & Spearhead.


    The Delta Saints have also have a large international fan base having toured Europe a total of six times, selling out countless venues and playing more than 200 shows in Spain, Sweden, France, Switzerland and Germany, as well as several festivals in Holland (Moulin Blues, Ribs and Blues), Belgium (Gevarenwinkel) and Germany (Grolsch Blues Fest).


    With all that they've accomplished as a hard-working group on their own, The Delta Saints have earned their graduation to industry veteran Tom Lipsky's Loud & Proud Records (which has been the home of Rush, Lynyrd Skynyrd, KISS, Robert Plant, Rob Zombie, Lenny Kravitz and The String Cheese Incident, among others).


    "Don't look so tired, my dear," sings Ringel in Bones' closing track, "Berlin," echoing the band's progress. "We may be bruised, but the day is almost here."


    "It's hard to see progress when you're in the middle of things," said Supica about The Delta Saints' ambitions. "We try to take stock every six months or so and look back from where we've come, from eating at McDonald's and sleeping on people's floors to staying at a Motel 6 and graduating to La Quinta. We mark our success by the hotel chain where we're staying. When we get to Marriott, we know we've made it."


    Bones proves The Delta Saints are well on their way to making that reservation.

    The Delta Saints
    $18.99
    Vinyl LP - Sealed Buy Now
  • Terrestrials (Awaiting Repress) Terrestrials (Awaiting Repress) Quick View

    $16.99
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    Terrestrials (Awaiting Repress)


    Thick Stock Cardboard Stoughton Style Tip On Jacket


    180 Gram Vinyl


    Limited To 3,000


    Four figures stand atop a summit, staring east out over a vast, frostbitten wasteland, the black sun dwindling in the west, casting their shadows across the plain. They await another clan, legendary for their slow approach. Eyes on the horizon, searching, patiently, for some signal of the arrival, some plume of smoke that would announce that the time had come. At last, at the edge of the plane, they note a black banner, and soon two hooded figures appear in the dusk. A horn sounds, and drumbeats echo through the valley.


    It's only the threshold of the distant horizon that limits the scope of Terrestrials, but like much of Earth, its landscape is arid, only disclosing its secrets upon active contemplation of its component dust. From the opening strains, hidden at the foot of a vertiginous crescendo from zero decibels, the album recalls a technique of Andrei Tarkovsky's, later developed in the films of BÉla Tarr. The eight-and-a-half-minute opening shot in Tarr's epic Sátántangó laterally tracks cattle carefully plodding through a dilapidated commune in search of food from muddy pasture. As the audience investigates the frame for clues to Tarr's purpose, he slowly reveals to them a symbolic vision of the film as a whole, inviting contemplation of the rich surfaces of the decayed buildings and the labyrinthine entrapment of the commune's inhabitant kine, some playing at leadership and some dragging their feet, cow and human alike awaiting deliverance by a dark messiah. Terrestrials proceeds in a remarkably similar fashion. As each track unfurls, its glacial pace arrests the listener's search for novelty, forcing attention to the profundities of the mix and the texture that the interlaced sounds create; and yet it also deepens the desire for what each step forward promises, the crisis that the procession patiently unveils.


    Terrestrials features more complex instrumentation than most of the works of either party. Sunn O)))'s deep bass and endlessly sustained guitar feature heavily on each track of Terrestrials, but so do Ulver's electronics and a myriad of additions, including trumpets, didgeridoo, and strings. Although the tracks apparently began as a set of improvisations recorded at Ulver's Oslo studio, the vast scope of the release clearly evolved out of the various mixing and arrangement sessions helmed by Ulver's Kristoffer Rygg and Sunn O)))'s Stephen O'Malley between 2008 and 2012. Here they achieved a synthesis that stylistically transcends the mere combination of the two groups and their traditional pathways, with Ulver sealing up the cracks of Sunn O)))'s immense backdrop and heightening the atmosphere with tense strings, sculpted textures, and insistent rhythm. It's this attention to the subtleties that renders Terrestrials monolithic; they ensure that each tick of the clock yields an array of sonic qualities, each progressing slowly in themselves but together moving the whole mass of sound forth at a constant click.


    From the trumpets on "Let There Be Light" to the drum-like pound of the bass and didgeridoo in "Western Horn," Terrestrials relentlessly heralds its own arrival, an endless parade slouching towards Bethlehem. By the time Rygg's vocals enter at the middle of "Eternal Return," the crawling pace of the album has ensured their sublimity. Taken on its own, this short section would scarcely justify a song unto itself; it emerges out of the sudden but carefully orchestrated resolution of the murky depths of the track's recesses, manifesting as a piercing clarity and a distillation of the album's theme of annunciation. Its lyrics, rich in spite of their brevity, conceal a messianic yearning in the fallow desert, a hope for deliverance from the stasis of the Egyptian yoke and the confusion of exile, and a dark prophecy of a "liminal animal" with "golden nature" of the sinful calf. Rygg urges us to "listen silent."


    Gongs or guitars ring out. This final stage of Terrestrials heralds a return of an immense mystery. What approaches, its lumbering gait constantly pressing onward, can't divulge its nature until it finally arrives. The quintessential figure of doom is an immense behemoth, a force of nature whose sublime shadow conceals it from view even as its thundering steps reveal its impending advent. But here we lie in wait. Terrestrials delivers on its persistent promise by offering another transcendental promise of a future culmination. But the restraint they exert in their advance to the beautiful oasis at the center of "Eternal Return" suggests that, here, Sunn O))) and Ulver are more interested in the process as it happens through time, tracking the march of the sun across the heavens, marking each moment as it slips back into eternity.


    - Matthew Philips (Tiny Mix Tapes)

    1. Let There Be Light
    2. Western Horn
    3. Eternal Return
    Sunn O))) & Ulver
    $16.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blonde On Blonde (Box Set) (Awaiting Repress) Blonde On Blonde (Box Set) (Awaiting Repress) Quick View

    $84.99
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    Blonde On Blonde (Box Set) (Awaiting Repress)

    Ranked 9/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians


    Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles


    Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.


    Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.


    The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.


    As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.


    Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.


    Given the sonic and artistic merit of this album, we anticipate huge demand.



    This title is not eligible for discount.

    1. Rainy Day Women #12 & 35
    2. Pledging My Time
    3. Visions of Johanna
    4. One of Must Know (Sooner or Later)
    5. I Want You
    6. Stuck Inside of Mobile With the Memphis Blues Again
    7. Leopard-Skin Pill-Box Hat
    8. Just Like a Woman
    9. Most Likely You Go Your Way (And Ill Go Mine)
    10. Temporary Like Achilles
    11. Absolutely Sweet Marie
    12. 4th Time Around
    13. Obviously 5 Believers
    14. Sad Eyed Lady of the Lowlands
    Bob Dylan
    $84.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 3 LPs Sealed AWAITING REPRESS Buy Now
  • On My Way and Shoutin' Again On My Way and Shoutin' Again Quick View

    $27.99
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    On My Way and Shoutin' Again

    Import


    When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.


    This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.


    A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.


    - Michael G. Nastos (All Music Guide)

    1. I'm Shoutin' Again
    2. Ducky Bumps
    3. The Long Night
    4. Jump For Johnny
    5. Ain't That Right
    6. Together Again
    7. Shanghaied
    8. Skippin' With Skitch
    9. Eee Dee
    10. Rose Bud
    11. Lester Leaps In
    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Total Dust Total Dust Quick View

    $18.99
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    Total Dust

    Dusted is Brian Borcherdt (Holy Fuck, LIDS) and Leon Taheny (Final Fantasy, Rituals, Bruce Peninsula). Wanting to explore a different sound, but unsure of where or how to find it, Borcherdt spent a December weekend in Nova Scotia. Alone and unable to sleep in a cold, dank cabin, he drew musical inspiration from his sparse surroundings. Fueled by a psychedelic hum underneath a veil of low drone-y distortion, Total Dust is Borcherdt's revelation.


    Most bands don't record through a small, blown-out practice amp. You may find however that it works, as the guitar fights its way through, only the most important notes survive. Their songs don't exist to be overproduced. They're recorded lean and they stay that way. In fact, it's almost impossible to manipulate anything when your studio is either a small converted garage or a rural cabin stocked with a scattered drum kit, a bass synth, and a tambourine. That's why every track was laid completely bare, stripped of all unnecessary instrumentation so that what remains is sometimes melodic, sometimes haunting, and always integral.


    Before even one song had been released, the band signed with Polyvinyl and played a show with labelmates Deerhoof and of Montreal. Their performance challenged the limitations of a two-piece: vocals and guitar expelled over a raucous backbone of live drums, 808 samples, and bass synth.

    1. All Comes Down
    2. (Into the) Atmosphere
    3. Cut Them Free
    4. Low Humming
    5. Bruises
    6. Pale Light
    7. Property Lines
    8. Dusted
    9. Long It Lasts
    10. There Somehow
    Dusted
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Babel Babel Quick View

    $16.99
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    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
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